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Герберт Джордж Уэллс
Certain Personal Matters

CONCERNING CHESS

The passion for playing chess is one of the most unaccountable in the world. It slaps the theory of natural selection in the face. It is the most absorbing of occupations, the least satisfying of desires, an aimless excrescence upon life. It annihilates a man. You have, let us say, a promising politician, a rising artist, that you wish to destroy. Dagger or bomb are archaic, clumsy, and unreliable – but teach him, inoculate him with chess! It is well, perhaps, that the right way of teaching chess is so little known, that consequently in most cases the plot fails in the performance, the dagger turns aside. Else we should all be chess-players – there would be none left to do the business of the world. Our statesmen would sit with pocket boards while the country went to the devil, our army would bury itself in chequered contemplation, our bread-winners would forget their wives in seeking after impossible mates. The whole world would be disorganised. I can fancy this abominable hypnotism so wrought into the constitution of men that the cabmen would go trying to drive their horses in Knights' moves up and down Charing Cross Road. And now and again a suicide would come to hand with the pathetic inscription pinned to his chest: "I checked with my Queen too soon. I cannot bear the thought of it." There is no remorse like the remorse of chess.

Only, happily, as we say, chess is taught the wrong way round. People put out the board before the learner with all the men in battle array, sixteen a side, with six different kinds of moves, and the poor wretch is simply crushed and appalled. A lot of things happen, mostly disagreeable, and then a mate comes looming up through the haze of pieces. So he goes away awestricken but unharmed, secretly believing that all chess-players are humbugs, and that intelligent chess, which is neither chancy nor rote-learned, is beyond the wit of man. But clearly this is an unreasonable method of instruction. Before the beginner can understand the beginning of the game he must surely understand the end; how can he commence playing until he knows what he is playing for? It is like starting athletes on a race, and leaving them to find out where the winning-post is hidden.

Your true teacher of chess, your subtle chess-poisoner, your cunning Comus who changes men to chess-players, begins quite the other way round. He will, let us say, give you King, Queen, and Pawn placed out in careless possible positions. So you master the militant possibilities of Queen and Pawn without perplexing complications. Then King, Queen, and Bishop perhaps; King, Queen, and Knight; and so on. It ensures that you always play a winning game in these happy days of your chess childhood, and taste the one sweet of chess-playing, the delight of having the upper hand of a better player. Then to more complicated positions, and at last back to the formal beginning. You begin to see now to what end the array is made, and understand why one Gambit differeth from another in glory and virtue. And the chess mania of your teacher cleaveth to you thenceforth and for evermore.

It is a curse upon a man. There is no happiness in chess – Mr. St. George Mivart, who can find happiness in the strangest places, would be at a loss to demonstrate it upon the chess-board. The mild delight of a pretty mate is the least unhappy phase of it. But, generally, you find afterwards that you ought to have mated two moves before, or at the time that an unforeseen reply takes your Queen. No chess-player sleeps well. After the painful strategy of the day one fights one's battles over again. You see with more than daylight clearness that it was the Rook you should have moved, and not the Knight. No! it is impossible! no common sinner innocent of chess knows these lower deeps of remorse. Vast desert boards lie for the chess-player beyond the gates of horn. Stalwart Rooks ram headlong at one, Knights hop sidelong, one's Pawns are all tied, and a mate hangs threatening and never descends. And once chess has been begun in the proper way, it is flesh of your flesh, bone of your bone; you are sold, and the bargain is sealed, and the evil spirit hath entered in.

The proper outlet for the craving is the playing of games, and there is a class of men – shadowy, unhappy, unreal-looking men – who gather in coffee-houses, and play with a desire that dieth not, and a fire that is not quenched. These gather in clubs and play Tournaments, such tournaments as he of the Table Round could never have imagined. But there are others who have the vice who live in country places, in remote situations – curates, schoolmasters, rate collectors – who go consumed from day to day and meet no fit companion, and who must needs find some artificial vent for their mental energy. No one has ever calculated how many sound Problems are possible, and no doubt the Psychical Research people would be glad if Professor Karl Pearson would give his mind to the matter. All the possible dispositions of the pieces come to such a vast number, however, that, according to the theory of probability, and allowing a few thousand arrangements each day, the same problem ought never to turn up more than twice in a century or so. As a matter of fact – it is probably due to some flaw in the theory of probability – the same problem has a way of turning up in different publications several times in a month or so. It may be, of course, that, after all, quite "sound" problems are limited in number, and that we keep on inventing and reinventing them; that, if a record were kept, the whole system, up to four or five moves, might be classified, and placed on record in the course of a few score years. Indeed, if we were to eliminate those with conspicuously bad moves, it may be we should find the number of reasonable games was limited enough, and that even our brilliant Lasker is but repeating the inspirations of some long-buried Persian, some mute inglorious Hindoo, dead and forgotten ages since. It may be over every game there watches the forgotten forerunners of the players, and that chess is indeed a dead game, a haunted game, played out centuries ago, even, as beyond all cavil, is the game of draughts.

