A meditation on Morton – and Bill Bryson, by Elisabeth Bibbings

More notes from a small island

Over Christmas, I was given the latest book by the wonderful Bill Bryson. “The Road to Little Dribbling – More Notes from a Small Island” celebrates both the 20-year anniversary of his first British book (“Notes from a Small Island”) and the fact that he has just been made a British Citizen (about time too, he’s been an honorary Englishman for years in my book).

However, this time, though I kept annoying my husband by giggling helplessly while reading in bed, and though I gave Mr. Bryson a full 5-stars on my Goodreads review (www.goodreads.com for every bibliophile), I didn’t quite agree with him all the time.

Witness the following quote, from his Dartmoor visit:

‘I had just finished reading “In Search of England” by H.V. Morton, which is always described as a classic, presumably by people who have never read it because it is actually quite dreadful. It was written in 1927 and consists largely of Morton motoring around England and slowing down every twenty miles to ask directions of a besmocked bumpkin standing at the roadside. In every village he went to, Morton found a man with a funny accent and f***-all to do, and had a conversation with him. . .

‘The impression you get from ISO England is that England is a cheerful, friendly place, peopled with lovable halfwits with comic accents, so it is a little ironic that the book is so often cited as capturing the essence of the nation. An even greater irony is that Morton eventually soured on England because it wasn’t fascist enough for him [ouch, and not true – Ed]. He moved to South Africa in 1947 and lived the last thirty-two years of his life there, forgotten by the world but happy to have servants he could shout at.’

Well, you can’t win ‘em all! Perhaps someone could write officially on behalf of the society to Mr. Bryson and put him right about HVM’s reasons for leaving England? Actually, the thought that there really was an H.V. Morton Society would probably call forth another rant, like the one about the ‘Water Tower Appreciation Society, a Society for Clay Pipe Research, a Pillbox Study Group, a Ghost Sign Society and a Roundabout Appreciation Society’, which features earlier in the book.

Anyway, why was Morton so inclined to write about ‘England as a cheerful, friendly place, peopled with lovable halfwits’? For an answer to that, I turned to a rather more gritty book, which I also enjoyed just after Christmas. “H is for Hawk” by Helen Macdonald, a falconer, describes her relationship with her goshawk Mabel, and how Mabel helped her overcome her grief after losing her father. To really appreciate this book, one needs to have read “The Sword in the Stone” by T.H. White, another amateur falconer, who Macdonald consistently refers to, comparing his clumsy attempts at training a goshawk with her own.

T.H. White was a contemporary of Morton, and Macdonald explains that during the ‘20s and ‘30s (when Morton was writing his travelogues), there was a great movement of people wanting to go back to the land, back to their roots. There were lots of events like midnight rambles and excursions deep into the countryside, and a great revival of country arts and crafts as people sought to forget the Great War and rediscover their national identity after the bloodbath which had decimated the nation. It struck me, reading this, that that is the background from which all Morton’s travel books that we love so much (even if Mr. Bryson doesn’t) have sprung. Nearly a century ago, Morton was capturing the feelings of the age – that Great Britain was still great, and its countryside and its characters were why people had fought and died. Nowhere is that more evident for me, than in the poignant first half of his 1939 “I Saw Two Englands”, when he realises that the England he loves so much is under threat in an even worse way than from the First World War.

So there you go, Mr. Bryson – Morton was a man of his time and upbringing, just as you are a product of yours. He may wax more lyrical than your bluff style, but one thing is true – he loved England in his own way just as much as you do.

‘I have said it many times before, but it really cannot be stated too often: there isn’t a landscape in the world that is more artfully worked, more lovely to behold, more comfortable to be in, than the countryside of Great Britain. It is the world’s largest park, its most perfect accidental garden. I think it may be the British nation’s most glorious achievement.’ (“The Road to Little Dribbling”, p. 381).

I’m sure Morton couldn’t have agreed more.

Elisabeth Bibbings

Originally circulated as HVM Society Snippets – No.198, 20 February 2016

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The Whirligig, by D’Egville

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I was surprised and delighted to come across this little gem recently on a certain well known online auction site. It is a set of three caricatures by ‘D’Egville’, entitled Whirligig. They have been cut from an unknown newspaper or magazine and according to the person selling them they date to around 1928.

