The Essential G. K. Chesterton

by G. K. Chesterton

  The New House

  Within a stone's throw of my house they are building another house. I am glad they are building it, and I am glad it is within a stone's throw; quite well within it, with a good catapult. Nevertheless, I have not yet cast the first stone at the new house--not being, strictly speaking, guiltless myself in the matter of new houses. And, indeed, in such cases there is a strong protest to be made. The whole curse of the last century has been what is called the Swing of the Pendulum; that is the idea that Man must go alternately from one extreme to the other. It is a shameful and even shocking fancy; it is the denial of the whole dignity of mankind. When Man is alive he stands still. It is only when he is dead that he swings. But whenever one meets modern thinkers (as one often does) progressing towards a madhouse, one always finds, on inquiry, that they have just had a splendid escape from another madhouse. Thus, hundreds of people become Socialists, not because they have tried Socialism and found it nice, but because they have tried Individualism and found it particularly nasty. Thus, many embrace Christian Science solely because they are quite sick of heathen science; they are so tired of believing that everything is matter that they will even take refuge in the revolting fable that everything is mind. Man ought to march somewhere. But modern man (in his sick reaction) is ready to march nowhere--so long as it is the Other End of Nowhere.

  The case of building houses is a strong instance of this. Early in the nineteenth century our civilization chose to abandon the Greek and medieval idea of a town, with walls, limited and defined, with a temple for faith and a market-place for politics; and it chose to let the city grow like a jungle with blind cruelty and bestial unconsciousness; so that London and Liverpool are the great cities we now see. Well, people have reacted against that; they have grown tired of living in a city which is as dark and barbaric as a forest only not as beautiful, and there has been an exodus into the country of those who could afford it, and some I could name who can't. Now, as soon as this quite rational recoil occurred, it flew at once to the opposite extreme. People went about with beaming faces, boasting that they were twenty-three miles from a station. Rubbing their hands, they exclaimed in rollicking asides that their butcher only called once a month, and that their baker started out with fresh hot loaves which were quite stale before they reached the table. A man would praise his little house in a quiet valley, but gloomily admit (with a slight shake of the head) that a human habitation on the distant horizon was faintly discernible on a clear day. Rival ruralists would quarrel about which had the most completely inconvenient postal service; and there were many jealous heartburnings if one friend found out any uncomfortable situation which the other friend had thoughtlessly overlooked.

  In the feverish summer of this fanaticism there arose the phrase that this or that part of England is being "built over." Now, there is not the slightest objection, in itself, to England being built over by men, any more than there is to its being (as it is already) built over by birds, or by squirrels, or by spiders. But if birds' nests were so thick on a tree that one could see nothing but nests and no leaves at all, I should say that bird civilization was becoming a bit decadent. If whenever I tried to walk down the road I found the whole thoroughfare one crawling carpet of spiders, closely interlocked, I should feel a distress verging on distaste. If one were at every turn crowded, elbowed, overlooked, overcharged, sweated, rack-rented, swindled, and sold up by avaricious and arrogant squirrels, one might at last remonstrate. But the great towns have grown intolerable solely because of such suffocating vulgarities and tyrannies. It is not humanity that disgusts us in the huge cities; it is inhumanity. It is not that there are human beings; but that they are not treated as such. We do not, I hope, dislike men and women; we only dislike their being made into a sort of jam: crushed together so that they are not merely powerless but shapeless. It is not the presence of people that makes London appalling. It is merely the absence of The People.

