Tono-Bungay, H. G. Wells [reading like a writer .TXT] 📗

bridges, until you come out into the second movement of the piece with Lambeth’s old palace under your quarter and the houses of Parliament on your bow! Westminster Bridge is ahead of you then, and through it you flash, and in a moment the round-faced clock tower cranes up to peer at you again and New Scotland Yard squares at you, a fat beefeater of a policeman disguised miraculously as a Bastille.

For a stretch you have the essential London; you have Charing Cross railway station, heart of the world, and the Embankment on the north side with its new hotels overshadowing its Georgian and Victorian architecture, and mud and great warehouses and factories, chimneys, shot towers, advertisements on the south. The northward skyline grows more intricate and pleasing, and more and more does one thank God for Wren. Somerset House is as picturesque as the civil war, one is reminded again of the original England, one feels in the fretted sky the quality of Restoration Lace.

And then comes Astor’s strong box and the lawyers’ Inns.

(I had a passing memory of myself there, how once I had trudged along the Embankment westward, weighing my uncle’s offer of three hundred pounds a year.⁠ ⁠…)

Through that central essential London reach I drove, and X2 bored her nose under the foam regardless of it all like a black hound going through reeds⁠—on what trail even I who made her cannot tell.

And in this reach, too, one first meets the seagulls and is reminded of the sea. Blackfriars one takes⁠—just under these two bridges and just between them is the finest bridge moment in the world⁠—and behold, soaring up, hanging in the sky over a rude tumult of warehouses, over a jostling competition of traders, irrelevantly beautiful and altogether remote, Saint Paul’s! “Of course!” one says, “Saint Paul’s!” It is the very figure of whatever fineness the old Anglican culture achieved, detached, a more dignified and chastened Saint Peter’s, colder, greyer, but still ornate; it has never been overthrown, never disavowed, only the tall warehouses and all the roar of traffic have forgotten it, everyone has forgotten it; the steamships, the barges, go heedlessly by regardless of it, intricacies of telephone wires and poles cut blackly into its thin mysteries, and presently, when in a moment the traffic permits you and you look round for it, it has dissolved like a cloud into the grey blues of the London sky.

And then the traditional and ostensible England falls from you altogether. The third movement begins, the last great movement in the London symphony, in which the trim scheme of the old order is altogether dwarfed and swallowed up. Comes London Bridge, and the great warehouses tower up about you, waving stupendous cranes, the gulls circle and scream in your ears, large ships lie among their lighters, and one is in the port of the world. Again and again in this book I have written of England as a feudal scheme overtaken by fatty degeneration and stupendous accidents of hypertrophy.

For the last time I must strike that note as the memory of the dear neat little sunlit ancient Tower of London lying away in a gap among the warehouses comes back to me, that little accumulation of buildings so provincially pleasant and dignified, overshadowed by the vulgarest, most typical exploit of modern England, the sham Gothic casings to the ironwork of the Tower Bridge. That Tower Bridge is the very balance and confirmation of Westminster’s dull pinnacles and tower. That sham Gothic bridge; in the very gates of our mother of change, the Sea!

But after that one is in a world of accident and nature. For the third part of the panorama of London is beyond all law, order, and precedence; it is the seaport and the sea. One goes down the widening reaches through a monstrous variety of shipping, great steamers, great sailing-ships, trailing the flags of all the world, a monstrous confusion of lighters, witches’ conferences of brown-sailed barges, wallowing tugs, a tumultuous crowding and jostling of cranes and spars, and wharves and stores, and assertive inscriptions. Huge vistas of dock open right and left of one, and here and there beyond and amidst it all are church towers, little patches of indescribably old-fashioned and worn-out houses, riverside pubs and the like, vestiges of townships that were long since torn to fragments and submerged in these new growths. And amidst it all no plan appears, no intention, no comprehensive desire. That is the very key of it all. Each day one feels that the pressure of commerce and traffic grew, grew insensibly monstrous, and first this man made a wharf and that erected a crane, and then this company set to work and then that, and so they jostled together to make this unassimilable enormity of traffic. Through it we dodged and drove eager for the high seas.

I remember how I laughed aloud at the glimpse of the name of a London County Council steamboat that ran across me. Caxton it was called, and another was Pepys, and another was Shakespeare. They seemed so wildly out of place, splashing about in that confusion. One wanted to take them out and wipe them and put them back in some English gentleman’s library. Everything was alive about them, flashing, splashing, and passing, ships moving, tugs panting, hawsers taut, barges going down with men toiling at the sweeps, the water all a-swirl with the wash of shipping, scaling into millions of little wavelets, curling and frothing under the whip of the unceasing wind. Past it all we drove. And at Greenwich to the south, you know, there stands a fine stone frontage where all the victories are recorded in a Painted Hall, and beside it is the “Ship” where once upon a time those gentlemen of Westminster used to have an annual dinner⁠—before the port of London got too much for them altogether. The old façade of the Hospital was just warming to the sunset as