The first sketch features a Lady Askwith, with the caption ‘You can’t be too kind to maids’:

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N.B., this is not the better known Lady Asquith, wife of the British Prime Minister rather, according to thepeerage.com, she is Ellen (née Peel), Lady Askwith CBE, who died in 1962. She was a writer, sub-editor and war worker; former wife of Henry Graham, and later wife of 1st Baron Askwith. Although apparently a noted socialite, other sources reveal her to be most unpleasant individual – a fully signed up member of the eugenics socity who spoke out strongly against the keeping alive of children from ‘weak minded mothers’.

The second features Miss May Edgington, with the caption ‘Marriage is not a brilliant joke’:

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According to Wikipedia, May Edginton (originally Helen Marion Edginton, 1883 – 1957) was an English writer of over 50 popular novels which often portrayed escapes or solutions for heroines in unhappy domestic situations.

But it was the third cartoon which most interested me. It features our very own HV Morton striding through the crowds, hat on head, cigarette in mouth with socks and suspenders proudly and quite surreally on display, an indication of how familiar Morton would have been to a popular readership at the time and how much a part of everyday life and culture he was. The caption reads ‘The world should be delivered from the horror of trousers’:

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It took quite some time to track down details of the artist himself but I hope you agree it was time well spent, d’Egville is a most interesting character:

Alan Hervey d’Egville FRGS FCI (1891-1951) was a cartoonist, caricaturist, illustrator and writer, the son of Louis d’Egville of the Academy of Dramatic Art who taught dancing and deportment to royalty.

Educated in Berkhamsted (Hertfordshire, England) and in France, Germany and Spain, he studied motoring at Daimler, Paris and taught the tango at his father’s academy before working as private secretary to the chairman of Rolls-Royce. He later subscribed to Percy Bradshaw’s Press Art School.

Enlisting as an interpreter on the outbreak of World War I, he transferred to the Intelligence Department, later becoming Chief Intelligence Officer, 4th Corps and being mentioned in dispatches. After the war he attended art school and went on to write travelogues and to publish his humorous sketches and caricatures widely in Europe and the US including in Bystander, Pan, Sketch, Passing Show, Men Only, London Opinion, Tatler, Le Rire, Humorist, Punch, and others. During World War II he joined the security service, rising to the rank of Major. Following the cessation of hostilities he continued to publish in a variety of journals as well as writing scripts for Fox films, illustrating books, and working in advertising as a commercial artist. He was an enthusiastic skier and much of his work dealt with this subject.

(Sources: “Biographical Sketches of Cartoonists & Illustrators in the Swann Collection” By Sara Duke and “The Dictionary of 20th-century British Cartoonists and Caricaturists” By Mark Bryant).

Although the caricatures are amusing in their own way I’m afraid I havent a clue as to the significance of the ‘Whirligig‘ title or the meaning of the various bizarre captions. In a nutshell, I don’t get it! Although in all likelihood they had obvious and probably hilarious significance to a 1920’s audience their meaning is totally lost today. I am not aware that Morton ever advocated a society without trousers, even in jest! If anyone is able to enlighten me I would be most grateful.

With best wishes,

Niall Taylor

(Originally circulated as HVM Society Snippets – No.225 on 3 June 2018).

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‘In Search of H.V. Morton’, by Michael Bartholomew

In Search of HVM

Methuen, London, 2004. 248 pages with illustrations, notes and index. Also now available in paperback. From major booksellers and on-line through Amazon UK, etc.

The first and most important thing to say about Michael Bartholomew’s “In Search of HV Morton” is that this is an excellent read. The text flows, it is accessible and, unlike some biographies, it has a good structure and narrative. The reader is taken from Morton’s childhood, cycling around the lanes of Warwickshire and discovering a passion for place and history through his journalistic career, finding his niche as the foremost travel writer of his time and then, finally his gradual disillusionment as England began to take a different direction from the country he had known and loved.

