as something plain and staring, and perhaps spotted, like his own rocking-horse in the nursery.
It might be said symbolically that Americans have a taste for rocking-horses, as they certainly have a taste for rocking-chairs. A flippant critic might suggest that they select rocking-chairs so that, even when they are sitting down, they need not be sitting still. Something of this restlessness in the race may really be involved in the matter; but I think the deeper significance of the rocking-chair may still be found in the deeper symbolism of the rocking-horse. I think there is behind all this fresh and facile use of wood a certain spirit that is childish in the good sense of the word; something that is innocent, and easily pleased. It is not altogether untrue, still less is it unfriendly, to say that the landscape seems to be dotted with dolls’ houses. It is the true tragedy of every fallen son of Adam that he has grown too big to live in a doll’s house. These things seem somehow to escape the irony of time by not even challenging it; they are too temporary even to be merely temporal. These people are not building tombs; they are not, as in the fine image of Mrs. Meynell’s poem, merely building ruins. It is not easy to imagine the ruins of a doll’s house; and that is why a doll’s house is an everlasting habitation. How far it promises a political permanence is a matter for further discussion; I am only describing the mood of discovery; in which all these cottages built of lath, like the palaces of a pantomime, really seemed coloured like the clouds of morning; which are both fugitive and eternal.
There is also in all this an atmosphere that comes in another sense from the nursery. We hear much of Americans being educated on English literature; but