The artistic temperament, the gay irresponsible cast of mind, does what it can to lighten the gravity of this too intellectual game. To a mortal there is something indescribably horrible in these champions with their four moves an hour – the bare thought of the mental operations of the fifteen minutes gives one a touch of headache. Compulsory quick moving is the thing for gaiety, and that is why, though we revere Steinitz and Lasker, it is Bird we love. His victories glitter, his errors are magnificent. The true sweetness of chess, if it ever can be sweet, is to see a victory snatched, by some happy impertinence, out of the shadow of apparently irrevocable disaster. And talking of cheerfulness reminds me of Lowson's historical game of chess. Lowson said he had been cheerful sometimes – but, drunk! Perish the thought! Challenged, he would have proved it by some petty tests of pronunciation, some Good Templar's shibboleths. He offered to walk along the kerb, to work any problem in mathematics we could devise, finally to play MacBryde at chess. The other gentleman was appointed judge, and after putting the antimacassar over his head ("jush wigsh") immediately went to sleep in a disorderly heap on the sofa. The game was begun very solemnly, so I am told. MacBryde, in describing it to me afterwards, swayed his hands about with the fingers twiddling in a weird kind of way, and said the board went like that. The game was fierce but brief. It was presently discovered that both kings had been taken. Lowson was hard to convince, but this came home to him. "Man," he is reported to have said to MacBryde, "I'm just drunk. There's no doubt in the matter. I'm feeling very ashamed of myself." It was accordingly decided to declare the game drawn. The position, as I found it next morning, is an interesting one. Lowson's Queen was at K Kt 6, his Bishop at Q B 3, he had several Pawns, and his Knight occupied a commanding position at the intersection of four squares. MacBryde had four Pawns, two Rooks, a Queen, a draught, and a small mantel ornament arranged in a rough semicircle athwart the board. I have no doubt chess exquisites will sneer at this position, but in my opinion it is one of the cheerfulest I have ever seen. I remember I admired it very much at the time, in spite of a slight headache, and it is still the only game of chess that I recall with undiluted pleasure. And yet I have played many games.

THE COAL-SCUTTLE

A STUDY IN DOMESTIC ÆSTHETICS

Euphemia, who loves to have home dainty and delightful, would have no coals if she could dispense with them, much less a coal-scuttle. Indeed, it would seem she would have no fireplace at all, if she had her will. All the summer she is happy, and the fireplace is anything but the place for a fire; the fender has vanished, the fireirons are gone, it is draped and decorated and disguised. So would dear Euphemia drape and disguise the whole iron framework of the world, with that decorative and decent mind of hers, had she but the scope. There are exotic ferns there, spreading their fanlike fronds, and majolica glows and gleams; and fabrics, of which Morris is the actual or spiritual begetter, delight the eye. In summer-time our fireplace is indeed a thing of beauty, but, alas for the solar system! it is not a joy for ever. The sun at last recedes beyond the equinoxes, and the black bogey who has slept awakens again. Euphemia restores the fender kerb and the brazen dogs and the fireirons that will clatter; and then all the winter, whenever she sits before the fire, her trouble is with her. Even when the red glow of the fire lights up her features most becomingly, and flattery is in her ear, every now and then a sidelong glance at her ugly foe shows that the thought of it is in her mind, and that the crumpled roseleaf, if such a phrase may be used for a coal-scuttle, insists on being felt. And she has even been discovered alone, sitting elbows on knees, and chin on her small clenched fist, frowning at it, puzzling how to circumvent the one enemy of her peace.