Early in the work Bartholemew takes time to explain the distinction between the droll, urbane narrator of his tales (‘HV’ Morton) and the real man (‘Harry’ Morton) behind the books. Morton’s contemporaneous diary writings are contrasted with his works of literature throughout as a device to move through Morton’s life and explore the motivation behind both narrator and author. Any reader coming to this work hoping to read about the simple, solitary, companionable traveller of Morton’s books is in for a disappointment. Like the top rate journalist he was, Morton knew how to deliver precisely what his audience wanted and went to great lengths to maintain the illusion and charm of his books by keeping a low public profile. Fortunately for us (and perhaps less so for the reputation of ‘HV’) Morton left a large number of notes in the form of diaries and half written memoirs which formed the basis for much of Batholomew’s book, enabling his story to be told.

This account of the life of Morton is even handed and largely non-judgemental (despite the occasional spin placed on some of Bartholemew’s words by other reviewers).

Bartholemew obviously admires Morton’s talents as a master of descriptive prose and he presents Morton’s questionable political views as more naive and simplistic rather than anything more sinister; ‘more prejudice than politics’. Morton’s womanising and racism are presented, mostly in the form of extracts from his diary, and the reader is left to judge for him or her self. We are told of a man who, while privately contemptuous of the direction Britain was taking at times, was prepared to put his talents to work, on occasion for no financial return, to support the governmnent in its efforts during the war. Morton wasn’t without a social conscience and his 1933 social commentary “What I saw in the slums” is compared favourably with the better known “Road to Wigan Pier” by George Orwell; Bartholomew suggests that Morton’s depiction of women in the slums is ‘just as powerful and… less patronising’ than Orwell’s. We are told of Morton’s quiet bravery – castigating himself in his diary on the one hand for his cowardly feelings during the London blitz yet, despite his fear, going into the city to cover stories for his paper. At a time in Britain’s history when invasion appears imminent Morton writes about the distinct possiblility of being killed defending his village against the Nazi foe while at the same time is enraged as his gardener is enlisted into the armed forces.

This book is a sympathetic, ‘warts and all’ portrayal of the real man behind the public persona; above all it is a balanced account. It is direct and unstinting, delivering praise and criticism alike where they are due. By the conclusion any Morton admirer will be the better for having read it and will have an understanding of the real depth behind both ‘HV’ and ‘Harry’.

Niall Taylor

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HV Morton and the American Tourist

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HV Morton was in the habit of using caricatures of certain groups of individuals as foils for his carefree narrator, enabling him to make a point in a lighthearted way, in keeping with the nature of his travelogues. The travelling salesman came in for a bit of stick on occasions, as did the ‘yokel’. But one of his favourites was the hapless American Tourist. Morton would paint him as naive and well-meaning, camera in hand, shutter clicking and uttering phrases such as ‘gee’ and ‘say, mister’. He would generally have daughters with names like Maisie, who would refer to him as ‘Dad!’ Well, that’s the male version certainly; of the female version, HVM was generally more complimentary. These unsuspecting individuals would provide ample opportunity for Morton’s traveller to expound fulsomely on a variety of topics as the reader pictures with amusement his assumed look of Old World superiority, the Tourist looking on, basking in his erudition.

However, in the years between the wars when Morton was writing about the British Isles, the world was growing steadily smaller. His books were such great successes in his mother-country, inevitably the lure of the even more lucrative American market began to exert its pull in a way that must have been difficult to resist. Morton was approached by North American publishers, with a view to expanding his readership (and his bank-balance) on the other side of the pond and the first US edition of “In Search of England” appeared as early as 1928 from publishers including the National Travel Club, and McBride, both of New York, and later Dodd, Mead and Co., also of New York.

But what to do about all those references to the American Tourist? All very amusing to a homespun readership certainly, but how would his irreverence be taken in the United States, already well on its way to supplanting the British Empire as the global superpower to be reckoned with? One can only imagine the mental gymnastics which must have gone on and the negotiations which must have been had prior to the publication of the first US edition.

