# Tono-Bungay/Book 4/Chapter 3

CHAPTER THE THIRD
Night and the Open Sea
§1
I have tried throughout all this story to tell things as they happened to me. In the beginning—the sheets are still here on the table, grimy and dogs-eared and old-looking—I said I wanted to tell myself and the world in which I found myself, and I have done my best. But whether I have succeeded I cannot imagine. All this writing is gray now and dead and trite and unmeaning to me; some of it I know by heart. I am the last person to judge it.
As I turn over the big pile of manuscript before me, certain things become clearer to me, and particularly the immense inconsequence of my experiences. It is, I see now that I have it all before me, a story of activity and urgency and sterility. I have called it Tono-Bungay, but I had far better have called it Waste. I have told of childless Marion, of my childless aunt, of Beatrice wasted and wasteful and futile. What hope is there for a people whose women become fruitless? I think of all the energy I have given to vain things. I think of my industrious scheming with my uncle, of Crest Hill's vast cessation, of his resonant strenuous career. Ten thousand men have envied him ​and wished to live as he lived. It is all one spectacle of forces running to waste, of people who use and do not replace, the story of a country hectic with a wasting aimless fever of trade and money-making and pleasure-seeking. And now I build destroyers!
Other people may see this country in other terms; this is how I have seen it. In some early chapter in this heap I compared all our present colour and abundance to October foliage before the frosts nip down the leaves. That I still feel was a good image. Perhaps I see wrongly. It may be I see decay all about me because I am, in a sense, decay. To others it may be a scene of achievement and construction radiant with hope. I too have a sort of hope, but it is a remote hope, a hope that finds no promise in this Empire or in any of the great things of our time. How they will look in history I do not know, how time and chance will prove them I cannot guess; that is how they have mirrored themselves on one contemporary mind.
§2
Concurrently with writing the last chapter of this book I have been much engaged by the affairs of a new destroyer we have completed. It has been an oddly complementary alternation of occupations. Three weeks or so ago this novel had to be put aside in order that I might give all my time day and night to the fitting and finishing of the engines. Last Thursday X2, for so we call her, was done, and I took her down the Thames and went out nearly to Texel for a trial of speed.
It is curious how at times one's impressions will all fuse and run together into a sort of unity and become ​continuous with things that have hitherto been utterly alien and remote. That rush down the river became mysteriously connected with this book. As I passed down the Thames I seemed in a new and parallel manner to be passing all England in review. I saw it then as I had wanted my readers to see it. The thought came to me slowly as I picked my way through the Pool; it stood out clear as I went dreaming into the night out upon the wide North Sea. . . .
It wasn't so much thinking at the time as a sort of photographic thought that came and grew clear. X2 went ripping through the dirty oily water as scissors rip through canvas, and the front of my mind was all intent with getting her through under the bridges and in and out among the steam-boats and barges and rowing-boats and piers. I lived with my hands and eyes hard ahead. I thought nothing then of any appearances but obstacles, but for all that the back of my mind took the photographic memory of it complete and vivid. . . .
"This," it came to me, "is England. This is what I wanted to give in my book. This!"
We started in the late afternoon. We throbbed out of our yard above Hammersmith Bridge, fussed about for a moment, and headed down stream. We came at an easy rush down Craven Reach, past Fulham and Hurlingham, past the long stretches of muddy meadow and muddy suburb to Battersea and Chelsea, round the cape of tidy frontage that is Grosvenor Road and under Vauxhall Bridge, and Westminster opened before us. We cleared a string of coal barges, and there on the left in the October sunshine stood the Parliament houses and the flag was flying and Parliament was sitting. . . .
​I saw it at the time unseeingly; afterwards it came into my mind as the centre of the whole broad panoramic effect of that afternoon. The stiff square lace of Victorian Gothic with its Dutch clock of a tower came upon me suddenly and stared and whirled past in a slow half pirouette and became still, I know, behind me as if watching me recede. "Aren't you going to respect me, then?" it seemed to say.
Not I! There in that great pile of Victorian architecture the landlords and the lawyers, the bishops, the railway men and the magnates of commerce go to and fro—in their incurable tradition of commercialized Bladesovery, of meretricious gentry and nobility sold for riches. I have been near enough to know. The Irish and the Labour-men run about among their feet, making a fuss, effecting little; they've got no better plans that I can see. Respect it indeed! There's a certain paraphernalia of dignity, but whom does it deceive? The King comes down in a gilt coach to open the show and wears long robes and a crown; and there's a display of stout and slender legs in white stockings and stout and slender legs in black stockings and artful old gentlemen in ermine. I was reminded of one congested afternoon I had spent with my aunt amidst a cluster of agitated women's hats in the Royal Gallery of the House of Lords and how I saw the King going to open Parliament, and the Duke of Devonshire looking like a gorgeous pedlar and terribly bored with the cap of maintenance on a tray before him hung by slings from his shoulders. A wonderful spectacle! . . .