  Therefore, I dance with joy to think that my part of England is being built over, so long as it is being built over in a human way at human intervals and in a human proportion. So long, in short, as I am not myself built over, like a pagan slave buried in the foundations of a temple, or an American clerk in a star-striking pagoda of flats, I am delighted to see the faces and the homes of a race of bipeds, to which I am not only attracted by a strange affection, but to which also (by a touching coincidence) I actually happen to belong. I am not one desiring deserts. I am not Timon of Athens; if my town were Athens I would stay in it. I am not Simeon Stylites; except in the mournful sense that every Saturday I find myself on the top of a newspaper column. I am not in the desert repenting of some monstrous sins; at least, I am repenting of them all right, but not in the desert. I do not want the nearest human house to be too distant to see; that is my objection to the wilderness. But neither do I want the nearest human house to be too close to see; that is my objection to the modern city. I love my fellow-man; I do not want him so far off that I can only observe anything of him through a telescope, nor do I want him so close that I can examine parts of him with a microscope. I want him within a stone's throw of me; so that whenever it is really necessary, I may throw the stone.

  Perhaps, after all, it may not be a stone. Perhaps, after all, it may be a bouquet, or a snowball, or a firework, or a Free Trade Loaf; perhaps they will ask for a stone and I shall give them bread. But it is essential that they should be within reach: how can I love my neighbour as myself if he gets out of range for snowballs? There should be no institution out of the reach of an indignant or admiring humanity. I could hit the nearest house quite well with the catapult; but the truth is that the catapult belongs to a little boy I know, and, with characteristic youthful 'selfishness, he has taken it away.

  The Wings of Stone

  The preceding essay is about a half-built house upon my private horizon; I wrote it sitting in a garden-chair; and as, though it was a week ago, I have scarcely moved since then (to speak of), I do not see why I should not go on writing about it. Strictly speaking, I have moved; I have even walked across a field--a field of turf all fiery in our early summer sunlight--and studied the early angular red skeleton which has turned golden in the sun. It is odd that the skeleton of a house is cheerful when the skeleton of a man is mournful, since we only see it after the man is destroyed. At least, we think the skeleton is mournful; the skeleton himself does not seem to think so. Anyhow, there is something strangely primary and poetic about this sight of the scaffolding and main lines of a human building; it is a pity there is no scaffolding round a human baby. One seems to see domestic life as the daring and ambitious thing that it is, when one looks at those open staircases and empty chambers, those spirals of wind and open halls of sky. Ibsen said that the art of domestic drama was merely to knock one wall out of the four walls of a drawing-room. I find the drawing-room even more impressive when all four walls are knocked out.

  I have never understood what people mean by domesticity being tame; it seems to me one of the wildest of adventures. But if you wish to see how high and harsh and fantastic an adventure it is, consider only the actual structure of a house itself. A man may march up in a rather bored way to bed; but at least he is mounting to a height from which he could kill himself. Every rich, silent, padded staircase, with banisters of oak, stair-rods of brass, and busts and settees on every landing, every such staircase is truly only an awful and naked ladder running up into the Infinite to a deadly height. The millionaire who stumps up inside the house is really doing the same thing as the tiler or roof-mender who climbs up outside the house; they are both mounting up into the void. They are both making an escalade of the intense inane. Each is a sort of domestic mountaineer; he is reaching a point from which mere idle falling will kill a man; and life is always worth living while men feel that they may die.

  I cannot understand people at present making such a fuss about flying ships and aviation, when men ever since Stonehenge and the Pyramids have done something so much more wild t
han flying. A grasshopper can go astonishingly high up in the air, his biological limitation and weakness is that he cannot stop there. Hosts of unclean birds and crapulous insects can pass through the sky, but they cannot pass any communication between it and the earth. But the army of man has advanced vertically into infinity, and not been cut off. It can establish outposts in the ether, and yet keep open behind it its erect and insolent road. It would be grand (as in Jules Verne) to fire a cannon-ball at the moon; but would it not be grander to build a railway to the moon? Yet every building of brick or wood is a hint of that high railroad; every chimney points to some star, and every tower is a Tower of Babel. Man rising on these awful and unbroken wings of stone seems to me more majestic and more mystic than man fluttering for an instant on wings of canvas and sticks of steel. How sublime and, indeed, almost dizzy is the thought of these veiled ladders on which we all live, like climbing monkeys! Many a black-coated clerk in a flat may comfort himself for his sombre garb by reflecting that he is like some lonely rook in an immemorial elm. Many a wealthy bachelor on the top floor of a pile of mansions should look forth at morning and try (if possible) to feel like an eagle whose nest just clings to the edge of some awful cliff. How sad that the word "giddy" is used to imply wantonness or levity! It should be a high compliment to a man's exalted spirituality and the imagination to say he is a little giddy.