We can get an insight into the thought process from the introduction Morton wrote to a 1935 revised US edition of “In Search of England”, published by Dodd, Mead and Co. and featured below for your interest. It seems at one point he considered expunging the offending references altogether but in the end decided that a bit of ‘context’ in the introduction might do the job instead. This introduction makes fascinating reading – never has back-pedalling been undertaken so elegantly. As you read it you will see that Morton has apparently always thought of the American Tourist as ‘loveable’ and ‘part of the English scene’ and he explains how he really misses them, now that the post-First World War travel boom was over.

And well might Maisie’s ‘Dad’ have responded, ‘Pull the other one, Limey!’

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The cover of my Dodd, Mead and Co. edition of “In Search of England

‘Introduction to the Revised Edition

‘WHEN Messrs. Dodd, Mead and Company asked me to revise for the United States this new edition of “In Search of England”, I was faced with the task of reading the book. I had no idea, when I wrote it some years ago, that the book would become a best-seller.

In fact, I never thought of such things. I just wanted to put down on paper the day-to-day impressions of a high-spirited journey over the roads and through the lanes of England. But, in the inexplicable way these things happen, “In Search of England”, with no assistance from the critics, began to sell all over the English-speaking world.

‘Reading it again at the request of Mr. Dodd, I am delighted to discover that it possesses two of the qualities by which I judge a book of travel: it deals sincerely with the unchanging and abiding things, and it is flavoured, but not too highly, by the time in which it was written.

‘This brings me to the only serious criticism I have received from readers in the United States. These criticisms are always the same. “Why,” I am asked, “do you draw such revolting Americans? All Americans are not vulgar. All Americans are not Babbitts. No Americans talk the kind of slang you put into their mouths.” And so forth.

‘I have received so many letters in this strain that my first reaction to Mr. Dodd’s revised edition was the desire to cut out every American in the book. But, as my pen hovered over these “guys,” I could not bring myself to do it. They are part of the English scene as it was when the book was written.

‘I went in search of England during that brief, golden age after the War when the Rue de Rivoli was an American possession, and when every English cathedral city received its daily quota of visiting Americans. These travellers were drawn very largely from a type that had never before strayed so far from home. Money had suddenly come their way and they were out to see the world. They did talk slang, and they did observe a lovable naivete which is faithfully reproduced here and there in these pages. For instance, the man encountered in Peterborough, who was making a cultural tour of Europe, could not be met with anywhere to-day, but he was an interesting phenomenon during the post-war travel boom. Therefore I ask my readers to understand that I am not setting up characters in any way typical of a nation, and if I were writing this book to-day not one of these people would appear in it, because they have ceased to brighten the rural life of England; much, I confess, to England’s regret.

‘But the England of these pages is still the England of to-day. The changes that have taken place are purely superficial. No Cornish farmer now listens to radio from London with a primitive valve set, and the old Mauretania has ceased to slip into Plymouth Sound.

‘Nevertheless the ancient background of the picture is unaltered. Jack Blandiver still kicks up his heels against the bell in Wells Cathedral, and Hadrian’s Wall still runs its solitary course into the mists of the northern fells.’

H. V. M., London, 1935.

Niall Taylor, Glastonbury, Somerset, England

(this article was originally circulated as HVM Society Snippets – No.195 on 3rd December 2015)

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HV Morton’s Minerva Editions

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Anyone with an interest in HV Morton who has spent even a short time in second-hand-book shops or browsing their web-sites will have come across the so-called Minerva Editions of his works, with their distinctive faux-leather bindings and gold-leaf trim. The origins of these special editions are somewhat of a mystery although thanks to the interest of one or two Mortonites who specialise in collecting them and several HVM Society bulletins over the years we now know a bit more than we did. With apologies in advance for length, I thought it would be helpful to set out what is known about them.

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Sulis Minerva, the Romano-Celtic fusion of Minerva with her British counterpart, Sulis, currently residing in the English city of Bath.

Minerva, described by Ovid as ‘goddess of a thousand works’, was the Roman goddess of wisdom and science aswell as war, art and poetry. Her Greek counterpart was Athena and she is generally depicted carrying a spear and shield and wearing a golden breastplate. Her symbols were the owl, the snake and the olive tree.

