'Have you ever seen a corpse burned? I have, in India. They put the old chap on the fire, and the next moment I almost jumped out of my skin, because he'd started kicking. It was only his muscles contracting in the heat-still, it give me a turn. Well, he wriggled about for a bit like a kipper on hot coals, and then his belly blew up and went off with a bang you could have heard fifty yards away. It fair put me against cremation.'
Or, again, apropos of his accident:
'The doctor says to me, "You fell on one foot, my man. And bloody lucky for you you didn't fall on both feet," he says. "Because if you had of fallen on both feet you'd have shut up like a bloody concertina, and your thigh bones'd be sticking out of your ears!"'
Clearly the phrase was not the doctor's but Bozo's own. He had a gift for phrases. He had managed to keep his brain intact and alert, and so nothing could make him succumb to poverty. He might be ragged and cold, or even starving, but so long as he could read, think and watch for meteors, he was, as he said, free in his own mind.
He was an embittered atheist (the sort of atheist who does not so much disbelieve in God as personally dislike Him), and took a sort of pleasure in thinking that human affairs would never improve. Sometimes, he said, when sleeping on the Embankment, it had consoled him to look up at Mars or Jupiter and think that there were probably Embankment sleepers there. He had a curious theory about this. Life on earth, he said, is harsh because the planet is poor in the necessities of existence. Mars, with its cold climate and scanty water, must be far poorer, and life correspondingly harsher. Whereas on earth you are merely imprisoned for stealing sixpence, on Mars you are probably boiled alive. This thought cheered Bozo, I do not know why. He was a very exceptional man.
XXXI
THE CHARGE at Bozo's lodging-house was ninepence a night. It was a large, crowded place, with accommodation for five hundred men, and a well-known rendezvous of tramps, beggars and petty criminals. All races, even black and white, mixed in it on terms of equality. There were Indians there, and when I spoke to one of them in bad Urdu he addressed me as 'turn'*-a thing to make one shudder, if it had been in India. We had got below the range of colour prejudice. One had glimpses of curious lives. Old 'Grandpa', a tramp of seventy who made his living, or a great part of it, by collecting cigarette ends and selling the tobacco at threepence an ounce. 'The Doctor'-he was a real doctor, who had been struck off the register for some offence, and besides selling newspapers gave medical advice at a few pence a time. A little Chittagonian lascar, barefoot and starving, who had deserted his ship and wandered for days through London, so vague and helpless that he did not even know the name of the city he was in-he thought it was Liverpool, until I told him. A begging-letter writer, a friend of Bozo's, who wrote pathetic appeals for aid to pay for his wife's funeral, and, when a letter had taken effect, blew himself out with huge solitary gorges of bread and margarine. He was a nasty, hyena-like creature. I talked to him and found that, like most swindlers, he believed a great part of his own lies. The lodging-house was an Alsatia* for types like these.
While I was with Bozo he taught me something about the technique of London begging. There is more in it than one might suppose. Beggars vary greatly, and there is a sharp social line between those who merely cadge and those who attempt to give some value for money. The amounts that one can earn by the different 'gags' also vary. The stories in the Sunday papers about beggars who die with two thousand pounds sewn into their trousers are, of course, lies; but the better-class beggars do have runs of luck, when they earn a living wage for weeks at a time. The most prosperous beggars are street acrobats and street photographers. On a good pitch-a theatre queue, for instance-a street acrobat will often earn five pounds a week. Street photographers can earn about the same, but they are dependent on fine weather. They have a cunning dodge to stimulate trade. When they see a likely victim approaching, one of them runs behind the camera and pretends to take a photograph. Then, as the victim reaches them, they exclaim:
'There y'are, sir, took yer photo lovely. That'll be a bob.'
'But I never asked you to take it,' protests the victim.
'What, you didn't want it took? Why, we thought you signalled with your 'and. Well, there's a plate wasted! That's cost us sixpence, that 'as.'
At this the victim usually takes pity and says he will have the photo after all. The photographers examine the plate and say that it is spoiled, and that they will take a fresh one free of charge. Of course, they have not really taken the first photo; and so, if the victim refuses, they waste nothing.