It is quaint no doubt, this England—it is even dignified in places—and full of mellow associations. ​That does not alter the quality of the realities these robes conceal. The realities are greedy trade, base profit-seeking, bold advertisement—and kingship and chivalry, spite of this wearing of treasured robes, are as dead among it all as that crusader my uncle championed against the nettles outside the Duffield church. . . .
I have thought much of that bright afternoon's panorama.
To run down the Thames so is to run one's hand over the pages in the book of England from end to end. One begins in Craven Reach and it is as if one were in the heart of old England. Behind us are Kew and Hampton Court with their memories of Kings and Cardinals, and one runs at first between Fulham's episcopal garden parties and Hurlingham's playground for the sporting instinct of our race. The whole effect is English. There is space, there are old trees and all the best qualities of the home-land in that upper reach. Putney too, looks Anglican on a dwindling scale. And then for a stretch the newer developments slop over, one misses Bladesover and there come first squalid stretches of mean homes right and left and then the dingy industrialism of the south side, and on the north bank the polite long front of nice houses, artistic, literary, administrative people's residences, that stretches from Cheyne Walk nearly to Westminster and hides a wilderness of slums. What a long slow crescendo that is, mile after mile, with the houses crowding closelier, the multiplying succession of church towers, the architectural moments, the successive 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 beef-eater 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, grayer but still ornate; it has never been overthrown, never disavowed, only the tall warehouses and all the roar of traffic have forgotten it, every one 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 gray 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 we went by, and after that, right and left, the river opened, the sense of the sea increased and prevailed reach after reach from Northfleet to the Nore.
And out you come at last with the sun behind you into the eastern sea. You speed up and tear the oily water louder and faster, sirroo, sirroo—swish—sirroo, and the hills of Kent—over which I once fled from the Christian teachings of Nicodemus Frapp—fall away on the right hand and Essex on the left. They fall away and vanish into blue haze and the tall slow ships behind the tugs, scarce moving ships and wallowing sturdy tugs, are all wrought of wet gold as one goes frothing by. They stand out bound on strange missions of life and death, to the killing of men in unfamiliar lands. And now behind us is blue mystery and the phantom flash of unseen lights, and presently even these are gone, and I and my destroyer tear out to the unknown across a great gray space. We tear into the great spaces of the future and the turbines fall to talking in unfamiliar tongues. Out to the open we go, to windy freedom and trackless ways. Light after light goes down. England and the Kingdom, Britain and the Empire, the old prides and the old devotions, ​glide abeam, astern, sink down upon the horizon, pass—pass. The river passes—London passes, England passes. . . .
§3
This is the note I have tried to emphasize, the note that sounds clear in my mind when I think of anything beyond the purely personal aspects of my story.
It is a note of crumbling and confusion, of change and seemingly aimless swelling, of a bubbling up and medley of futile loves and sorrows. But through the confusion sounds another note. Through the confusion something drives, something that is at once human achievement and the most inhuman of all existing things. Something comes out of it. . . . How can I express the values of a thing at once so essential and so immaterial? It is something that calls upon such men as I with an irresistible appeal.
I have figured it in my last section by the symbol of my destroyer, stark and swift, irrelevant to most human interests. Sometimes I call this reality Science, sometimes I call it Truth. But it is something we draw by pain and effort out of the heart of life, that we disentangle and make clear. Other men serve it, I know, in art, in literature, in social invention, and see it in a thousand different figures, under a hundred names. I see it always as austerity, as beauty. This thing we make clear is the heart of life. It is the one enduring thing. Men and nations, epochs and civilizations pass, each making its contribution. I do not know what it is, this something, except that it is supreme. It is a something, a quality, an element, ​one may find now in colours, now in forms, now in sounds, now in thoughts. It emerges from life with each year one lives and feels, and generation by generation and age by age, but the how and why of it are all beyond the compass of my mind. . . .
Yet the full sense of it was with me all that night as I drove, lonely above the rush and murmur of my engines, out upon the weltering circle of the sea. . . .
Far out to the north-east there came the flicker of a squadron of warships waving white swords of light about the sky. I kept them hull-down, and presently they were mere summer lightning over the watery edge of the globe. . . . I fell into thought that was nearly formless, into doubts and dreams that have no words, and it seemed good to me to drive ahead and on and on through the windy starlight, over the long black waves.
§4
It was morning and day before I returned with the four sick and starving journalists who had got permission to come with me, up the shining river, and past the old gray Tower. . . .
I recall the back views of those journalists very distinctly, going with a certain damp weariness of movement, along a side street away from the river. They were good men and bore me no malice, and they served me up to the public in turgid degenerate Kiplingese, as a modest button on the complacent stomach of the Empire. Though as a matter of fact, X2 isn't intended for the empire, or indeed for the hands of any European power. We offered it to our own people first, but they ​would have nothing to do with me, and I have long since ceased to trouble much about such questions. I have come to see myself from the outside, my country from the outside—without illusions. We make and pass.
We are all things that make and pass, striving upon a hidden mission, out to the open sea.