So, as names go, Minerva is a pretty good choice if you are in the book publishing business, evoking an image of strength, wisdom and learned studiousness and generally lending an air of gravitas to your product.

This means unfortunately there is a confusing plethora of Minerva publishing houses to be found. From producing copious amounts of gothic horror by women authors in 1790, to odious racist propaganda in 1888, up to present day textbooks relating to Middle Eastern language and culture, and magazines which cover diverse subjects from ancient art and archaeology to Ipswich Lifestyle and Solihull Living, dozens of different Minervas have and still do exist which have nothing to do with our Morton collecion yet persist in popping up during searches of the internet to confuse the armchair researcher.

The Morton Minervas:

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An unusual promotional copy (courtesy of JB)

Until recently there was little explanation as to who had actually produced the Morton Minervas. Examination of the individual volumes themselves gives no clue since, apart from their distinctive livery, between the covers they are simply rebound copies of standard editions.

Now, however, thanks to the vigilance of Mortonite JB, we have discovered two unusual sales and promotional copies with fold-out sections, depicting the spines of many of the books in the collection. These have really cast a light on things and we now know the Morton volumes were issued by the Library Press of 36 Russell Square, London, WC 1.

In addition we have the Library Press’s own description of them as being bound in ‘special leather-cloth’, each volume measuring 7 ¾ inches by 5, with an initial price of £2.2s.0d, later amended (by hand on the promotional copies) to £3.10s.6d.

These copies are fascinating in themselves and give a real flavour of the times. They extol the merits of Morton’s words and reveal the personal touch of their original owner who has carefully updated details of prices and the number of titles in the series as they changed.

As an exercise for myself I transcribed some of the ‘sales patter’, and it’s pretty florid stuff, to say the least!

The smell of English Meadows

‘As a final effort to convey to the reader the exceptional quality and enduring charm of these remarkable books, permit us to quote from the Author’s own note to the Ninth Edition of “In Search of England”:

‘“If you find in these pages the smell of English meadows, if they bring back to you the smooth movement of English rivers, the stately somnolence of cathedral cities and the sound of bells among elm trees on cool summer mornings I am happy because–well; the pain will not really hurt you. You may even enjoy it.

‘For ourselves we are sure you will revel in each one of these entrancing volumes. There is nothing to choose between them. Each is as humorous, as full of information, as crammed with little-known legends and facts, anecdotes and wayfaring “characters” as its companion volumes. No book-lover will be content with less than the set of four [amended by hand to five, Ed.] delightful volumes.

The Illustrations

‘Each book (except “In Search of England” which has 18) has 16 plates delightfully depicting the country through which the author passes, or the people he meets. “The Call of England” has 8 plates in colour. Each book has an interesting end-paper map, specially drawn by A. E. Taylor, showing the route covered in the book.’

They are all hardback, with embossed brown boards, gilt lettering and upper edge paper and featuring a single, central motif on the front cover, also in gilt, depicting a tree, possibly the deity’s olive tree. Initially issued as a series of four, the number of titles grew and there are now at least nine that we know of:

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The full set (with a duplicate): “In Search of England”; “The Call of England”; “In Search of Scotland”; “In Scotland Again”; “In Search of Ireland”; “In Search of Wales”; “A London Year”; “In The Steps of St Paul” and “In the Steps of the Master” (courtesy of OH)

The earliest edition we know of is dated 1931, the latest is 1936.

Slightly earlier, during the 1920s and 1930s, the Library Press also published another series, known as the Minerva Editions of Modern Authors. These are similar, but by no means identical to the Morton editions.

Like the Morton editions, many (but not all) Minerva Editions of Modern Authors also have leather-like covers with gilt lettering and a central solitary motif on the front cover. The details however are quite distinct. The front cover motif varies from author to author but none of the Editions of Modern Authors to be found on the websites of second-hand book dealers depict the olive tree of Minerva found on the Morton volumes. Furthermore they are markedly smaller than the Morton editions, measuring approximately 6 ¾ inches by 4 ¾ and, most importantly, the opening pages (at least of the copies I posess – AA Milne’s “Once a Week” and “Possible Worlds” by JBS Haldane) declare them quite clearly to be Minerva Editions of Modern Authors, which the Morton Minervas do not.