Organ-grinders, like acrobats, are considered artists rather than beggars. An organ-grinder named Shorty, a friend of Bozo's, told me all about his trade. He and his mate 'worked' the coffee-shops and public-houses round Whitechapel and the Commercial Road. It is a mistake to think that organ-grinders earn their living in the street; nine-tenths of their money is taken in coffee-shops and pubs-only the cheap pubs, for they are not allowed into the good-class ones. Shorty's procedure was to stop outside a pub and play one tune, after which his mate, who had a wooden leg and could excite compassion, went in and passed round the hat. It was a point of honour with Shorty always to play another tune after receiving the 'drop'-an encore, as it were; the idea being that he was a genuine entertainer and not merely paid to go away. He and his mate took two or three pounds a week between them, but, as they had to pay fifteen shillings a week for the hire of the organ, they only averaged a pound a week each. They were on the streets from eight in the morning till ten at night, and later on Saturdays.
Screevers can sometimes be called artists, sometimes not. Bozo introduced me to one who was a 'real' artist-that is, he had studied art in Paris and submitted pictures to the Salon in his day. His line was copies of Old Masters, which he did marvellously, considering that he was drawing on stone. He told me how he began as a screever.
'My wife and kids were starving. I was walking home late at night, with a lot of drawings I'd been taking round the dealers, and wondering how the devil to raise a bob or two. Then, in the Strand, I saw a fellow kneeling on the pavement drawing, and people giving him pennies. As I came past he got up and went into a pub. "Damn it," I thought, "if he can make money at that, so can I." So on the impulse I knelt down and began drawing with his chalks. Heaven knows how I came to do it; I must have been light-headed with hunger. The curious thing was that I'd never used pastels before; I had to learn the technique as I went along. Well, people began to stop and say that my drawing wasn't bad, and they gave me ninepence between them. At this moment the other fellow came out of the pub. "What in----are you doing on my pitch?" he said. I explained that I was hungry and had to earn something. "Oh," said he, "come and have a pint with me." So I had a pint, and since that day I've been a screever. I make a pound a week. You can't keep six kids on a pound a week, but luckily my wife earns a bit taking in sewing.
'The worst thing in this life is the cold, and the next worst is the interference you have to put up with. At first, not knowing any better, I used sometimes to copy a nude on the pavement. The first I did was outside St Martin's-in-the-Fields church. A fellow in black-I suppose he was a churchwarden or something-came out in a tearing rage. "Do you think we can have that obscenity outside God's holy house?" he cried. So I had to wash it out. It was a copy of Botticelli's Venus. Another time I copied the same picture on the Embankment. A policeman passing looked at it, and then, without a word, walked onto it and rubbed it out with his great flat feet.'
Bozo told the same tale of police interference. At the time when I was with him there had been a case of 'immoral conduct' in Hyde Park, in which the police had behaved rather badly. Bozo produced a cartoon of Hyde Park with policemen concealed in the trees, and the legend, 'Puzzle, find the policemen.' I pointed out to him how much more telling it would be to put, 'Puzzle, find the immoral conduct,' but Bozo would not hear of it. He said that any policeman who saw it would move him on, and he would lose his pitch for good.
Below s
creevers come the people who sing hymns, or sell matches, or bootlaces, or envelopes containing a few grains of lavender-called, euphemistically, perfume. All these people are frankly beggars, exploiting an appearance of misery, and none of them takes on an average more than half a crown a day. The reason why they have to pretend to sell matches and so forth instead of begging outright is that this is demanded by the absurd English law about begging. As the law now stands, if you approach a stranger and ask him for twopence, he can call a policeman and get you seven days for begging. But if you make the air hideous by droning 'Nearer, my God, to Thee', or scrawl some chalk daubs on the pavement, or stand about with a tray of matches-in short, if you make a nuisance of yourself-you are held to be following a legitimate trade and not begging. Match-selling and street-singing are simply legalised crimes. Not profitable crimes, however; there is not a singer or match-seller in London who can be sure of PS50 a year-a poor return for standing eighty-four hours a week on the kerb, with the cars grazing your backside.
