The Autobiographical Works. George Orwell
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charities, however, for he said that it stuck in his throat to sing hymns for buns. He had various other points of honour; for instance, it was his boast that never in his life, even when starving, had he picked up a cigarette-end. He considered himself in a class above the ordinary run of beggars, who, he said, were an abject lot, without even the decency to be ungrateful.
He spoke French passably, and had read some of Zola's novels, all Shakespeare's plays, Gulliver's Travels, and a number of essays. He could describe his adventures in words that one remembered. For instance, speaking of funerals, he said to me:
'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.
4 Pavement artists buy their colours in the form of powder, and work them into cakes with condensed milk.
Chapter 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 'tum'—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.