There was nothing else in the wide world that he could paint; flowers and landscapes he only muddled away into a smudge; with people he was helpless and hopeless; also with animals. Skies he could sometimes manage, or effects of wind in foliage, but as a rule he left these all severely alone. He kept to trees, wisely following an instinct that was guided by love. It was quite arresting, this way he had of making a tree look almost like a being—alive. It approached the uncanny.
“Yes, Sanderson knows what he’s doing when he paints a tree!” thought old David Bittacy, C.B., late of the Woods and Forests. “Why, you can almost hear it rustle. You can smell the thing. You can hear the rain drip through its leaves. You can almost see the branches move. It grows.” For in this way somewhat he expressed his satisfaction, half to persuade himself that the twenty guineas were well spent (since his wife thought otherwise), and half to explain this uncanny reality of life that lay in the fine old cedar framed above his study table.
Yet in the general view the mind of Mr. Bittacy was held to be austere, not to say morose. Few divined in him the secretly tenacious love of nature that had been fostered by years spent in the forests and jungles of the eastern world. It was odd for an Englishman, due possibly to that Eurasian ancestor. Surreptitiously, as though half ashamed of it, he had kept alive a sense of beauty that hardly belonged to his type, and was unusual for its vitality. Trees, in particular, nourished it. He, also, understood trees, felt a subtle sense of communion with them, born perhaps of those years he had lived in caring for them, guarding, protecting, nursing, years of solitude among their great shadowy presences. He kept it largely to himself, of course, because he knew the world he lived in. He also kept it from his wife—to some extent. He knew it came between them, knew that she feared it, was opposed. But what he did not know, or realise at any rate, was the extent to which she grasped the power which they wielded over his life. Her fear, he judged, was simply due to those years in India, when for weeks at a time his calling took him away from her into the jungle forests, while she remained at home dreading all manner of evils that might befall him. This, of course, explained her instinctive opposition to the passion for woods that still influenced and clung to him. It was a natural survival of those anxious days of waiting in solitude for his safe return.
For Mrs. Bittacy, daughter of an evangelical clergyman,2 was a self-sacrificing woman, who in most things found a happy duty in sharing her husband’s joys and sorrows to the point of self-obliteration. Only in this matter of the trees she was less successful than in others. It remained a problem difficult of compromise.
He knew, for instance, that what she objected to in this portrait of the cedar on their lawn was really not the price he had given for it, but the unpleasant way in which the transaction emphasised this breach between their common interests—the only one they had, but deep.
Sanderson, the artist, earned little enough money by his strange talent; such cheques were few and far between. The owners of fine or interesting trees who cared to have them painted singly were rare indeed; and the “studies” that he made for his own delight he also kept for his own delight. Even were there buyers, he would not sell them. Only a few, and these peculiarly intimate friends, might even see them, for he disliked to hear the undiscerning criticisms of those who did not understand. Not that he minded laughter at his craftmanship—he admitted it with scorn—but that remarks about the personality of the tree itself could easily wound or anger him. He resented slighting observations concerning them, as though insults offered to personal friends who could not answer for themselves. He was instantly up in arms.
“It really is extraordinary,” said a Woman who Understood, “that you can make that cypress seem an individual, when in reality all cypresses are so exactly alike.”
And though the bit of calculated flattery had come so near to saying the right, true thing, Sanderson flushed as though she had slighted a friend beneath his very nose. Abruptly he passed in front of her and turned the picture to the wall.
“Almost as queer,” he answered rudely, copying her silly emphasis, “as that you should have imagined individuality in your husband, Madame, when in reality all men are so exactly alike!”
Since the only thing that differentiated her husband from the mob was the money for which she had married him, Sanderson’s relations with that particular family terminated on the spot, chance of prospective “orders” with it. His sensitiveness, perhaps, was morbid. At any rate the way to reach his heart lay through his trees. He might be said to love trees. He certainly drew a splendid inspiration from them, and the source of a man’s inspiration, be it music, religion, or a woman, is never a safe thing to criticise.
“I do think, perhaps, it was just a little extravagant, dear,” said Mrs. Bittacy, referring to the cedar cheque, “when we want a lawnmower so badly too. But, as it gives you such pleasure—”
“It reminds me of a certain day, Sophia,” replied the old gentleman, looking first proudly at herself, then fondly at the picture, “now long gone by. It reminds me of another tree—that Kentish lawn in the spring, birds singing in the lilacs, and some one in a muslin frock waiting patiently beneath a certain cedar—not the one in the picture, I know, but—”3
“I was not waiting,” she said indignantly, “I was picking fir-cones for the schoolroom fire—”
“Fir-cones, my dear, do not grow on cedars, and schoolroom fires were not made in June in my young days.”
“And anyhow it isn’t the same cedar.”
“It has made me fond of all cedars for its sake,” he answered, “and it reminds me that you are the same young girl still—”
She crossed the room to his side, and together they looked out of the window where, upon the lawn of their Hampshire cottage, a ragged Lebanon stood in solitary state.
