When I was a child, I had a toy-theatre, illuminated in those days by candles (to which perhaps the psycho-analyst will trace my subsequent downfall into ecclesiastical crypts and cloisters) and in the ordinary way I was quite content with this type of illumination, the candles seeming to my barbarous mind to be themselves like a forest of fairy trees, with flames for flowers. There were also yet more rich and rare delights, which were sufficiently rare to those not sufficiently rich. It was sometimes possible to purchase a sort of dark red powder, which when ignited burst into a rich red light. Fire was wonderful enough — but red fire! But then I was only a dull Victorian infant somewhere between five and seven; and I only used red fire rarely; when it was effective. Living under such limitations, my immature brain perceived that it was more suitable to some things than to others; as, for instance, to a goblin coming up through a trap-door out of the cavern of the King of the Copper Mines, or to the final conflagration that made a crimson halo round the dark mill and castle of the execrable Mad Miller. I should not even then have used red fire in a scene showing the shepherd (doubtless a prince in disguise) piping to his lambs in the pale green meadows of spring; or in a scene in which glassy gauzes of green and blue waved in the manner of waves round the cold weeds and fishes at the entrance to Davy Jones’s Locker. Science and progress and practical education and knowledge of the world are necessary before people can make blunders like that. Therefore, that red fire of the nursery still glows in my memory as an inward imaginative revelation, in spite of years, in spite of time, in spite even of passing through the streets of modern London.
In the London streets to-day, in what Mr. Cuthbert Baines has so vividly called, “the floodlit, bloodlit street,” the rare effect of red fire is wholly wasted and ruined, by the loss of its rarity and by the loss of its suitability. The child who has been made too familiar with all that redhot lettering will probably never have the romance that I remember in my childhood; and it is perhaps strictly true to say that he will never see red fire in his life. First, of course, because he has seen too much of it. For this is not the decorative process of using red in a scheme of colour; it is simply the dull process of painting the town red. But second, also, because the toy-theatre showed him little pictures of large things; and the town signs show him large pictures of little things. He will very soon discover that the ideas associated with these signs, the motives of the men who put them up, the mood of the men who accept them, are things connected entirely with dreary money-grubbing or shoddy luxury. He will be unable to get any great vista or vision out of a glimpse; he will know nothing but a glaring wilderness of proclamations that have emphasis without significance; and will grow up without any poetical associations with a colour he has only seen used to sell a cosmetic or a quack medicine.
– The Well and the Shallows (1935)