Red Roofs Of London

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Title:     Red Roofs Of London
Author: Richard Jefferies [More Titles by Jefferies]

Tiles and tile roofs have a curious way of tumbling to pieces in an irregular and eye-pleasing manner. The roof-tree bends, bows a little under the weight, curves in, and yet preserves a sharpness at each end. The Chinese exaggerate this curve of set purpose. Our English curve is softer, being the product of time, which always works in true taste. The mystery of tile-laying is not known to every one; for to all appearance tiles seem to be put on over a thin bed of hay or hay-like stuff. Lately they have begun to use some sort of tarpaulin or a coarse material of that kind; but the old tiles, I fancy, were comfortably placed on a shake-down of hay. When one slips off, little bits of hay stick up; and to these the sparrows come, removing it bit by bit to line their nests. If they can find a gap they get in, and a fresh couple is started in life. By-and-by a chimney is overthrown during a twist of the wind, and half a dozen tiles are shattered. Time passes; and at last the tiler arrives to mend the mischief. His labour leaves a light red patch on the dark dull red of the breadth about it. After another while the leaks along the ridge need plastering: mortar is laid on to stay the inroad of wet, adding a dull white and forming a rough, uncertain undulation along the general drooping curve. Yellow edgings of straw project under the eaves--the work of the sparrows. A cluster of blue-tinted pigeons gathers about the chimney-side; the smoke that comes out of the stack droops and floats sideways, downwards, as if the chimney enjoyed the smother as a man enjoys his pipe. Shattered here and cracked yonder, some missing, some overlapping in curves, the tiles have an aspect of irregular existence. They are not fixed, like slates, as it were for ever: they have a newness, and then a middle-age, and a time of decay like human beings.

One roof is not much; but it is often a study. Put a thousand roofs, say rather thousands of red-tiled roofs, and overlook them--not at a great altitude but at a pleasant easy angle--and then you have the groundwork of the first view of London over Bermondsey from the railway. I say groundwork, because the roofs seem the level and surface of the earth, while the glimpses of streets are glimpses of catacombs. A city--as something to look at--depends very much on its roofs. If a city have no character in its roofs it stirs neither heart nor thought. These red-tiled roofs of Bermondsey, stretching away mile upon mile, and brought up at the extremity with thin masts rising above the mist--these red-tiled roofs have a distinctiveness, a character; they are something to think about. Nowhere else is there an entrance to a city like this. The roads by which you approach them give you distant aspects--minarets, perhaps, in the East, domes in Italy; but, coming nearer, the highway somehow plunges into houses, confounding you with facades, and the real place is hidden. Here from the railway you see at once the vastness of London. Roof-tree behind roof-tree, ridge behind ridge, is drawn along in succession, line behind line till they become as close together as the test-lines used for microscopes. Under this surface of roofs what a profundity of life there is! Just as the great horses in the waggons of London streets convey the idea of strength, so the endlessness of the view conveys the idea of a mass of life. Life converges from every quarter. The iron way has many ruts: the rails are its ruts; and by each of these a ceaseless stream of men and women pours over the tiled roofs into London. They come from the populous suburbs, from far-away towns and quiet villages, and from over sea.

Glance down as you pass into the excavations, the streets, beneath the red surface: you catch a glimpse of men and women hastening to and fro, of vehicles, of horses struggling with mighty loads, of groups at the corners, and fragments, as it were, of crowds. Busy life everywhere: no stillness, no quiet, no repose. Life crowded and crushed together; life that has hardly room to live. If the train slackens, look in at the open windows of the houses level with the line--they are always open for air, smoke-laden as it is--and see women and children with scarce room to move, the bed and the dining-table in the same apartment. For they dine and sleep and work and play all at the same time. A man works at night and sleeps by day: he lies yonder as calmly as if in a quiet country cottage. The children have no place to play in but the living-room or the street. It is not squalor--it is crowded life. The people are pushed together by the necessities of existence. These people have no dislike to it at all: it is right enough to them, and so long as business is brisk they are happy. The man who lies sleeping so calmly seems to me to indicate the immensity of the life around more than all the rest. He is oblivious of it all; it does not make him nervous or wakeful; he is so used to it, and bred to it, that it seems to him nothing. When he is awake lie does not see it; now he sleeps he does not hear it. It is only in great woods that you cannot see the trees. He is like a leaf in a forest--he is not conscious of it. Long hours of work have given him slumber; and as he sleeps he seems to express by contrast the immensity and endlessness of the life around him.

Sometimes a floating haze, now thicker here, and now lit up yonder by the sunshine, brings out objects more distinctly than a clear atmosphere. Away there tall thin masts stand out, rising straight up above the red roofs. There is a faint colour on them; the yards are dark--being inclined, they do not reflect the light at an angle to reach us. Half-furled canvas droops in folds, now swelling a little as the wind blows, now heavily sinking. One white sail is set and gleams alone among the dusky folds; for the canvas at large is dark with coal-dust, with smoke, with the grime that settles everywhere where men labour with bare arms and chests. Still and quiet as trees the masts rise into the hazy air; who would think, merely to look at them, of the endless labour they mean? The labour to load, and the labour to unload; the labour at sea, and the long hours of ploughing the waves by night; the labour at the warehouses; the labour in the fields, the mines, the mountains; the labour in the factories. Ever and again the sunshine gleams now on this group of masts, now on that; for they stand in groups as trees often grow, a thicket here and a thicket yonder. Labour to obtain the material, labour to bring it hither, labour to force it into shape--work without end. Masts are always dreamy to look at: they speak a romance of the sea; of unknown lands; of distant forests aglow with tropical colours and abounding with strange forms of life. In the hearts of most of us there is always a desire for something beyond experience. Hardly any of us but have thought, Some day I will go on a long voyage; but the years go by, and still we have not sailed.

[The end]
Richard Jefferies's essay: Red Roofs Of London

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