"It" is what Euphemia always calls this utensil, when she can bring herself to give the indescribable an imperfect vent in speech. But commonly the feeling is too deep for words. Her war with this foeman in her household, this coarse rebel in her realm of soft prettiness, is one of those silent ones, those grim struggles without outcry or threat or appeal for quarter that can never end in any compromise, never find a rest in any truce, except the utter defeat of her antagonist. And how she has tried – the happy thoughts, the faint hopes, the new departures and outflanking movements! And even to-day there the thing defies her – a coal-box, with a broad smile that shows its black teeth, thick and squat, filling a snug corner and swaggering in unmanly triumph over the outrage upon her delicacy that it commits.

One of Euphemia's brightest ideas was to burn wood. Logs make even a picturesque pile in a corner – look "uncommon." But there are objections to wood. Wood finely divided burns with gay quirks and jets of flame, and making cheerful crackling noises the while; but its warmth and brightness are as evanescent as love's young dream. And your solid log has a certain irritating inertness. It is an absentee fuel, spending its fire up the chimney, and after its youthful clouds of glory turns but a cheerless side of black and white char towards the room. And, above all, the marital mind is strangely exasperated by the log. Smite it with the poker, and you get but a sullen resonance, a flight of red sparks, a sense of an unconquerable toughness. It is worse than coke. The crisp fracture of coal, the spitting flames suddenly leaping into existence from the shiny new fissures, are altogether wanting. Old-seasoned timber burns indeed most delightfully, but then it is as ugly as coal, and withal very dear. So Euphemia went back to coal again with a sigh. Possibly if Euphemia had been surrounded by the wealth she deserves this trouble would not have arisen. A silent servant, bearing the due dose of fresh fuel, would have come gliding from a mysterious Beneath, restored the waning animation of the grate, and vanished noiselessly again. But this was beyond the range of Euphemia's possibilities. And so we are face to face with this problem of the scuttle again.

At first she would feign there was no such thing as coal. It was too horrible. Only a Zola would admit it. It was the epoch of concealment. The thing purchased was like a little cupboard on four legs; it might have held any convenient trifle; and there was a shelf upon the top and a book of poetry and a piece of crackled Satsuma. You took a little brass handle and pulled it down, and the front of the little cupboard came forward, and there you found your coal. But a dainty little cupboard can no more entertain black coal and inelegant firewood and keep its daintiness than a mind can entertain black thoughts and yet be sweet. This cabinet became demoralised with amazing quickness; it became incontinent with its corruptions, a hinge got twisted, and after a time it acquired the habit of suddenly, and with an unpleasant oscillatory laughing noise, opening of its own accord and proclaiming its horrid secret to Euphemia's best visitors. An air of wickedness, at once precocious and senile, came upon it; it gaped and leered at Euphemia as the partner of her secret with such a familiar air of "I and you" that she could stand it no longer, and this depraved piece of furniture was banished at last from her presence, and relegated to its proper sphere of sham gentility below stairs, where it easily passed itself upon the cook as an exquisite. Euphemia tried to be sensible then, and determined, since she must have coal in her room, to let no false modesty intervene, but to openly proclaim its presence to all the world.

The next thing, therefore, was a cylinder of brass, broadly open above, saying to the world, as it were, "Look! I contain coal." And there were brass tongs like sugar tongs wherewith Euphemia would regale the fire and brighten it up, handing it a lump at a time in the prettiest way. But brass dints. The brazen thing was quiet and respectable enough upstairs, but ever and again it went away to be filled. What happened on these holiday jaunts Euphemia has never ascertained. But a chance blow or worse cause ran a crease athwart the forehead of the thing, and below an almost imperceptible bulging hinted at a future corpulency. And there was complaint of the quantity of polishing it needed, and an increasing difficulty in keeping it bright. And except when it was full to the brim, the lining was unsightly; and this became more so. One day Ithuriel must have visited Euphemia's apartment, and the tarnished brilliancy of the thing stood confessed. For some days there was an interregnum, and a coal-scuttle from downstairs – a black unstable thing on flat foot and with a vast foolish nether lip – did its duty with inelegant faithfulness.

Then Euphemia had a really pretty fancy. She procured one of those big open garden baskets and painted it a pleasant brown, and instead of a garden fork she had a little half horticultural scoop. In this basket she kept her coals, and she tied a pink ribbon on the handle. One might fancy she had been in some dewy garden and had dug a few coals as one might dig up bulbs, and brought them in and put them down. It attracted attention from all her visitors, and set a kind of fashion in the neighbourhood. For a time Euphemia was almost contented. But one day a malignant woman called, and looked at this device through her gilt eye-glasses, while she secretly groped in the dark of her mind for an unpleasant thing to say. Then suddenly she remarked, "Why not put your coal in a bassinette? Or keep it all on the floor?" Euphemia's face fell. The thing was undeniably very like a cradle, in the light of this suggestion; the coal certainly did seem a little out of place there; and besides, if there were more than three or four lumps they had a way of tumbling over the edge upon the carpet when the fire was replenished. The tender shoot of Euphemia's satisfaction suddenly withered and died.

