Captain Brassbound's Conversion/Notes to Captain Brassbound's Conversion
NOTES TO CAPTAIN BRASSBOUND'S CONVERSION
Sources of the Play edit
I claim as a notable merit in the authorship of this play that I have been intelligent enough to steal its scenery, its surroundings, its atmosphere, its geography, its knowledge of the east, its fascinating Cadis and Kearneys and Sheikhs and mud castles from an excellent book of philosophic travel and vivid adventure entitled Mogreb-el-Acksa (Morocco the Most Holy) by Cunninghame Graham. My own first hand knowledge of Morocco is based on a morning's walk through Tangier, and a cursory observation of the coast through a binocular from the deck of an Orient steamer, both later in date than the writing of the play.
Cunninghame Graham is the hero of his own book; but I have not made him the hero of my play, because so incredible a personage must have destroyed its likelihood--such as it is. There are moments when I do not myself believe in his existence. And yet he must be real; for I have seen him with these eyes; and I am one of the few men living who can decipher the curious alphabet in which he writes his private letters. The man is on public record too. The battle of Trafalgar Square, in which he personally and bodily assailed civilization as represented by the concentrated military and constabular forces of the capital of the world, can scarcely be forgotten by the more discreet spectators, of whom I was one. On that occasion civilization, qualitatively his inferior, was quantitatively so hugely in excess of him that it put him in prison, but had not sense enough to keep him there. Yet his getting out of prison was as nothing compared to his getting into the House of Commons. How he did it I know not; but the thing certainly happened, somehow. That he made pregnant utterances as a legislator may be taken as proved by the keen philosophy of the travels and tales he has since tossed to us; but the House, strong in stupidity, did not understand him until in an inspired moment he voiced a universal impulse by bluntly damning its hypocrisy. Of all the eloquence of that silly parliament, there remains only one single damn. It has survived the front bench speeches of the eighties as the word of Cervantes survives the oraculations of the Dons and Deys who put him, too, in prison. The shocked House demanded that he should withdraw his cruel word. "I never withdraw," said he; and I promptly stole the potent phrase for the sake of its perfect style, and used it as a cockade for the Bulgarian hero of Arms and the Man. The theft prospered; and I naturally take the first opportunity of repeating it. In what other Lepantos besides Trafalgar Square Cunninghame Graham has fought, I cannot tell. He is a fascinating mystery to a sedentary person like myself. The horse, a dangerous animal whom, when I cannot avoid, I propitiate with apples and sugar, he bestrides and dominates fearlessly, yet with a true republican sense of the rights of the fourlegged fellowcreature whose martyrdom, and man's shame therein, he has told most powerfully in his Calvary, a tale with an edge that will cut the soft cruel hearts and strike fire from the hard kind ones. He handles the other lethal weapons as familiarly as the pen: medieval sword and modern Mauser are to him as umbrellas and kodaks are to me. His tales of adventure have the true Cervantes touch of the man who has been there--so refreshingly different from the scenes imagined by bloody-minded clerks who escape from their servitude into literature to tell us how men and cities are conceived in the counting house and the volunteer corps. He is, I understand, a Spanish hidalgo: hence the superbity of his portrait by Lavery (Velasquez being no longer available). He is, I know, a Scotch laird. How he contrives to be authentically the two things at the same time is no more intelligible to me than the fact that everything that has ever happened to him seems to have happened in Paraguay or Texas instead of in Spain or Scotland. He is, I regret to add, an impenitent and unashamed dandy: such boots, such a hat, would have dazzled D'Orsay himself. With that hat he once saluted me in Regent St. when I was walking with my mother. Her interest was instantly kindled; and the following conversation ensued. "Who is that?" "Cunninghame Graham." "Nonsense! Cunninghame Graham is one of your Socialists: that man is a gentleman." This is the punishment of vanity, a fault I have myself always avoided, as I find conceit less troublesome and much less expensive. Later on somebody told him of Tarudant, a city in Morocco in which no Christian had ever set foot. Concluding at once that it must be an exceptionally desirable place to live in, he took ship and horse: changed the hat for a turban; and made straight for the sacred city, via Mogador. How he fared, and how he fell into the hands of the Cadi of Kintafi, who rightly held that there was more danger to Islam in one Cunninghame Graham than in a thousand Christians, may be learnt from his account of it in Mogreb-el-Acksa, without which Captain Brassbound's Conversion would never have been written.
I am equally guiltless of any exercise of invention concerning the story of the West Indian estate which so very nearly serves as a peg to hang Captain Brassbound. To Mr. Frederick Jackson of Hindhead, who, against all his principles, encourages and abets me in my career as a dramatist, I owe my knowledge of those main facts of the case which became public through an attempt to make the House of Commons act on them. This being so, I must add that the character of Captain Brassbound's mother, like the recovery of the estate by the next heir, is an interpolation of my own. It is not, however, an invention. One of the evils of the pretence that our institutions represent abstract principles of justice instead of being mere social scaffolding is that persons of a certain temperament take the pretence seriously, and when the law is on the side of injustice, will not accept the situation, and are driven mad by their vain struggle against it. Dickens has drawn the type in his Man from Shropshire in Bleak House. Most public men and all lawyers have been appealed to by victims of this sense of injustice--the most unhelpable of afflictions in a society like ours.
