STEPNEY CAUSEWAY Beyond the pleading lip, the reaching hand,
Laughter and tear;
Beyond the grief that none would understand;
Beyond all fear.
Dreams ended, beauty broken,
Deeds done, and last words spoken,
Quiet she lies. Far, far from our delirious dark and light,
She finds her sleep.
No more the noisy silences of night
Shall hear her weep.
The blossomed boughs break over
Her holy breast to cover
From any eyes.
Till the stark dawn shall drink the latest star,
So let her be.
O Love and Beauty! She has wandered far
And now comes home to thee. The Russian quarter always saddens me. For one thing, it has associations which scratch my heart regularly every month when my affairs take me into those parts. Forgetting is the most wearisome of all pains to which we humans are subject; and for some of us there is so much to forget. For some of us there is Beatrice to forget, and Dora, and Christina, and the devastating loveliness of Isabel. For another thing, its atmosphere is so depressingly Slavonic. It is as dismal and as overdone as Rachmaninoff's Prelude in C sharp minor. How shall I give you the sharp flavour of it, or catch the temper of its streets?
It seems impossible that one should ensnare its elusive spirit. Words may come, but they are words, hard and stiff-necked and pedestrian. One needs symbols and butterflies.
* * * * *
Beauty is a strange bird. Hither and thither she flies, and settles where she will; and men will say that she is found here and there--sometimes in Perugia, sometimes in Mayfair, sometimes in the Himalaya. I have known men who found her in the dark melancholy of Little Russia, and I can understand them. For beauty appears, too, in various guise; and some men adore her in silks and some in rags. There are girls in this quarter who will smite the heart out of you, whose beauty will cry itself into your very blood. White's Row and the fastnesses of Stepney do not produce many choice blooms; there are no lilies in these gardens of weeds. The girls are not romantic to regard or to talk with. They are not even clean. The secrets of their toilet are not known to me, but I doubt if soap and water ever appear in large quantities. And yet.... They walk or lounge, languorous and heavy-lidded, yet with a curious suggestion of smouldering fire in their drowsy gaze. Rich, olive-skinned faces they have, and hair either gloomy or brassy, and caressing voices with the lisp of Bethnal Green. You may see them about the streets which they have made their own, carrying loads of as enchanting curls as Murger's Mimi.
But don't run away with the idea that they are wistful, or luscious, or romantic; they are not. Go and mix with them if you nurse that illusion. Wistfulness and romance are in the atmosphere, but the people are practical ... more practical and much less romantic than Mr. John Jenkinson of Golder's Green.
You may meet them in the restaurants of Little Montagu Street, Osborn Street, and the byways off Brick Lane. The girls are mostly cigarette-makers, employed at one of the innumerable tobacco factories in the district. Cigarette-maker recalls "Carmen" and Marion Crawford's story; but here are only the squalid and the beastly. Brick Lane and the immediate neighbourhood hold many factories, each with a fine odour--bed-flock, fur, human hair, and the slaughter-house. Mingle these with sheep-skins warm from the carcass, and the decaying refuse in every gutter, and you will understand why I always smoke cigars in Spitalfields. In these cafés I have met on occasion those seriocomics, Louise Michel, Emma Goldmann, and Chicago May. Beilis, the hero of the blood-ritual trial, was here some months ago; and Enrico Malatesta has visited, too. Among the men--fuzzy-bearded, shifty-eyed fellows--there are those who have been to Siberia and back. But do not ask them about Siberia, nor question how they got back. There are some things too disgusting even to talk about. Siberia is not exciting; it is filthy. But you may sit among them, the men and the dark, gazelle-eyed girls; and you may take caviare, tea-and-lemon, and black bread; and conversation will bring you a proffered cigarette.