So the struggle has gone on. Sometimes it has been a wrought iron tripod with a subtle tendency to upset in certain directions; sometimes a coal-box; once even the noisy old coal-box of japanned tin, making more noise than a Salvation Army service, and strangely decorated with "art" enamels, had a turn. At present Euphemia is enduring a walnut "casket," that since its first week of office has displayed an increasing indisposition to shut. But things cannot stay like this. The worry and anxiety and vexation, Euphemia declares, are making her old before her time. A delicate woman should not be left alone to struggle against brazen monsters. A closed gas stove is happily impossible, but the husband of the household is threatened with one of those beastly sham fires, wherein gas jets flare among firebrick – a mechanical fire without vitality or variety, that never dances nor crackles nor blazes, a monotonous horror, a fire you cannot poke. That is what it will certainly come to if the problem remains unsolved.

BAGARROW

Frankly, I detest this Bagarrow. Yet it is quite generally conceded that Bagarrow is a very well-meaning fellow. But the trouble is to understand him. To do that I have been at some pains, and yet I am still a mere theorist. An anthropometric estimate of the man fails to reveal any reason for the distinction of my aversion. He is of passable height, breadth, and density, and, save for a certain complacency of expression, I find no salient objection in his face. He has bluish eyes and a whitish skin, and average-coloured hair – none of them distinctly indictable possessions. It is something in his interior and unseen mechanism, I think, that must be wrong; some internal lesion that finds expression in his acts.

His mental operations, indeed, were at first as inconceivable to me as a crab's or a cockchafer's. That is where all the trouble came in. For that reason alone they fascinated me and aggrieved me. From the conditions of our acquaintance – we were colleagues – I had to study him with some thoroughness, observing him under these circumstances and those. I have, by the bye, sometimes wondered idly how he would react to alcohol – a fluid he avoids. It would, I am sure, be an entirely novel and remarkable kind of Drunk, and I am also certain it would be an offensive one. But I can't imagine it; I have no data. I could as soon evolve from my inner consciousness an intoxicated giraffe. But, as I say, this interesting experience has hitherto been denied me.

Now my theory of Bagarrow is this, that he has a kind of disease in his ideals, some interruption of nutrition that has left them small and emasculate. He aims, it appears, at a state called "Really Nice" or the "True Gentleman," the outward and visible signs of which are a conspicuous quietness of costume, gloves in all weathers, and a tightly-rolled umbrella. But coupled in some way with this is a queer smack of the propagandist, a kind of dwarfed prophetic passion. That is the particular oddness of him. He displays a timid yet persistent desire to foist this True Gentleman of his upon an unwilling world, to make you Really Nice after his own pattern. I always suspect him of trying to convert me by stealth when I am not looking.

So far as I can see, Bagarrow's conception of this True Gentleman of his is at best a compromise, mainly holiness, but a tinted kind of holiness – goodness in clean cuffs and with something neat in ties. He renounces the flesh and the devil willingly enough, but he wants to keep up a decent appearance. Now a stark saint I can find sympathy for. I respect your prophet unkempt and in a hair shirt denouncing Sin – and mundane affairs in general – with hoarse passion and a fiery hate. I would not go for my holidays with nor make a domestic pet of such a man, but I respect him. But Bagarrow's pose is different. Bagarrow would call that carrying things to extremes. His is an unobtrusive virtue, a compromising dissent, inaggressive aggressions on sin. So I take it. And at times he puts it to you in a drawling argument, a stream of Bagarrowisms, until you have to hurt his feelings – happily he is always getting his feelings hurt – just to stop the flow of him.

"Life," said Bagarrow, in a moment of expansiveness, "is scarcely worth living unless you are doing good to someone." That I take to be the keystone of him. "I want to be a Good Influence upon all the people I meet." I do not think it has ever dawned upon him that he himself is any way short of perfection; and, so far as I can see, the triumph and end of his good influence is cleanliness of cuff, compactness of umbrella, and general assimilation to the Bagarrow ideal.

