In golf, humiliations are the essence of the game.

I think it was Roger Fry who first coined what he took to be a final definition of a work of art, whether it was a painting, building, poem or Hepplewhite chair. He said that the best works of art are finished products that preserve 'a valuable state of mind'.

More than anything else, though, to anyone who would write about it, golf offers a four-hour drama in two acts, which becomes memorable even in the tape-recorded reminiscenses of old champs, and which - in the hands of someone like Herb Wind - can become a piece of war correspondence as artfully controlled as Alan Morehead's account of Gallipoli.

In the best of times, our days are numbered anyway. So it would be a crime against nature for any generation to take the world crisis so solemnly that it put off enjoying those things for which we were designed in the first place: the opportunity to do good work, to enjoy friends, to fall in love, to hit a ball, and to bounce a baby.

So the British, of all ages, still walk the course. On trips to Florida or the American desert, they still marvel, or shudder, at the fleets of electric carts going off in the morning like the first assault wave at the Battle of El Alamein. It is unlikely, for some time, that a Briton will come across in his native land such a scorecard as Henry Longhurst rescued from a California club and cherished till the day he died. The last on its list of local rules printed the firm warning "A Player on Foot Has No Standing on the Course."

Curiosity endows the people who have it with a generosity in argument and a serenity in their own mode of life which springs from their cheerful willingness to let life take the form it will.

To get an elementary grasp of the game of golf, a human must learn, by endless practice, a continuous and subtle series of highly unnatural movements, involving about sixty-four muscles, that result in a seemingly natural swing, taking two seconds to begin and end.