“You’re as full of dreams as ever,” she said gently, “and I don’t regret the cheque a bit—really. Only it would have been more real if it had been the original tree, wouldn’t it?”
“That was blown down long ago. I passed the place last year, and there’s not a sign of it left,” he replied tenderly. And presently, when he released her from his side, she went up to the wall and carefully dusted the picture Sanderson had made of the cedar on their present lawn. She went all round the frame with her tiny handkerchief, standing on tiptoe to reach the top rim.
“What I like about it,” said the old fellow to himself when his wife had left the room, “is the way he has made it live. All trees have it, of course, but a cedar taught it to me first—the ‘something’ trees possess that make them know I’m there when I stand close and watch. I suppose I felt it then because I was in love, and love reveals life everywhere.” He glanced a moment at the Lebanon looming gaunt and sombre through the gathering dusk. A curious wistful expression danced a moment through his eyes. “Yes, Sanderson has seen it as it is,” he murmured, “solemnly dreaming there its dim hidden life against the Forest edge, and as different from that other tree in Kent as I am from—from the vicar, say. It’s quite a stranger, too. I don’t know anything about it really. That other cedar I loved; this old fellow I respect. Friendly though—yes, on the whole quite friendly. He’s painted the friendliness right enough. He saw that. I’d like to know that man better,” he added. “I’d like to ask him how he saw so clearly that it stands there between this cottage and the Forest—yet somehow more in sympathy with us than with the mass of woods behind—a sort of go-between. That I never noticed before. I see it now—through his eyes. It stands there like a sentinel—protective rather.”
He turned away abruptly to look through the window. He saw the great encircling mass of gloom that was the Forest, fringing their little lawn. It pressed up closer in the darkness. The prim garden with its formal beds of flowers seemed an impertinence almost—some little coloured insect that sought to settle on a sleeping monster—some gaudy fly that danced impudently down the edge of a great river that could engulf it with a toss of its smallest wave.
That Forest with its thousand years of growth and its deep spreading being was some such slumbering monster, yes. Their cottage and garden stood too near its running lip. When the winds were strong and lifted its shadowy skirts of black and purple. . . . He loved this feeling of the Forest Personality; he had always loved it.
“Queer,” he reflected, “awfully queer, that trees should bring me such a sense of dim, vast living! I used to feel it particularly, I remember, in India; in Canadian woods as well; but never in little English woods till here. And Sanderson’s the only man I ever knew who felt it too. He’s never said so, but there’s the proof,” and he turned again to the picture that he loved. A thrill of unaccustomed life ran through him as he looked. “I wonder, by Jove, I wonder,” his thoughts ran on, “whether a tree—er—in any lawful meaning of the term can be—alive. I remember some writing fellow telling me long ago that trees had once been moving things, animal organisms of some sort, that had stood so long feeding, sleeping, dreaming, or something, in the same place, that they had lost the power to get away . . . !”
Fancies flew pell-mell about his mind, and, lighting a cheroot, he dropped into an armchair beside the open window and let them play. Outside the blackbirds whistled in the shrubberies across the lawn. He smelt the earth and trees and flowers, the perfume of mown grass, and the bits of open heath-land far away in the heart of the woods. The summer wind stirred very faintly through the leaves. But the great New Forest hardly raised her sweeping skirts of black and purple shadow.
Mr. Bittacy, however, knew intimately every detail of that wilderness of trees within. He knew all the purple coombs splashed with yellow waves of gorse; sweet with juniper and myrtle, and gleaming with clear and dark-eyed pools that watched the sky. There hawks hovered, circling hour by hour, and the flicker of the peewit’s flight with its melancholy, petulant cry, deepened the sense of stillness. He knew the solitary pines, dwarfed, tufted, vigorous, that sang to every lost wind, travellers like the gipsies who pitched their bush-like tents beneath them; he knew the shaggy ponies, with foals like baby centaurs; the chattering jays, the milky call of cuckoos in the spring, and the boom of the bittern from the lonely marshes. The undergrowth of watching hollies, he knew too, strange and mysterious, with their dark, suggestive beauty, and the yellow shimmer of their pale dropped leaves.
Here all the Forest lived and breathed in safety, secure from mutilation. No terror of the axe could haunt the peace of its vast subconscious life, no terror of devastating Man afflict it with the dread of premature death. It knew itself supreme; it spread and preened itself without concealment. It set no spires to carry warnings, for no wind brought messages of alarm as it bulged outwards to the sun and stars.
But, once its leafy portals left behind, the trees of the country-side were otherwise. The houses threatened them; they knew themselves in danger. The roads were no longer glades of silent turf, but noisy, cruel ways by which men came to attack them. They were civilised, cared for—but cared for in order that some day they might be put to death. Even in the villages, where the solemn and immemorial repose of giant chestnuts aped security, the tossing of a silver birch against their mass, impatient in the littlest wind, brought warning. Dust clogged their leaves. The inner humming of their quiet life became inaudible beneath the scream and shriek of clattering traffic. They longed and prayed to enter the great Peace of the Forest yonder, but they could not move. They knew, moreover, that the Forest with its august, deep splendour despised and pitied them. They were a thing of artificial gardens, and belonged to beds of flowers all forced to grow one way. . . .