  I strolled slowly back across the stretch of turf by the sunset, a field of the cloth of gold. As I drew near my own house, its huge size began to horrify me; and when I came to the porch of it I discovered with an incredulity as strong as despair that my house was actually bigger than myself. A minute or two before there might well have seemed to be a monstrous and mythical competition about which of the two should swallow the other. But I was Jonah; my house was the huge and hungry fish; and even as its jaws darkened and closed about me I had again this dreadful fancy touching the dizzy altitude of all the works of man. I climbed the stairs stubbornly, planting each foot with savage care, as if ascending a glacier. When I got to a landing I was wildly relieved, and waved my hat. The very word "landing" has about it the wild sound of some one washed up by the sea. I climbed each flight like a ladder in naked sky. The walls all round me failed and faded into infinity; I went up the ladder to my bedroom as Montrose went up the ladder to the gallows; sic itur ad astro. Do you think this is a little fantastic--even a little fearful and nervous? Believe me, it is only one of the wild and wonderful things that one can learn by stopping at home.

  The Three Kinds of Men

  Roughly speaking, there are three kinds of people in this world. The first kind of people are People; they are the largest and probably the most valuable class. We owe to this class the chairs we sit down on, the clothes we wear, the houses we live in; and, indeed (when we come to think of it), we probably belong to this class ourselves. The second class may be called for convenience the Poets; they are often a nuisance to their families, but, generally speaking, a blessing to mankind. The third class is that of the Professors or Intellectuals; sometimes described as the thoughtful people; and these are a blight and a desolation both to their families and also to mankind. Of course, the classification sometimes overlaps, like all classification. Some good people are almost poets and some bad poets are almost professors. But the division follows lines of real psychological cleavage. I do not offer it lightly. It has been the fruit of more than eighteen minutes of earnest reflection and research.

  The class called People (to which you and I, with no little pride, attach ourselves) has certain casual, yet profound, assumptions, which are called "commonplaces," as that children are charming, or that twilight is sad and sentimental, or that one man fighting three is a fine sight. Now, these feelings are not crude; they are not even simple. The charm of children is very subtle; it is even complex, to the extent of being almost contradictory. It is, at its very plainest, mingled of a regard for hilarity and a regard for helplessness. The sentiment of twilight, in the vulgarest drawing-room song or the coarsest pair of sweethearts, is, so far as it goes, a subtle sentiment. It is strangely balanced between pain and pleasure; it might also be called pleasure tempting pain. The plunge of impatient chivalry by which we all admire a man fighting odds is not at all easy to define separately, it means many things, pity, dramatic surprise, a desire for justice, a delight in experiment and the indeterminate. The ideas of the mob are really very subtle ideas; but the mob does not express them subtly. In fact, it does not express them at all, except on those occasions (now only too rare) when it indulges in insurrection and massacre.

  Now, this accounts for the otherwise unreasonable fact of the existence of Poets. Poets are those who share these popular sentiments, but can so express them that they prove themselves the strange and delicate things that they really are. Poets draw out the shy refinement of the rabble. Where the common man covers the queerest emotions by saying, "Rum little kid," Victor Hugo will write "L'art d'etre grand-pere"; where the stockbroker will only say abruptly, "Evenings closing in now," Mr. Yeats will write "Into the twilight"; where the navvy can only mutter something about pluck and being "precious game," Homer will show you the hero in rags in his own hall defying the princes at their banquet. The Poets carry the popular sentiments to a keener and more splendid pitch; but let it always be remembered that it is the popular sentiments that they are carrying. No man ever wrote any good poetry to show that childhood was shocking, or that twilight was gay and farcical, or that a man was contemptible because he had crossed his single sword with three. The people who maintain this are the Professors, or Prigs.