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A Morton Minerva next to two Minerva Editions of Modern Authors, roughly to scale, showing the size difference.

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The initial pages from the Minerva Editions of Modern Authors clearly announcing their origins.

Authors in the Minerva Editions of Modern Authors include:

Hilaire Belloc, AA Milne, JB Priestley, EV Knox, John Masefield, EV Lucas, RH Mottram, Arnold Bennett, J. B. S. Haldane and Aldous Huxley all of whose works were presented in brown leatherette boards with a central Minerva bust in gilt and green.

In a variation on this theme AA Milne, EV Lucas and Arnold Bennet also had editions with brown leatherette boards but with a central hexagonal motif in gilt and blue containing their initials. GK Chesterton was published with marbled blue boards and a central hexagonal motif containing his initials, GKC. Hilaire Belloc also had his works produced in blue and in black boards, both with a simple central rectangular motif containing the initials HB.

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Details of the central motifs on the front covers – the Morton olive tree is on the left, followed by AA Milne’s initials and the bust of Minerva from my copy of “Possible Worlds” by JBS Haldane. Note the use of colour in the motifs from the Modern Authors editions which is absent from the Morton editions.

In conclusion, what we know so far is the intriguing HV Morton Minerva Editions were (at least) nine in number and possibly a later addition to or sub-set of a similar, yet quite distinct and wider ranging series known as the Minerva Editions of Modern Authors. They were presumably co-editions of Morton’s works, marketed in conjunction with their original publishers as striking and collectible matching sets in the 1930s and issued by the (now non-existent) Library Press of Russell Square, London in the same way, for example, the Folio Society does today. They seem not to have been new editions or reprints but were simply specially re-bound versions of existing editions.

If anyone reading this has any information which might cast further light on the matter I would be most grateful if they would like to get in touch either by leaving a comment at the bottom of the article or via the email link here.

My grateful thanks go to JB, SB, JB, OH, JH and RM.

With best wishes,

Niall Taylor, Glastonbury, England,

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The Father of the Dog

A vocation as a veterinary surgeon has its fair share of highs and lows. It is a privilege to be able to assist animals and those who care for them but there are also those occasions when sadly the time comes when it is no longer possible to do more. At this point it is both a blessing and a painful duty sometimes to be able to offer help by means of a final act of kindness.

Here is an account by HV Morton of just such a heart rending situation as he illustrates both the pleasure and the pain which we willingly enjoy and endure when we take an animal into our hearts.

It is from Chapter 8 of “In The Steps of the Master”, first published in 1934. Early in the chapter Morton describes how he came across a dog, a Saluki, lying in the dust in the village of Banias, dying of hunger. Unable to walk, she was covered in flies. Morton writes “… her eyes were lost in a world of unutterable pain… I had never in my life seen an animal in such a ghastly condition”.

Angered and profoundly moved but unable to help her himself Morton instead prevails upon “a nice, gentle Arab in an old suit of khaki” whose job it was to sweep out the shrine at El Kedir, and gives him ten shillings to look after the dog and try to restore her to health. He promises to return then departs to continue his travels with mixed feelings as to whether he has acted for the best.

Sometime later, having thought of the starving Saluki of Banias every day since, to the bewilderment of his driver, he disrupts his intended route and makes a return visit, desperate for news of her:

In the Steps of the Master

… as soon as I appeared the whole village gathered round, but not with the grim, hard expression which terrifies nervous tourists: they were all laughing and smiling, and a cry went up “Abu kelb, Abu kelb!” which means “Father of the dog.”

The Arab is a great hand-shaker. I went round the group shaking hands, telling the driver to ask them how the dog was.

“Come and see, O Abu Kelb!” was the reply.

And a crowd of bare-legged little children went running up between the mud walls announcing the great and spectacular news that “Abu kelb, the father of the dog,” had returned.