“I’d like to know that artist fellow better,” was the thought upon which he returned at length to the things of practical life. “I wonder if Sophia would mind him here for a bit—?” He rose with the sound of the gong, brushing the ashes from his speckled waistcoat. He pulled the waistcoat down. He was slim and spare in figure, active in his movements. In the dim light, but for that silvery moustache, he might easily have passed for a man of forty. “I’ll suggest it to her anyhow,” he decided on his way upstairs to dress. His thought really was that Sanderson could probably explain this world of things he had always felt about—trees. A man who could paint the soul of a cedar in that way must know it all.
“Why not?” she gave her verdict later over the bread-and-butter pudding; “unless you think he’d find it dull without companions.”
“He would paint all day in the Forest, dear. I’d like to pick his brains a bit, too, if I could manage it.”
“You can manage anything, David,” was what she answered, for this elderly childless couple used an affectionate politeness long since deemed old-fashioned. The remark, however, displeased her, making her feel uneasy, and she did not notice his rejoinder, smiling his pleasure and content—“Except yourself and our bank account, my dear.” This passion of his for trees was of old a bone of contention, though very mild contention. It frightened her. That was the truth. The Bible, her Baedeker for earth and heaven, did not mention it. Her husband, while humouring her, could never alter that instinctive dread she had. He soothed, but never changed her. She liked the woods, perhaps as spots for shade and picnics, but she could not, as he did, love them.
And after dinner, with a lamp beside the open window, he read aloud from The Times the evening post had brought, such fragments as he thought might interest her. The custom was invariable, except on Sundays, when, to please his wife, he dozed over Tennyson or Farrar as their mood might be.4 She knitted while he read, asked gentle questions, told him his voice was a “lovely reading voice,” and enjoyed the little discussions that occasions prompted because he always let her win them with “Ah, Sophia, I had never thought of it quite in that way before; but now you mention it I must say I think there’s something in it. . . .”
For David Bittacy was wise. It was long after marriage, during his months of loneliness spent with trees and forests in India, his wife waiting at home in the Bungalow, that his other, deeper side had developed the strange passion that she could not understand. And after one or two serious attempts to let her share it with him, he had given up and learned to hide it from her. He learned, that is, to speak of it only casually; for since she knew it was there, to keep silence altogether would only increase her pain. So from time to time he skimmed the surface just to let her show him where he was wrong and think she won the day. It remained a debatable land of compromise. He listened with patience to her criticisms, her excursions and alarms, knowing that while it gave her satisfaction, it could not change himself. The thing lay in him too deep and true for change. But, for peace’ sake, some meeting-place was desirable, and he found it thus.
It was her one fault in his eyes, this religious mania carried over from her up-bringing, and it did no serious harm. Great emotion could shake it sometimes out of her. She clung to it because her father taught it her and not because she had thought it out for herself. Indeed, like many women, she never really thought at all, but merely reflected the images of others’ thinking which she had learned to see. So, wise in his knowledge of human nature, old David Bittacy accepted the pain of being obliged to keep a portion of his inner life shut off from the woman he deeply loved. He regarded her little biblical phrases as oddities that still clung to a rather fine, big soul—like horns and little useless things some animals have not yet lost in the course of evolution while they have outgrown their use.
“My dear, what is it? You frightened me!” She asked it suddenly, sitting up so abruptly that her cap dropped sideways almost to her ear. For David Bittacy behind his crackling paper had uttered a sharp exclamation of surprise. He had lowered the sheet and was staring at her over the tops of his gold glasses.
“Listen to this, if you please,” he said, a note of eagerness in his voice, “listen to this, my dear Sophia. It’s from an address by Francis Darwin before the Royal Society. He is president, you know, and son of the great Darwin. Listen carefully, I beg you. It is most significant.”5
??
?I am listening, David,” she said with some astonishment, looking up. She stopped her knitting. For a second she glanced behind her. Something had suddenly changed in the room, and it made her feel wide awake, though before she had been almost dozing. Her husband’s voice and manner had introduced this new thing. Her instincts rose in warning. “Do read it, dear.” He took a deep breath, looking first again over the rims of his glasses to make quite sure of her attention. He had evidently come across something of genuine interest, although herself she often found the passages from these “Addresses” somewhat heavy.
In a deep, emphatic voice he read aloud:
“ ‘It is impossible to know whether or not plants are conscious; but it is consistent with the doctrine of continuity that in all living things there is something psychic, and if we accept this point of view—’ ”
“If,” she interrupted, scenting danger.
He ignored the interruption as a thing of slight value he was accustomed to.
“ ‘If we accept this point of view,’ ” he continued, “ ‘we must believe that in plants there exists a faint copy of what we know as consciousness in ourselves.’ ”
He laid the paper down and steadily stared at her. Their eyes met. He had italicised the last phrase.