English and American Dialects edit
The fact that English is spelt conventionally and not phonetically makes the art of recording speech almost impossible. What is more, it places the modern dramatist, who writes for America as well as England, in a most trying position. Take for example my American captain and my English lady. I have spelt the word conduce, as uttered by the American captain, as cawndooce, to suggest (very roughly) the American pronunciation to English readers. Then why not spell the same word, when uttered by Lady Cicely, as kerndewce, to suggest the English pronunciation to American readers? To this I have absolutely no defence: I can only plead that an author who lives in England necessarily loses his consciousness of the peculiarities of English speech, and sharpens his consciousness of the points in which American speech differs from it; so that it is more convenient to leave English peculiarities to be recorded by American authors. I must, however, most vehemently disclaim any intention of suggesting that English pronunciation is authoritative and correct. My own tongue is neither American English nor English English, but Irish English; so I am as nearly impartial in the matter as it is in human nature to be. Besides, there is no standard English pronunciation any more than there is an American one: in England every county has its catchwords, just as no doubt every state in the Union has. I cannot believe that the pioneer American, for example, can spare time to learn that last refinement of modern speech, the exquisite diphthong, a farfetched combination of the French eu and the English e, with which a New Yorker pronounces such words as world, bird &c. I have spent months without success in trying to achieve glibness with it.
To Felix Drinkwater also I owe some apology for implying that all his vowel pronunciations are unfashionable. They are very far from being so. As far as my social experience goes (and I have kept very mixed company) there is no class in English society in which a good deal of Drinkwater pronunciation does not pass unchallenged save by the expert phonetician. This is no mere rash and ignorant jibe of my own at the expense of my English neighbors. Academic authority in the matter of English speech is represented at present by Mr. Henry Sweet, of the University of Oxford, whose Elementarbuch des gesprochenen Englisch, translated into his native language for the use of British islanders as a Primer of Spoken English, is the most accessible standard work on the subject. In such words as plum, come, humbug, up, gum, etc., Mr. Sweet's evidence is conclusive. Ladies and gentlemen in Southern England pronounce them as plam, kam, hambag, ap, gan, etc., exactly as Felix Drinkwater does. I could not claim Mr. Sweet's authority if I dared to whisper that such coster English as the rather pretty dahn tahn for down town, or the decidedly ugly cowcow for cocoa is current in very polite circles. The entire nation, costers and all, would undoubtedly repudiate any such pronunciation as vulgar. All the same, if I were to attempt to represent current "smart" cockney speech as I have attempted to represent Drinkwater's, without the niceties of Mr. Sweet's Romic alphabets, I am afraid I should often have to write dahn tahn and cowcow as being at least nearer to the actual sound than down town and cocoa. And this would give such offence that I should have to leave the country; for nothing annoys a native speaker of English more than a faithful setting down in phonetic spelling of the sounds he utters. He imagines that a departure from conventional spelling indicates a departure from the correct standard English of good society. Alas! this correct standard English of good society is unknown to phoneticians. It is only one of the many figments that bewilder our poor snobbish brains. No such thing exists; but what does that matter to people trained from infancy to make a point of honor of belief in abstractions and incredibilities? And so I am compelled to hide Lady Cicely's speech under the veil of conventional orthography.
I need not shield Drinkwater, because he will never read my book. So I have taken the liberty of making a special example of him, as far as that can be done without a phonetic alphabet, for the benefit of the mass of readers outside London who still form their notions of cockney dialect on Sam Weller. When I came to London in 1876, the Sam Weller dialect had passed away so completely that I should have given it up as a literary fiction if I had not discovered it surviving in a Middlesex village, and heard of it from an Essex one. Some time in the eighties the late Andrew Tuer called attention in the Pall Mall Gazette to several peculiarities of modern cockney, and to the obsolescence of the Dickens dialect that was still being copied from book to book by authors who never dreamt of using their ears, much less of training them to listen. Then came Mr. Anstey's cockney dialogues in Punch, a great advance, and Mr. Chevalier's coster songs and patter. The Tompkins verses contributed by Mr. Barry Pain to the London Daily Chronicle have also done something to bring the literary convention for cockney English up to date. But Tompkins sometimes perpetrates horrible solecisms. He will pronounce face as fits, accurately enough; but he will rhyme it quite impossibly to nice, which Tompkins would pronounce as newts: for example Mawl Enn Rowd for Mile End Road. This aw for i, which I have made Drinkwater use, is the latest stage of the old diphthongal oi, which Mr. Chevalier still uses. Irish, Scotch and north country readers must remember that Drinkwater's rs are absolutely unpronounced when they follow a vowel, though they modify the vowel very considerably. Thus, luggage is pronounced by him as laggige, but turn is not pronounced as tern, but as teun with the eu sounded as in French. The London r seems thoroughly understood in America, with the result, however, that the use of the r by Artemus Ward and other American dialect writers causes Irish people to misread them grotesquely. I once saw the pronunciation of malheureux represented in a cockney handbook by mal-err-err: not at all a bad makeshift to instruct a Londoner, but out of the question elsewhere in the British Isles. In America, representations of English speech dwell too derisively on the dropped or interpolated h. American writers have apparently not noticed the fact that the south English h is not the same as the never-dropped Irish and American h, and that to ridicule an Englishman for dropping it is as absurd as to ridicule the whole French and Italian nation for doing the same. The American h, helped out by a general agreement to pronounce wh as hw, is tempestuously audible, and cannot be dropped without being immediately missed. The London h is so comparatively quiet at all times, and so completely inaudible in wh, that it probably fell out of use simply by escaping the ears of children learning to speak. However that may be, it is kept alive only by the literate classes who are reminded constantly of its existence by seeing it on paper.
Roughly speaking, I should say that in England he who bothers about his hs is a fool, and he who ridicules a dropped h a snob. As to the interpolated h, my experience as a London vestryman has convinced me that it is often effective as a means of emphasis, and that the London language would be poorer without it. The objection to it is no more respectable than the objection of a street boy to a black man or to a lady in knickerbockers.
I have made only the most perfunctory attempt to represent the dialect of the missionary. There is no literary notation for the grave music of good Scotch.
BLACKDOWN, August 1900