I was led to the squalid little hovel behind the mud walls. The crowd was so great that we had to shut the gate, but the children climbed up on the wall to watch. A white mare was tethered in the yard. A douanier, whom I had not seen before, came out of the house, dressed in a pair of khaki breeches and a grey army shirt. He shook me warmly by the hand, explaining in French that he was a lodger in the house, but had unfortunately been out on duty when I had been there before. Now, however, how happy he was to make my acquaintance! How glad he was that I had come back…

All the time the douanier bubbled with affability and I gazed round for the dog, but could not see her. My heart sank. So she was dead! Perhaps it was just as well. But I was too familiar with the habits of the Arabs to ask any questions. All would be known in time.

The douanier, it appeared, was an Armenian from Aleppo. He had a great affection for England. He had learnt English from a priest at a mission school in Aleppo. Ah, if some day he could go to London! He would like that very much… So he rattled on. Then the crowd parted and the man who sweeps out the shrine of El Kedir came up with the Saluki.

I could hardly believe my eyes. She could stand! Her hind legs trembled woefully and her tail, bare and mangy, was still well down. But her eyes had lost the fear of death, although they were still full of pain.

The Arab had made her a little coat from a pair of khaki trousers and he had bound up the wounds on her forelegs with pieces of rag. The Armenian explained that he had bathed her wounds with wine and oil the remedy which the Good Samaritan used on the wounded traveller.

The dog seemed to know in some way that I was the cause of her present well-being and she did something which completely finished me. She walked up to me and just rested her bruised muzzle on my knee. I decided at that moment that, grotesque and blown out with starvation as she was, wounded, mangy and sore, I would somehow take her home with me to England.

I thought how extraordinary it is that a show of interest and a little money can make so much difference to any living thing. The poor creature that a week ago had been stoned and kicked about was now a feature of the village. She was the protege of the rich, mad, Englishman.

I asked the Armenian what would happen if I did not take her away.

“This man,” he replied, pointing to the Arab; “will look after her as long as you pay, but when you stop paying he will turn her loose, because he is too poor to buy food for her.”

I told him of my intention of taking the dog to Jerusalem. He shook his head. The Palestine Customs would not allow her to enter in her present condition. But if I got an order from the Government? I suggested. Yes, it might be done.

So we agreed that they should continue the feeding and the bathing of the dog, and I handed out some more baksheesh.

“That is the name of the dog,” I explained. “I shall call her ‘Baksheesh’ ”

This was a joke that everybody understood!

I went off, promising that I would either call again at Banias or send someone in my name to take “Baksheesh” into Palestine. And as I went off I heard the children shout ing “Abu kelb!”

Weeks later I got a letter which read:

My dear friend, Mr. Morton, I am verry glade I get a great satisfaction by this relation which commenced with a dog. You can be able for its hospitality. I brought a big jar of sea water from Sidon by which I wash it evry day, morning and evening. Now it is better than bifore. I hope that we will not forget ourselves, and I am allways redy to execute your commissions. Excuse me for my mistakes, be cause the last war of Turkey in 1930 wich resulted after two years with all Christchen immegration has destroyed our futur and high life. God be with you till we meet.

JOHN.”

It was from the excellent Customs Officer at Banias. So he was bathing the dog with water from Sidon.

That sounded excellent.

In a few days I was able, through the kindness of the Palestine Government, to get poor “Baksheesh” through the Customs and into the kennels of the S.P.C.A. in Jerusalem, an organization that, although dying for lack of money, is striving hard to make the Arab understand that animals can feel and suffer.

The report was encouraging. I saw myself taking “Baksheesh” for walks in Hyde Park and for long tramps over the Sussex Downs. Then one day I received a letter saying that she was dead. She was too weak to stand treatment.

“Knowing how much you cared,” wrote Mrs. Reynolds, a member of the Society, “I have buried her in my own garden, where you can think of her sleeping among the rock flowers.”

When I was near Banias again I made a detour to thank John for all his kindness. The Arabs and the children crowded round my car with cries of “Abu kelb!” looking and peering into the car for “Baksheesh.” I told them she was dead.

“It is the will of Allah!” they said.

And they looked at me with the respectful sympathy due to any man who tries to defy the inscrutable will of God. Even John, the Good Samaritan, said it was a good thing, and that when I went to Aleppo he would give me two much finer dogs. Even he did not understand that the crucified eyes of poor “Baksheesh” had marked her out from all the other dogs upon this earth.