It is worth saying something about the social position of beggars, for when one has consorted with them, and found that they are ordinary human beings, one cannot help being struck by the curious attitude that society takes towards them. People seem to feel that there is some essential difference between beggars and ordinary 'working' men. They are a race apart-outcasts, like criminals and prostitutes. Working men 'work', beggars do not 'work'; they are parasites, worthless in their very nature. It is taken for granted that a beggar does not 'earn' his living, as a bricklayer or a literary critic 'earns' his. He is a mere social excrescence, tolerated because we live in a humane age, but essentially despicable.
Yet if one looks closely one sees that there is no essential difference between a beggar's livelihood and that of numberless respectable people. Beggars do not work, it is said; but, then, what is work? A navvy works by swinging a pick. An accountant works by adding up figures. A beggar works by standing out of doors in all weathers and getting varicose veins, chronic bronchitis, etc. It is a trade like any other; quite useless, of course-but, then, many reputable trades are quite useless. And as a social type a beggar compares well with scores of others. He is honest compared with the sellers of most patent medicines, high-minded compared with a Sunday newspaper proprietor, amiable compared with a hire-purchase tout-in short, a parasite, but a fairly harmless parasite. He seldom extracts more than a bare living from the community, and, what should justify him according to our ethical ideas, he pays for it over and over in suffering. I do not think there is anything about a beggar that sets him in a different class from other people, or gives most modern men the right to despise him.
Then the question arises, Why are beggars despised? - for they are despised, universally. I believe it is for the simple reason that they fail to earn a decent living. In practice nobody cares whether work is useful or useless, productive or parasitic; the sole thing demanded is that it shall be profitable. In all the modern talk about energy, efficiency, social service and the rest of it, what meaning is there except 'Get money, get it legally, and get a lot of it'? Money has become the grand test of virtue. By this test beggars fail, and for this they are despised. If one could earn even ten pounds a week at begging, it would become a respectable profession immediately. A beggar, looked at realistically, is simply a businessman, getting his living, like other business men, in the way that comes to hand. He has not, more than most modern people, sold his honour; he has merely made the mistake of choosing a trade at which it is impossible to grow rich.
XXXII
I WANT TO PUT IN some notes, as short as possible, on London slang and swearing. These (omitting the ones that everyone knows) are some of the cant words now used in London:
A gagger-a beggar or street performer of any kind. A moocher-one who begs outright, without pretence of doing a trade. A nobber-one who collects pennies for a beggar. A chanter-a street singer. A clodhopper-a street dancer. A mugfaker-a street photographer. A glimmer-one who watches vacant motor-cars. A gee (or jee-it is pronounced jee)-the accomplice of a cheapjack, who stimulates trade by pretending to buy something. A split-a detective. A flattie-a policeman. A didecai-a gypsy. A toby-a tramp.
A drop-money given to a beggar. Funkum-lavender or other perfume sold in envelopes. A boozer-a public-house. A slang-a hawker's licence. A kip-a place to sleep in, or a night's lodging. Smoke-London. A judy-a woman. The spike-the casual ward. The lump-the casual ward. A tosheroon-a half-crown. A deaner-a shilling. A hog-a shilling. A sprowsie-a sixpence. Clods-coppers. A drum-a billy can. Shackles-soup. A chat-a louse. Hard-up-tobacco made from cigarette ends. A stick or cane-a burglar's jemmy. A peter-a safe. A bly-a burglar's oxy-acetylene blowlamp.
To bawl-to suck or swallow. To knock off-to steal. To skipper-to sleep in the open.
