Kai Lung's Golden Hours. Bramah Ernest
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for presentation to friends. I have been asked for an introduction to this its successor, Kai Lung’s Golden Hours. It is worthy of its forerunner. There is the same plan, exactitude, working-out and achievement; and therefore the same complete satisfaction in the reading, or to be more accurate, in the incorporation of the work with oneself.
All this is not extravagant praise, nor even praise at all in the conventional sense of that term. It is merely a judgment: a putting into as carefully exact words as I can find the appreciation I make of this style and its triumph.
The reviewer in his art must quote passages. It is hardly the part of a Preface writer to do that. But to show what I mean I can at least quote the following:
“Your insight is clear and unbiased,” said the gracious
Sovereign. “But however entrancing it is to wander unchecked
through a garden of bright images, are we not enticing your
mind from another subject of almost equal importance?”
Or again:
“It has been said,” he began at length, withdrawing his eyes
reluctantly from an unusually large insect upon the ceiling and
addressing himself to the maiden, “that there are few
situations in life that cannot be honourably settled, and
without any loss of time, either by suicide, a bag of gold, or
by thrusting a despised antagonist over the edge of a
precipice on a dark night.”
Or again:
“After secretly observing the unstudied grace of her
movements, the most celebrated picture-maker of the province
burned the implements of his craft, and began life anew as a
trainer of performing elephants.”
You cannot read these sentences, I think, without agreeing with what has been said above. If you doubt it, take the old test and try to write that kind of thing yourself.
In connection with such achievements it is customary to-day to deplore the lack of public appreciation. Either to blame the hurried millions of chance readers because they have only bought a few thousands of a masterpiece; or, what is worse still, to pretend that good work is for the few and that the mass will never appreciate it—in reply to which it is sufficient to say that the critic himself is one of the mass and could not be distinguished from others of the mass by his very own self were he a looker-on.
In the best of times (the most stable, the least hurried) the date at which general appreciation comes is a matter of chance, and to-day the presentation of any achieved work is like the reading of Keats to a football crowd. It is of no significance whatsoever to English Letters whether one of its glories be appreciated at the moment it issues from the press or ten years later, or twenty, or fifty. Further, after a very small margin is passed, a margin of a few hundreds at the most, it matters little whether strong permanent work finds a thousand or fifty thousand or a million of readers. Rock stands and mud washes away.
What is indeed to be deplored is the lack of communication between those who desire to find good stuff and those who can produce it: it is in the attempt to build a bridge between the one and the other that men who have the privilege of hearing a good thing betimes write such words as I am writing here.
HILAIRE BELLOC
KAI LUNG’S GOLDEN HOURS
CHAPTER I
The Encountering of Six within a Wood
Only at one point along the straight earth-road leading from Loo-chow to Yu-ping was there any shade, a wood of stunted growth, and here Kai Lung cast himself down in refuge from the noontide sun and slept.
When he woke it was with the sound of discreet laughter trickling through his dreams. He sat up and looked around. Across the glade two maidens stood in poised expectancy within the shadow of a wild fig-tree, both their gaze and their manner denoting a fixed intention to be prepared for any emergency. Not being desirous that this should tend towards their abrupt departure, Kai Lung rose guardedly to his feet, with many gestures of polite reassurance, and having bowed several times to indicate his pacific nature, he stood in an attitude of deferential admiration. At this display the elder and less attractive of the maidens fled, uttering loud and continuous cries of apprehension in order to conceal the direction of her flight. The other remained, however, and even moved a few steps nearer to Kai Lung, as though encouraged by his appearance, so that he was able to regard her varying details more appreciably. As she advanced she plucked a red blossom from a thorny bush, and from time to time she shortened the broken stalk between her jade teeth.
“Courteous loiterer,” she said, in a very pearl-like voice, when they had thus regarded one another for a few beats of time, “what is your honourable name, and who are you who tarry here, journeying neither to the east nor to the west?”
“The answer is necessarily commonplace and unworthy of your polite interest,” was the diffident reply. “My unbecoming name is Kai, to which has been added that of Lung. By profession I am an incapable relater of imagined tales, and to this end I spread my mat wherever my uplifted voice can entice together a company to listen. Should my feeble efforts be deemed worthy of reward, those who stand around may perchance contribute to my scanty store, but sometimes this is judged superfluous. For this cause I now turn my expectant feet from Loo-chow towards the untried city of Yu-ping, but the undiminished li stretching relentlessly before me, I sought beneath these trees a refuge from the noontide sun.”
“The occupation is a dignified one, being to no great degree removed from that of the Sages who compiled The Books,” remarked the maiden, with an encouraging smile. “Are there many stories known to your retentive mind?”
“In one form or another, all that exist are within my mental grasp,” admitted Kai Lung modestly. “Thus equipped, there is no arising emergency for which I am unprepared.”
“There are other things that I would learn of your craft. What kind of story is the most favourably received, and the one whereby your collecting bowl is the least ignored?”
“That depends on the nature and condition of those who stand around, and therein lies much that is essential to the art,” replied Kai Lung, not without an element of pride. “Should the company be chiefly formed of the illiterate and the immature of both sexes, stories depicting the embarrassment of unnaturally round-bodied mandarins, the unpremeditated flight of eccentrically-garbed passers-by into vats of powdered rice, the despair of guardians of the street when assailed by showers of eggs and overripe lo-quats, or any other variety of humiliating pain inflicted upon the innocent and unwary, never fail to win approval. The prosperous and substantial find contentment in hearing of the unassuming virtues and frugal lives of the poor and unsuccessful. Those of humble origin, especially tea-house maidens and the like, are only really at home among stories of the exalted and quick-moving, the profusion of their robes, the magnificence of their palaces, and the general high-minded depravity of their lives. Ordinary persons require stories dealing lavishly with all the emotions, so that they may thereby have a feeling of sufficiency when contributing to the collecting bowl.”
“These things being so,”