With best wishes,

Niall Taylor,
Glastonbury, Somerset, England (Originally circulated as HVM Society Snippets – No.217).

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Tut-ankh-amen’s Gold: Into the Land of Egypt

I hope you will forgive me when I say I am feeling a little pleased with myself at the moment. I have just managed to acquire one of the rarest examples of Mortoniana there is!

A large booklet in heavy-weight paper, its silvery front page bears the title ‘EGYPT‘, written in blue letters which are shaped from stylised papyrus bundles. The cover is enclosed between protective transparent sheets of blue plastic and the whole thing bound with spiral wire. It measures approximately 315 mm (12.5 inches) in height by 235 mm (9.5 inches) in width and comprises 31 unnumbered pages. From the style and content, it appears to be aimed at attracting tourists to that ancient land, particularly American, English and French tourists.

The first section is an introductory article by HV Morton entitled Tut-ankh-amen’s Gold: Into the Land of Egypt. This is laid out on four pages, each decorated on one margin with depictions of the art and heiroglyphs of Ancient Egypt in blue. The text is very similar to sections on pages 55 to 57 of Morton’s book “Middle East” (published by Methuen, London, on 5 June 1941).

Unfortunately, just to temper my joy, my newly acquired copy has obviously got a little damp at some point in the past – the metal binding has rusted and, most frustratingly, the pages of Morton’s article have stuck together in places and when pulled apart again some of the text has been lost.

However, nothing is too much trouble for the HVM Society so, looking for all the world like extreme archaeologist, Indiana Jones, (only without his rugged good looks and Hollywood lifestyle), I held the pages up to a strong light source and managed to peer through them, despite their thickness, in order to get an idea what the missing sections originally said. Eventually I was able to make a transcript of the piece for the archives.

The second section comprises ten poems by Ali Asir-El-Din interpersed with several stock photographs depicting Egyptian scenes (the photographs are by: M.C. Salisbury, G.W. Allan, Alban, Photo Kodak Egypt, H.J. Fresco, Royal Egyptian Air Force, and the Egyptian Museum Cairo).

I haven’t been able to find much about the poet, google is unusually tight-lipped about him. And, although I am no judge of poetry, the reason for this may be, at least from the examples published here, that he is no Shakespeare, in truth he may barely even be a McGonagall I’m afraid. Here’s an example:

BY THE NILE

The swiftly running river,
Moonbeams a-quiver
Within the trees

A white form, gowned and slender,
Eyes dark and tender,
And lips that please…

… and so on.

Drawing a (mystic) veil over this dodgy doggerel, the next section is a page of prose by a Claire Cowell (again, nothing seems to be available on the internet to suggest who Ms Cowell may have been), eulogizing the wonders of Ancient Egypt.

After this we have three illustrated maps depicting the course of the river Nile and the principal transport routes from Wady (now spelled Wadi) Halfa north, through Abu Simbel, Assuan, Thebes and Luxor to Cairo and the Nile Delta.

After a single page left blank for notes by the traveller the whole work is rounded off with a page of information for the benefit of the visitor: a list of routes by which to journey to Egypt, as well as exchange rates, hotels, taxis, hints concerning clothing considered suitable for the climate and a list of spots likely to be enjoyed by the tourist.

The booklet was designed and printed by Editions Mayeux, Paris and bound by Reliure Integrale Bree France et Etranger. In the opening article Morton mentions his witnessing of the opening of Tutankhamen’s tomb fourteen years previously so, since he was sending despatches from the tomb-site to the Daily Express in February 1923, presumably the booklet was published around 1937, although no specific date is given on the booklet itself. Morton presented a number of on-board lectures for the Hellenic Travel Club from 1935 to 1939 on cruises to the Middle East and it is possible the booklet is associated with one of the tours.

With best wishes,

Niall Taylor, Glastonbury, Somerset, England, 5 July 2017 (with gratetful thanks to Peter Devenish and O.H.)

(This article was originaly distibuted as HVM Society Snippets – No.215)

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