About half of these words are in the larger dictionaries. It is interesting to guess at the derivation of some of them, though one or two-for instance, 'funkum' and 'tosheroon'-are beyond guessing. 'Deaner' presumably comes from 'denier'. 'Glimmer' (with the verb 'to glim') may have something to do with the old word 'glim', meaning a light, or another old word 'glim', meaning a glimpse; but it is an instance of the formation of new words, for in its present sense it can hardly be older than motor-cars. 'Gee' is a curious word; conceivably it has arisen out of 'gee', meaning horse, in the sense of stalking horse. The derivation of 'screever' is mysterious. It must come ultimately from scribo, but there has been no similar word in English for the past hundred and fifty years; nor can it have come directly from French, for pavement artists are unknown in France. 'Judy' and 'bawl' are East End words, not found west of Tower Bridge. 'Smoke' is a word used only by tramps. 'Kip' is Danish. Till quite recently the word 'doss' was used in this sense, but it is now quite obsolete.
London slang and dialect seem to change very rapidly. The old London accent described by Dickens and Surtees, with v for w and w for v and so forth, has now vanished utterly. The Cockney accent as we know it seems to have come up in the 'forties (it is first mentioned in an American book, Herman Melville's White Jacket), and Cockney is already changing; there are few people now who say 'fice' for 'face', 'nawce' for 'nice' and so forth as consistently as they did twenty years ago. The slang changes together with the accent. Twenty-five or thirty years ago, for instance, the 'rhyming slang' was all the rage in London. In the 'rhyming slang' everything was named by something rhyming with it-a 'hit or miss' for a kiss, 'plates of meat' for feet, etc. It was so common that it was even reproduced in novels; now it is almost extinct.1 Perhaps all the words I have mentioned above will have vanished in another twenty years.
The swear words also change-or, at any rate, they are subject to fashions. For example, twenty years ago the London working classes habitually used the word 'bloody'. Now they have abandoned it utterly, though novelists still represent them as using it. No born Londoner (it is different with people of Scotch or Irish origin) now says 'bloody', unless he is a man of some education. The word has, in fact, moved up in the social scale and ceased to be a swear word for the purposes of the working classes. The current London adjective, now tacked onto every noun, is 'fucking'. No doubt in time 'fucking', like 'bloody', will find its way into the drawing-room and be replaced by some other word.
The whole business of swearing, especially English swearing, is mysterious. Of its very nature swearing is as irrational as magic-indeed, it is a species of magic. But there is also a paradox about it, namely this: Our intention in swearing is to shock and wound, which we do by mentioning something that should be kept secret-usually something to do with the sexual functions. But the strange thing is that when a word is well established as a swear word, it seems to lose its original meaning; that is, it loses the thing that made it into a swear word. A word becomes an oath because it means a certain thing, and, because it has become an oath, it ceases to mean that thing. For example, 'fuck'. The Londoners do not now use, or very seldom use, this word in its original meaning; it is on their lips from morni
ng till night, but it is a mere expletive and means nothing. Similarly with 'bugger', which is rapidly losing its original sense. One can think of similar instances in French-for example, 'foutre', which is now a quite meaningless expletive. The word 'bougre', also, is still used occasionally in Paris, but the people who use it, or most of them, have no idea of what it once meant. The rule seems to be that words accepted as swear words have some magical character, which sets them apart and makes them useless for ordinary conversation.
Words used as insults seem to be governed by the same paradox as swear words. A word becomes an insult, one would suppose, because it means something bad; but in practice its insult-value has little to do with its actual meaning. For example, the most bitter insult one can offer to a Londoner is 'bastard'-which, taken for what it means, is hardly an insult at all. And the worst insult to a woman, either in London or Paris, is 'cow'; a name which might even be a compliment, for cows are among the most likeable of animals. Evidently a word is an insult simply because it is meant as an insult, without reference to its dictionary meaning; words, especially swear words, being what public opinion chooses to make them. In this connection it is interesting to see how a swear word can change character by crossing a frontier. In England you can print 'Je m'en fous' without protest from anybody. In France you have to print it 'Je m'en f...' Or, as another example, take the word 'barnshoot'-a corruption of the Hindustani word bahinchut.* A vile and unforgiveable insult in India, this word is a piece of gentle badinage in England. I have even seen it in a school text-book; it was in one of Aristophanes' plays, and the annotator suggested it as a rendering of some gibberish spoken by a Persian ambassador. Presumably the annotator knew what bahinchut meant. But, because it was a foreign word, it had lost its magical swear-word quality and could be printed.