  The Poets are those who rise above the people by understanding them. Of course, most of the Poets wrote in prose--Rabelais, for instance, and Dickens. The Prigs rise above the people by refusing to understand them: by saying that all their dim, strange preferences are prejudices and superstitions. The Prigs make the people feel stupid; the Poets make the people feel wiser than they could have imagined that they were. There are many weird elements in this situation. The oddest of all perhaps is the fate of the two factors in practical politics. The Poets who embrace and admire the people are often pelted with stones and crucified. The Prigs who despise the people are often loaded with lands and crowned. In the House of Commons, for instance, there are quite a number of prigs, but comparatively few poets. There are no People there at all.

  By poets, as I have said, I do not mean people who write poetry, or indeed people who write anything. I mean such people as, having culture and imagination, use them to understand and share the feelings of their fellows; as against those who use them to rise to what they call a higher plane. Crudely, the poet differs from the mob by his sensibility; the professor differs from the mob by his insensibility. He has not sufficient finesse and sensitiveness to sympathize with the mob. His only notion is coarsely to contradict it, to cut across it, in accordance with some egotistical plan of his own; to tell himself that, whatever the ignorant say, they are probably wrong. He forgets that ignorance often has the exquisite intuitions of innocence.

  Let me take one example which may mark out the outline of the contention. Open the nearest comic paper and let your eye rest lovingly upon a joke about a mother-in-law. Now, the joke, as presented for the populace, will probably be a simple joke; the old lady will be tall and stout, the hen-pecked husband will be small and cowering. But for all that, a mother-in-law is not a simple idea. She is a very subtle idea. The problem is not that she is big and arrogant; she is frequently little and quite extraordinarily nice. The problem of the mother-in-law is that she is like the twilight: half one thing and half another. Now, this twilight truth, this fine and even tender embarrassment, might be rendered, as it really is, by a poet, only here the poet would have to be some very penetrating and sincere novelist, like George Meredith, or Mr. H. G. Wells, whose "Ann Veronica" I have just been reading with delight. I would trust the fine poets and novelists because they follow the fairy clue given them in Comic Cuts. But suppose the Professor app
ears, and suppose he says (as he almost certainly will), "A mother-in-law is merely a fellow-citizen. Considerations of sex should not interfere with comradeship. Regard for age should not influence the intellect. A mother-in-law is merely Another Mind. We should free ourselves from these tribal hierarchies and degrees." Now, when the Professor says this (as he always does), I say to him, "Sir, you are coarser than Comic Cuts. You are more vulgar and blundering than the most elephantine music-hall artiste. You are blinder and grosser than the mob. These vulgar knockabouts have, at least, got hold of a social shade and real mental distinction, though they can only express it clumsily. You are so clumsy that you cannot get hold of it at all. If you really cannot see that the bridegroom's mother and the bride have any reason for constraint or diffidence, then you are neither polite nor humane: you have no sympathy in you for the deep and doubtful hearts of human folk." It is better even to put the difficulty as the vulgar put it than to be pertly unconscious of the difficulty altogether.

  The same question might be considered well enough in the old proverb that two is company and three is none. This proverb is the truth put popularly: that is, it is the truth put wrong. Certainly it is untrue that three is no company. Three is splendid company: three is the ideal number for pure comradeship: as in the Three Musketeers. But if you reject the proverb altogether; if you say that two and three are the same sort of company; if you cannot see that there is a wider abyss between two and three than between three and three million--then I regret to inform you that you belong to the Third Class of human beings; that you shall have no company either of two or three, but shall be alone in a howling desert till you die.