On (Essays Collection). Hilaire Belloc

I may be wrong. I was told it by a friend; he may have been a false friend.

      They sang in the Barons’ wars; they sang on the way to Lewes. They sang in that march which led men to the assault at Hastings, for it was written by those who saw the column of knights advancing to the foot of the hill that Taillefer was chosen for his great voice and rode before the host, tossing his sword into the air and catching it again by the hilt (a difficult thing to do), and singing of Charlemagne and of the vassals who had died under Roncesvalles.

      Song also illuminates and strengthens and vivifies all common life, and on this account what is left of our peasantry have harvest songs, and there are songs for mowing and songs for the midwinter rest, and there is even a song in the south of England for the gathering of honey, which song, if you have not heard it, though it is commonly known, runs thus:—

      Bees of bees of Paradise, Do the work of Jesus Christ, Do the work which no man can. God made man, and man made money, God made bees and bees made honey. God made big men to plough, to reap, and to sow, God made little boys to keep off the rook and the crow.

      This song is sung for pleasure, and, by the way of singing it, it is made to scan.

      Indeed, all men sing at their labour, or would so sing did not dead convention forbid them. You will say there are exceptions, as lawyers, usurers, and others; but there are no exceptions to this rule where all the man is working and is working well, and is producing and is not ashamed.

      Rowers sing, and their song is called a Barcarolle; and even men holding the tiller who have nothing to do but hold it tend to sing a song. And I will swear to this that I have heard stokers when they were hard pressed starting a sort of crooning chorus together, which shows that there is hope for us all.

      The great Poets who are chiefly this, men capable of perfect expression (though of no more feeling than any other of their kind), are dignified by Song, much more than by any others of their forms of power. Consider that song of Du Bellay’s which he translated out of the Italian, and in which he has the winnower singing as he turns the winnowing fan. That is great expression, because no man can read it without feeling that if ever he had to do the hard work of winnowing this is the song he would like to sing.

      Song also is the mistress of memory, and though a scent is more powerful, a song is more general, as an instrument for the resurrection of lost things. Thus exiles who of all men on earth suffer most deeply, most permanently, and most fruitfully, are great makers of songs. The chief character in songs—that almost any man can write them, that any man at all can sing them, and that the greatest are anonymous—is never better proved than in this quality of the songs of exiles. There is a Highland song of which I have been told, written in the Celtic dialect and translated again into English by I know not whom, which, for all its unknown authorship (and I believe its authorship to be unknown) enshrines that radiantly beautiful line:

      And we in dreams behold the Hebrides.

      The last anonymous piece of silver that was struck in the mint of the Roman language has that same poignant quality.

      Exul quid vis canere?

      All the songs that men make (and they are powerful ones) regretting youth are songs of exile, and in a sense (it is a high and true sense) the mighty hymns are songs of exile also.

      Qui vitam sine termino

       Nobis donet in patria,

      that is the pure note of exile, and so is the

      Coheredes et sodales

       In terra viventium,

      and in this last glorious thing comes in the note of marching and of soldiers as well as the note of separation and of longing. But after all the mention of religion is in itself a proof of song, for what spell could there ever be without incantation, or what ritual could lack its chaunt?

      If any man wonders why these two, Religion and Song, are connected, or thinks it impious that they should so be, let him do this: if he is an old man let him cover his face with his hand and remember at evening what occasions stand out of the long past, full of a complete life, and of an acute observation and intelligence of all that was around: how many were occasions for song! There are pictures a man will remember all his life only because he watched them for a pastime, because he heard a woman singing as he watched them, and there are landscapes which remain in the mind long after other things have faded, but so remain because one went at morning with other men along the road singing a walking song. And if it is a young man who wishes to make trial of this truth, he also has his test. For he will note as the years continue how, while all other pleasures lose their value and gradation, Song remains, until at last the notes of singing become like a sort of sacrament outside time, not subject to decay, but always nourishing men, for Song gives a permanent sense of futurity and a permanent sense of the presence of Divine things. Nor is there any pleasure which you will take away from middle age and leave it more lonely, than this pleasure of hearing Song.

      It is that immortal quality in the business which makes it of a different kind from the other efforts of men. Write a good song and the tune leaps up to meet it out of nothingness. It clothes itself with tune, and once so clothed it continues on through generations, eternally young, always smiling, and always ready with strong hands for mankind. On this account every man who has written a song can be certain that he has done good; any man who has continually sung them can be certain that he has lived and has communicated life to others.

      It is the best of all trades, to make songs, and the second best to sing them.

      ON AN EMPTY HOUSE

       Table of Contents

      A man a little over forty years of age had desired to take a house in London. He had lived hitherto between a cottage in the country, where he had stables and where he made it his pleasure to ride, and rooms in town off St. James’s Street. He had also two clubs, one of which he continually visited. From his thirtieth year onward he had come more often to town; he was heavier in build; he rode with less pleasure. He had taken to writing and had published more than one little study, chiefly upon the creative work of other men. He was under no compulsion to write or to do any other thing, for he had a private fortune of about £3000 a year. This he managed with some ability so that it neither increased nor diminished, and like many other Englishmen, he had wisely invested abroad, from the year 1897 onwards. Now, I say, that middle age was upon him, London controlled him more and more. He was in sympathy with the maturity of the great town, which responded to his own maturity. He could find a leisure in it which he had never found in youth. The multitude of the books and the easy access to them, the sensible and varied conversation of men of his own rank and age, and that sort of peopled quiet which supports the nights of men living in London—all these had become a sort of food to him; they greatly pleased him. So also did the physical food of London. He took an increasing pleasure in changing the choice of his wine, which (an invariable effect of age) he now distinguished. His rooms in London had thus become for now some years past more and more his home; but he had begun to feel that rooms could not be a home; and he would set up for himself; he would be a master. He would feel again and in a greater way that comfortable consciousness of self and of surroundings fitting one which a man has in early youth every time he enters his father’s house.

      With this purpose the man of whom I speak looked at several houses, going first to agents, but finding himself disappointed in all. He soon learned a wiser way, which was to ask friends of what houses they had heard, and then to see for himself whether he liked them, and to do this before even he knew what rent was asked. Also he would wander up and down the streets, his heavy, well-dressed figure ponderous and moving at a measured pace, and as he so wandered he would cast his eyes over houses.

      London, like all great things, has about it a quality for which I do not know the word, but when I was at school there was a Greek word for it. “Manifold” is too vague; “multitudinous” would not explain the idea at all. What I mean is a quality by which one thing contains several (not many) parts, each individual,