It was in these streets that I first met that giant of letters, Mr. W. G. Waters, better known to the newspaper public as "Spring Onions," but unfortunately I did not meet him in his gay days, but in his second period, his regeneracy. He was introduced to me as a fearsome rival in the subtle art of Poesy. I stood him a cup of cocoa--for you know, if you read your newspaper, that Spring was a teetotaller. He signed the pledge, at the request of Sir John Dickinson, then magistrate at Thames Police Court, in 1898, and it was his proud boast that he had kept it ever since. He was then seventy-nine. His father died of drink at thirty-seven, and Dean Farrar once told Spring that his case was excusable, since it was hereditary. But, although Spring went to prison at the age of thirteen for drunkenness, and has "been in" thirty-nine times, he didn't die at thirty-seven. I wonder what the moral is? His happiest days, he assured me, were spent in old Clerkenwell Prison, now Clerkenwell Post Office, and on one occasion, as he was the only prisoner who could read, he was permitted to entertain his companions by extracts from
Good Words, without much effect, he added, as most of them are in and out even now. One important factor in the making of his grand resolution was that a girl he knew in Stepney, who was so far gone that even the Court missionary had given her up, came to him one Christmastime. She was in the depths of misery and hunger.
"Spring," she said, "give me a job!"
So Spring gave her the job of cleaning out his one room, for which she was to receive half a crown. She obeyed him; and when he returned, and looked under the floor where he stored his savings from the sale of his poems (nearly seven pounds) they also had been cleaned.
That settled it. Spring decided to cut all his acquaintances, but he could only do that successfully by some very public step. So he went to Sir John Dickinson and signed the pledge in his presence. Said he--
"And now, I find that after fifteen years of teetotalism, I write better poetry. Every time I feel I want a drink, I say to myself: 'Spring--sit down and write a poem!'"
He was then messenger at Thames Police Court, enjoying the friendship and interest of all. He read me about a dozen of his lighter lyrics. Here is one of the finer gems:--
How many a poet would like to have
Letters from royalty--prince, king, and queen;
But, like some insignificant ocean wave,
They are passed over, mayhap never seen.
But when I myself address good Royals,
And send them verses from my fertile brain,
See how they thank me very much for my flowing strain!
In proof of which he would dig out letters from King Edward, Queen Alexandra, and Queen Mary.
One of these days I am going to do a book about those London characters without reference to whom our daily newspapers are incomplete. I mean people like the late lamented Craig, the poet of the Oval Cricket Ground, Captain Hunnable, of Ilford, Mr. Algernon Ashton, Spiv. Bagster, of Westminster, that gay farceur, "D. S. Windell," Stewart Gray, the Nature enthusiast. But first and foremost must come--Spring Onions.
On the southern side of the quarter is Sidney Street, of sinister memory. You remember the siege of Sidney Street? A great time for Little Russia. You may remember how the police surrounded that little Fort Chabrol. You may remember how the deadly aim of Peter the Painter and his fellow-conspirators got home on the force again and again. You remember how the police, in their helplessness against such fatalistic defiance of their authority, appealed to Government, and how Government sent down a detachment of the Irish Guards. There was a real Cabinet Minister in it, too; he came down in his motor-car to superintend manoeuvres and compliment gallant officers on their strategy. And yet, in that great contest of four men versus the Rest of England, it was the Rest of England that went down; for Fort Chabrol stood its ground and quietly laughed. They were never beaten, they never surrendered. When they had had enough, they just burnt the house over themselves, and ... hara-kiri.... Of course, it was all very wicked; it is impossible to justify them in any way. In Bayswater and all other haunts of unbridled chastity they were tortured, burnt alive, stewed in oil, and submitted to every conceivable penalty for their saucy effrontery. Yet, somehow, there was a touch about it, this spectacle of four men defying the law and order of the greatest country in the world, which thrilled every man with any devil in him. Peter the Painter is a hero to this day.
* * * * *
I had known the quarter for many years before it interested me. It was not until I was prowling around on a Fleet Street assignment that I learnt to hate it. A murder had been committed over a café in Lupin Street: a popular murder, fruity, cleverly done, and with a sex interest. Of course every newspaper and agency developed a virtuous anxiety to track the culprit, and all resources were directed to that end. Journalism is perhaps the only profession in which so fine a public spirit may be found. So it was that the North Country paper of which I was a hanger-on flung every available man into the fighting line, and the editor told me that I might, in place of the casual paragraphs for the London Letter, do something good on the Vassiloff murder.
