Southwards, again, on the pleasant Surrey downs there is shouting and jostling; dust that is drouthy and language that is sultry. Thither comes the young Apollo, calmly confident as ever; and he meeteth certain Mercuries of the baser sort, who do him obeisance, call him captain and lord, and then proceed to skin him from head to foot as thoroughly as the god himself flayed Marsyas in days of yore, at a certain Spring Meeting in Phrygia: a good instance of Time's revenges. And yet Apollo returns to town and swears he has had a grand day. He does so every year. Out of hearing of all the clamour, the rural Pan may be found stretched on Ranmore Common, loitering under Abinger pines, or prone by the secluded stream of the sinuous Mole, abounding in friendly greetings for his foster–brothers the dab–chick and water–rat.

For a holiday, Mercury loveth the Pullman Express, and a short hour with a society paper; anon, brown boots on the pier, and the pleasant combination of Métropole and Monopole. Apollo for his part will urge the horses of the Sun: and, if he leaveth the society weekly to Mercury, yet he loveth well the Magazine. From which omphalos or hub of the universe he will direct his shining team even to the far Hesperides of Richmond or of Windsor. Both iron road and level highway are shunned by the rural Pan, who chooses rather to foot it along the sheep track on the limitless downs or the thwart–leading footpath through copse and spinney, not without pleasant fellowship with feather and fir. Nor does it follow from all this that the god is unsocial. Albeit shy of the company of his more showy brother–deities, he loveth the more unpretentious humankind, especially them that are adscripti glebæ, addicted to the kindly soil and to the working thereof: perfect in no way, only simple, cheery sinners. For he is only half a god after all, and the red earth in him is strong. When the pelting storm drives the wayfarers to the sheltering inn, among the little group on bench and settle Pan has been known to appear at times, in homely guise of hedger–and–ditcher or weather–beaten shepherd from the downs. Strange lore and quaint fancy he will then impart, in the musical Wessex or Mercian he has learned to speak so naturally; though it may not be till many a mile away that you begin to suspect that you have unwittingly talked with him who chased the flying Syrinx in Arcady and turned the tide of fight at Marathon.

Yes: to–day the iron horse has searched the country through— east and west, north and south— bringing with it Commercialism, whose god is Jerry, and who studs the hills with stucco and garrotes the streams with the girder. Bringing, too, into every nook and corner fashion and chatter, the tailor–made gown and the eyeglass. Happily a great part is still spared— how great these others fortunately do not know— in which the rural Pan and his following may hide their heads for yet a little longer, until the growing tyranny has invaded the last common, spinney, and sheep–down, and driven the kindly god, the well–wisher to man— whither?

Marginalia

American Hunt, in his suggestive "Talks about Art," demands that the child shall be encouraged— or rather permitted, for the natural child needs little encouragement— to draw when–and whereon–soever he can; for, says he, the child's scribbling on the margin of his school–books is really worth more to him than all he gets out of them, and indeed, "to him the margin is the best part of all books, and he finds in it the soothing influence of a clear sky in a landscape." Doubtless Sir Benjamin Backbite, though his was not an artist soul, had some dim feeling of this mighty truth when he spoke of that new quarto of his, in which "a neat rivulet of text shall meander through a meadow of margin": boldly granting the margin to be of superior importance to the print. This metaphor is pleasantly expanded in Burton's "Bookhunter": wherein you read of certain folios with "their majestic stream of central print overflowing into rivulets of marginal notes, sedgy with citations." But the good Doctor leaves the main stream for a backwater of error in inferring that the chief use of margins is to be a parading–ground for notes and citations. As if they had not absolute value in themselves, nor served a finer end! In truth, Hunt's child was vastly the wiser man.

For myself, my own early margins chiefly served to note, cite, and illustrate the habits of crocodiles. Along the lower or "tail" edge, the saurian, splendidly serrated as to his back, arose out of old Nile; up one side negroes, swart as sucked lead–pencil could limn them, let fall their nerveless spears; up the other, monkeys, gibbering with terror, swarmed hastily up palm–trees— a plant to the untutored hand of easier outline than (say) your British oak. Meanwhile, all over the unregarded text Balbus slew Caius on the most inadequate provocation, or Hannibal pursued his victorious career, while Roman generals delivered ornate set speeches prior to receiving the usual satisfactory licking. Fabius, Hasdrubal— all alike were pallid shades with faint, thin voices powerless to pierce the distance. The margins of Cocytus doubtless knew them: mine were dedicated to the more attractive flesh and blood of animal life, the varied phases of the tropic forest. Or, in more practical mood, I would stoop to render certain facts recorded in the text. To these digressions I probably owe what little education I possess. For example, there was one sentence in our Roman history: "By this single battle of Magnesia, Antiochus the Great lost all his conquests in Asia Minor." Serious historians really should not thus forget themselves. 'Twas so easy, by a touch of the pen, to transform "battle" into "bottle"; for "conquests" one could substitute a word for which not even Macaulay's school–boy were at a loss; and the result, depicted with rude vigour in his margin, fixed the name of at least one ancient fight on the illustrator's memory. But this plodding and material art had small charm for me: to whom the happy margin was a "clear sky" ever through which I could sail away at will to more gracious worlds. I was duly qualified by a painfully acquired ignorance of dead languages cautiously to approach my own; and 'twas no better. Along Milton's margins the Gryphon must needs pursue the Arimaspian— what a chance, that Arimaspian, for the imaginative pencil! And so it has come about that, while Milton periods are mostly effaced from memory by the sponge of Time, I can still see that vengeful Gryphon, cousin–german to the gentle beast that danced the Lobster Quadrille by a certain shore.

It is by no means insisted upon that the chief end and use of margins is for pictorial illustration, nor yet for furtive games of oughts and crosses, nor (in the case of hymn–books) for amorous missives scrawled against the canticle for the day, to be passed over into an adjacent pew: as used, alas! to happen in days when one was young and godless, and went to church. Nor, again, are the margins of certain poets entrusted to man for the composing thereon of infinitely superior rhymes on the subjects themselves have maltreated: a depraved habit, akin to scalping. What has never been properly recognised is the absolute value of the margin itself— a value frequently superior to its enclosure.