Hear him upon one's social duties – this living soul in this world of wonders! "In moderation," said Bagarrow, opening out to questions on that matter, "social relaxation is desirable, and I will even go so far as to admit that I think it well to have at hand some pleasant expedient for entertaining people and passing the time. A humorous song or a recitation – provided it is in really good taste – is harmless enough, and sometimes it may even be turned to good account. And everyone should try to master some instrument or other. The flute, perhaps, is as convenient as any; for the fiddle and piano, you know, are difficult and expensive to learn, and require constant practice. A little legerdemain is also a great acquisition for a man. Some may differ from me in that," continued Bagarrow, "but I see no harm in it. There are hundreds of perfectly proper and innocent tricks with coins and bits of paper, and pieces of string, that will make an evening pass most delightfully. One may get quite a little reputation as an entertainer with these things."

"And it is," pursued Bagarrow, quite glowing with liberality, "just a little pharisaical to object to card tricks. There are quantities of really quite clever and mathematical things that one may do with a chosen card, dealing the pack into heaps and counting slowly. Of course it is not for mere pleasuring that I learn these things. It gives anyone with a little tact an opportunity for stopping card-playing. When the pack is brought in, and all the party are intent upon gaming, you may seize your opportunity and take the cards, saying, 'Let me show you a little trick,' or, 'Have you seen Maskelyne's new trick with the cards?' Before anyone can object you are displaying your skill to their astonished eyes, and in their wonder at your cleverness the objectionable game may be indefinitely postponed."

"Yet so set at times is your gambler upon his abominable pursuit," says Bagarrow, "that in practice even this ingenious expedient has been known to fail." He tried it once, it seems, in a race train to Kempton Park, and afterwards he had to buy a new hat. That incident, indeed, gives you the very essence of Bagarrow in his insidious attacks on evil. I remember that on another occasion he went out of his way to promise a partially intoxicated man a drink; and taking him into a public-house ordered two lemon squashes! Drinks! He liked lemon squash himself and he did not like beer, and he thought he had only to introduce the poor fallen creature to the delights of temperance to ensure his conversion there and then. I think he expected the man to fall upon him, crying "My benefactor!" But he did not say "My benefactor," at anyrate, though he fell upon him, cheerfully enough.

To avoid the appearance of priggishness, which he dreads with some reason, he even went so far as to procure a herb tobacco, which he smokes with the help of frequent sulphur matches. This he recommends to us strongly. "Won't you try it?" he says, with a winning smile. "Just once." And he is the only man I ever met who drinks that facetious fluid, non-alcoholic beer. Once he proposed to wean me upon that from my distinctive vice, which led indeed to our first rupture. "I find it delicious," he said in pathetic surprise.

It is one of his most inveterate habits to tell you quietly what he does, or would do under the circumstances. Seeing you at Kipling, he will propound the proposition that "all true literature has a distinct aim." His test of literary merit is "What good does it do you?" He is a great lender of books, especially of Carlyle and Ruskin, which authors for some absolutely inscrutable reason he considers provocative of Bagarrowism, and he goes to the County Council lectures on dairy-work, because it encourages others to improve themselves. But I have said enough to display him, and of Bagarrow at least – as I can well testify – it is easy to have more than enough. Indeed, after whole days with him I have gone home to dream of the realisation of his ideals, a sort of Bagarrow millennium, a world of Bagarrows. All kinds of men – Falstaffs, Don Quixotes, Alan Stewarts, John the Baptists, John Knoxes, Quilps, and Benvenuto Cellinis – all, so to speak, Bagarrowed, all with clean cuffs, tight umbrellas, and temperate ways, passing to and fro in a regenerate earth.

And so he goes on his way through this wonderful universe with his eyes fixed upon two or three secondary things, without the lust or pride of life, without curiosity or adventure, a mere timid missionary of a religion of "Nicer Ways," a quiet setter of a good example. I can assure you this is no exaggeration, but a portrait. It seems to me that the thing must be pathological, that he and this goodness of his have exactly the same claim upon Lombroso, let us say, as the born criminal. He is born good, a congenital good example, a sufferer from atrophy of his original sin. The only hope I can see for Bagarrow, short of murder, is forcible trepanning. He ought to have the seat of his ideals lanced, and all this wash about doing good to people by stealth taken away. It may be he might prove a very decent fellow then – if there was anything left of him, that is.