It was a night of cold rain, and the pavements were dashed with smears of light from the shop windows. Through the streaming streets my hansom leaped; and as I looked from the window, and noted the despondent biliousness of Bethnal Green, I realized that the grass withereth, the flower fadeth.
I dismissed the cab at Brick Lane, and, continuing the tradition which had been instilled into me by my predecessor on the London Letter, I turned into one of the hostelries and had a vodka to keep the cold out. Little Russia was shutting up. The old shawled women, who sit at every corner with huge baskets of black bread and sweet cakes, were departing beneath umbrellas. The stalls of Osborn Street, usually dressed with foreign-looking confectionery, were also retiring. Indeed, everybody seemed to be slinking away, and as I sipped my vodka, and felt it burn me with raw fire, I cursed news editors and all publics which desired to read about murders. I was perfectly sure that I shouldn't do the least good; so I had another, and gazed through the kaleidoscopic window, rushing with rain, at the cheerful world that held me.
Oh, so sad it is, this quarter! By day the streets are a depression, with their frowzy doss-houses and their vapour-baths. Grey and sickly is the light. Grey and sickly, too, are the leering shops, and grey and sickly are the people and the children. Everything has followed the grass and the flower. Childhood has no place; for above the roofs you may see the sharp points of a Council School. Such games as happen are played but listlessly, and each little face is smirched. The gaunt warehouses hardly support their lopping heads, and the low, beetling, gabled houses of the alleys seem for ever to brood on nights of bitter adventure. Fit objects for contempt by day they may be, but when night creeps upon London, the hideous darkness that can almost be touched, then their faces become very powers of terror, and the cautious soul, wandered from the comfort of the main streets, walks and walks in a frenzy, seeking outlet and finding none. Sometimes a hoarse laugh will break sharp on his ear. Then he runs.
Well, I finished my second, and then sauntered out. As I was passing a cruel-looking passage, a gang of lads and girls stepped forward. One of the girls looked at me. Her face had the melancholy of Russia, but her voice was as the voice of Cockaigne. For she spoke and said--
"Funny-looking little guy, ain't you?"
I suppose I was. So I smiled and said that we were as God made us.
She giggled....
I said I felt sure I should do no good on the Vassiloff murder. I didn't. For just then the other four marched ahead, crying, "Come on!" And, surprised, yet knowing of no good reason for being surprised, I felt the girl's arm slip into mine, and we joined the main column.
That is one of London's greatest charms: it is always ready to toss you little encounters of this sort, if you are out for them.
Across the road we went, through mire and puddle, and down a long, winding court. At about midway our friends disappeared, and, suddenly drawn to the right, I was pushed from behind up a steep, fusty stair. Then I knew where we were going. We were going to the tenements where most of the Russians meet of an evening. The atmosphere in these places is a little more cheerful than that of the cafés--if you can imagine a Russian ever rising to cheerfulness. Most of the girls lodge over the milliners' shops, and thither their friends resort. Every establishment here has a piano, for music, with them, is a sombre passion rather than a diversion. You will not hear comic opera, but if you want to climb the lost heights of melody, stand in Bell Yard, and listen to a piano, lost in the high glooms, wailing the heart of Chopin or Rubinstein or Glazounoff through the fingers of pale, moist girls, while the ghost of Peter the Painter parades the naphthaed highways.
At the top of the stair I was pushed into a dark, fusty room, and guided to a low, fusty sofa or bed. Then some one struck a match, and a lamp was lit and set on the mantelshelf. It flung a soft, caressing radiance on its shabby home, and on its mistress, and on the other girls and boys. The boys were tough youngsters of the district, evidently very much at home, smoking Russian cigarettes and settling themselves on the bed in a manner that seemed curiously continental in Cockney toughs. I doubt if you would have admired the girls at that moment.
The girl who had collared me disappeared for a moment, and then brought a tray of Russian tea. "Help 'selves, boys!" We did so, and, watching the others, I discovered that it was the correct thing to lemon the ladies' tea for them and stir it well and light their cigarettes.
The room, on which the wallpaper hung in dank strips, contained a full-sized bed and a chair bedstead, a washstand, a samovar, a pot-pourri of a carpet, and certain mysteries of feminine toilet. A rickety three-legged table stood by the window, and Katarina's robes hung in a dainty riot of frill and colour behind the door, which only shut when you thrust a peg of wood through a wired catch.
