and tinker. For your professed philanthropist, following his own spirit, and seeing nothing, honestly resents the demonstration that his tinkering profits little. There is a story current in the East End of London, of a distracted lady who, being assailed with a request for the loan of a saucepan, defended herself in these words: – 'Tell yer mother I can't lend 'er the saucepan, consekince o' 'avin' lent it to Mrs Brown, besides which I'm a-usin' of it meself, an' moreover it's gone to be mended, an' what's more I ain't got one.' In a like spirit of lavish objection it has been proclaimed in a breath that I transgress: – because (1) I should not have written of the Jago in all the nakedness of truth; (2) my description is not in the least like; (3) moreover, it is exaggerated; (4) though it may be true, it is quite unnecessary, because the Jago was already quite familiar, and everybody knew all about it; (5) the Jago houses have been pulled down; and (6) there never was any such place as the Jago at all.
To objections thus handsomely variegated it is not easy to reply with the tripping brevity wherewith they may be stated; and truly it is little reply that they call for, except, perhaps, in so far as they may be taken to impugn the sincerity of my work and the accuracy of my picture. A few of the objectors have caught up enough of their wits to strive after a war in my own country. They take hold of my technical method, and accuse me of lack of 'sympathy'; they claim that if I write of the Jago I should do so 'even weeping.' Now, my technical method is my own, and is deliberately designed to achieve a certain result, as is the method of every man – painter, poet, sculptor, or novelist – who is not the slave and the plaything of his material. My tale is the tale of my characters, and I have learned better than to thrust myself and my emotions between them and my reader. The cant of the charge stares all too plainly from the face of it. It is not that these good people wish me to write 'even weeping': for how do they know whether I weep or not? No: their wish is, not that I shall weep, but that I shall weep obscenely in the public gaze. In other words, that I shall do their weeping for them, as a sort of emotional bedesman: that I shall make public parade of sympathy in their behalf, so that they may keep their own sympathy for themselves, and win comfort from the belief that they are eased of their just responsibility by vicarious snivelling.
But the protest, that my picture of the Jago is untrue, is another thing. For the most part it has found very vague expression, but there are instances of rash excursion into definiteness. Certain passages have been denoted as exaggerations – as impossibilities. Now, I must confess that, foreseeing such adventurous indiscretions, I had, for my own diversion, set A Child of the Jago with traps. For certain years I have lived in the East End of London, and have been, not an occasional visitor, but a familiar and equal friend in the house of the East-Ender in all his degrees; for, though the steps between be smaller, there are more social degrees in the East End than ever in the West. In this experience I have seen and I have heard things that persons sitting in committee-rooms would call diabolical fable; nevertheless, I have seen them, and heard them. But it was none of my design to write of extreme instances: typical facts were all I wanted; these, I knew, would be met – or shirked – with incredulity; so that, whenever I saw reason to anticipate a charge of exaggeration – as for instance, in the matter of faction fighting – I made my typical incident the cold transcript of a simple fact, an ordinary, easy-going fact, a fact notorious in the neighbourhood, and capable of any amount of reasonable proof. If I touched my fact at all, it was to subdue it; that and no more. The traps worked well. Not one definite charge of exaggeration has been flung but it has been aimed at one of the normal facts I had provided as a target: not one. Sometimes the effect has had a humour of its own; as when a critic in a literary journal, beginning by selecting two of my norms as instances of 'palpable exaggeration,' went on to assure me that there was no need to describe such life as the life in the Jago, because it was already perfectly familiar to everybody.
Luckily I need not vindicate my accuracy. That has been done for me publicly by independent and altogether indisputable authority. In particular, the devoted vicar of the parish, which I have called the Jago, has testified quite unreservedly to the truth of my presentation. Others also, with special knowledge, have done the same; and though I refer to them, and am grateful for their support, it is with no prejudice to the validity of my own authority. For not only have I lived in the East End of London (which one may do, and yet never see it) but observation is my trade.
I have remarked in more than one place the expression of a foolish fancy that because the houses of the Old Jago have been pulled down, the Jago difficulty has been cleared out of the way. That is far from being the case. The Jago, as mere bricks and mortar, is gone. But the Jago in flesh and blood still lives, and is crowding into neighbourhoods already densely over-populated.
In conclusion: the plan and the intention of my story made it requisite that, in telling it, I should largely adhere to fact; and I did so. If I write other tales different in scope and design, I shall adhere to fact or neglect it as may seem good to me: regardless of anybody's classification as a realist, or as anything else. For though I have made a suggestion, right or wrong, as to what a realist may be, whether I am one or not is no concern of mine; but the concern (if it be anybody's) of the tabulators and the watersifters.
February 1897.
I
It was past the mid of a summer night in the Old Jago. The narrow street was all the blacker for the lurid sky; for there was a fire in a farther part of Shoreditch, and the welkin was an infernal coppery glare. Below, the hot, heavy air lay, a rank oppression, on the contorted forms of those who made for sleep on the pavement: and in it, and through it all, there rose from the foul earth and the grimed walls a close, mingled stink – the odour of the Jago.
From where, off Shoreditch High Street, a narrow passage, set across with posts, gave menacing entrance on one end of Old Jago Street, to where the other end lost itself in the black beyond Jago Row; from where Jago Row began south at Meakin Street, to where it ended north at Honey Lane – there the Jago, for one hundred years the blackest pit in London, lay and festered; and half-way along Old Jago Street a narrow archway gave upon Jago Court, the blackest hole in all that pit.
A square of two hundred and fifty yards or less – that was all there was of the Jago. But in that square the human population swarmed in thousands. Old Jago Street, New Jago Street, Half Jago Street lay parallel, east and west: Jago Row at one end and Edge Lane at the other lay parallel also, stretching north and south: foul ways all. What was too vile for Kate Street, Seven Dials, and Ratcliff Highway in its worst day, what was too useless, incapable and corrupt – all that teemed in the Old Jago.
Old Jago Street lay black and close under the quivering red sky; and slinking forms, as of great rats, followed one another quickly between the posts in the gut by the High Street, and scattered over the Jago. For the crowd about the fire was now small, the police was there in force, and every safe pocket had been tried. Soon the incursion ceased, and the sky, flickering and brightening no longer, settled to a sullen flush. On the pavement some writhed wearily, longing for sleep; others, despairing of it, sat and lolled, and a few talked. They were not there for lack of shelter, but because in this weather repose was less unlikely in the street than within doors: and the lodgings of the few who nevertheless abode at home were marked here and there by the lights visible from the windows. For in this place none ever slept without a light, because of three kinds of vermin that light in some sort keeps at bay: vermin which added to existence here a terror not to be guessed by the unafflicted: who object to being told of it. For on them that lay writhen and gasping on the pavement; on them that sat among them; on them that rolled and blasphemed in the lighted rooms; on every moving creature in this, the Old Jago, day and night, sleeping and walking, the third plague of Egypt, and more, lay unceasing.
The stifling air took a further oppression from the red sky. By the dark entrance to Jago Court a man rose, flinging out an oath, and sat with his head bowed in his hands.
'Ah – h – h – h,' he said. 'I wish I was dead: an' kep' a cawfy shop.' He looked aside from his hands at his neighbours; but Kiddo Cook's ideal of heaven was no new