One of the girls went to the piano and began to play. You would not understand, I suppose, the intellectual emotion of the situation. It is more than curious to sit in these rooms, in the filthiest spot in London, and listen to Mozskowsky, Tchaikowsky, and Sibelius, played by a factory girl. It is ... something indefinable. I had visited similar places in Stepney before, but then I had not had a couple of vodkas, and I had not been taken in tow by an unknown gang. They play and play, while tea and cigarettes, and sometimes vodka or whisky go round; and as the room gets warmer, so does one's sense of smell get sharper; so do the pale faces get moister; and so does one long more and more for a breath of cold air from the Ural Mountains. The best you can do is to ascend to the flat roof, and take a deep breath of Spitalfields ozone. Then back to the room for more tea and more music.
Sanya played.... Despite the unventilated room, the greasy appointments, and other details that would have turned the stomach of Kensington, that girl at the piano, playing, as no one would have dreamed she could play, the finer intensities of Wieniawski and Moussorgsky, shook all sense of responsibility from me. The burdens of life vanished. News editors and their assignments be damned. Enjoy yourself, was what the cold, insidious music said.
Devilish little fingers they were, Sanya's. Her technique was not perhaps all that it might have been; she might not have won the Gold Medal of our white-shirted academies, but she had enough temperament to make half a dozen Steinway Hall virtuosi. From valse to nocturne, from sonata to prelude, her fancy ran. With crashing chords she dropped from "L'Automne Bacchanale" to the Nocturne in E flat; scarcely murmured of that, then tripped elvishly into Moszkowsky's Waltz, and from that she dropped to a song of Tchaikowsky, almost heartbreaking in its childish beauty, and then to the austere music of the second act of "Tristan." Mazurka, polonaise, and nocturne wailed in the stuffy chamber; her little hands lit up the enchanted gloom of the place with bright thrills.
But suddenly there came a whisper of soft feet on the landing, and a secret tap at the door. Some one opened it, and slipped out. One heard the lazy hum of voices in busy conversation. Then silence; and some one entered the room and shut the door. One of the boys asked casually, "What's up?" His question was not answered, but the girl who had gone to the door snapped something in a sharp tone which might have been either Russian or Yiddish. The other girls sat up and spat angry phrases about. I called to one of the boys--"What's the joke? Anything wrong?" and received reply--
"Owshdiknow? Ain't a ruddy Russian, am I?"
The girl at the door spoke in a hoarse whisper: "'Ere--you better go--you first?"
"Whaffor?" asked the boys.
"'Cos I say so."
"No, but----"
Again there came a stealthy tap at the door, again the whispering of slippered feet. More words were exchanged. Then Sanya grabbed the boys by arms, and they and the girls disappeared.
I was alone.
I got up, and moved to the door. I heard nothing. I stood by the window, my thoughts dancing a ragtime. I wondered what to do, and how, and whether. I wondered what was up exactly. I wondered ... well, I just wondered. My thoughts got into a tangle, sank, and swam, and sank again. Then there was a sudden struggle and spurt from the lamp, and it went black out. From a room across the landing a clock ticked menacingly. I saw, by the thin light from the window, the smoke of a discarded cigarette curling up and up to the ceiling like a snake.
I went again to the door, peered down the steep stair and over the crazy balustrade. Nobody was about; no voices. I slipped swiftly down the five flights, met nobody. I stood in the slobbered vestibule. From afar I heard the sluck of the waters against the staples of the wharves, and the wicked hoot of the tugs.
It was then that a sudden nameless fear seized me; it was that simple terror that comes from nothing but ourselves. I am not usually afraid of any man or thing. I am normally nervous, and there are three or four things that have the power to terrify me. But I am not, I think, afraid. At that moment, however, I was afraid of everything: of the room I had left, of the house, of the people, of the inviting lights of the warehouses and the threatening shoals of the alleys.
I stood a moment longer. Then I raced into Brick Lane, and out into the brilliance of Commercial Street.
[The end]
Thomas Burke's essay: Russian Night (Spitalfields And Stepney)