That is what I should say to the duke. As to what the duke would say to me, that is another matter, and may well be deferred.
The Triumph of the Donkey
Doubtless the unsympathetic might state my doctrine that one should not own a motor like a horse, but rather use it like a flying dragon in the simpler form that I will always go motoring in somebody else's car. My favourite modern philosopher (Mr. W. W. Jacobs) describes a similar case of spiritual delicacy misunderstood. I have not the book at hand, but I think that Job Brown was reproaching Bill Chambers for wasteful drunkenness, and Henery Walker spoke up for Bill, and said he scarcely ever had a glass but what somebody else paid for it, and there was "unpleasantness all round then."
Being less sensitive than Bill Chambers (or whoever it was) I will risk this rude perversion of my meaning, and concede that I was in a motor-car yesterday, and the motor-car most certainly was not my own, and the journey, though it contained nothing that is specially unusual on such journeys, had running through it a strain of the grotesque which was at once wholesome and humiliating. The symbol of that influence was that ancient symbol of the humble and humorous--a donkey.
When first I saw the donkey I saw him in the sunlight as the unearthly gargoyle that he is. My friend had met me in his car (I repeat firmly, in his car) at the little painted station in the middle of the warm wet woods and hop-fields of that western country. He proposed to drive me first to his house beyond the village before starting for a longer spin of adventure, and we rattled through those rich green lanes which have in them something singularly analogous to fairy tales: whether the lanes produced the fairies or (as I believe) the fairies produced the lanes. All around in the glimmering hop-yards stood those little hop-kilns like stunted and slanting spires. They look like dwarfish churches--in fact, rather like many modern churches I could mention, churches all of them small and each of them a little crooked. In this elfin atmosphere we swung round a sharp corner and half-way up a steep, white hill, and saw what looked at first like a tall, black monster against the sun. It appeared to be a dark and dreadful woman walking on wheels and waving long ears like a bat's. A second glance told me that she was not the local witch in a state of transition; she was only one of the million tricks of perspective. She stood up in a small wheeled cart drawn by a donkey; the donkey's ears were just set behind her head, and the whole was black against the light.
Perspective is really the comic element in everything. It has a pompous Latin name, but it is incurably Gothic and grotesque. One simple proof of this is that it is always left out of all dignified and decorative art. There is no perspective in the Elgin Marbles, and even the essentially angular angels in mediaeval stained glass almost always (as it says in "Patience") contrive to look both angular and flat. There is something intrinsically disproportionate and outrageous in the idea of the distant objects dwindling and growing dwarfish, the closer objects swelling enormous and intolerable. There is something frantic in the notion that one's own father by walking a little way can be changed by a blast of magic to a pigmy. There is something farcical in the fancy that Nature keeps one's uncle in an infinite number of sizes, according to where he is to stand. All soldiers in retreat turn into tin soldiers; all bears in rout into toy bears; as if on the ultimate horizon of the world everything was sardonically doomed to stand up laughable and little against heaven.
It was for this reason that the old woman and her donkey struck us first when seen from behind as one black grotesque. I afterwards had the chance of seeing the old woman, the cart, and the donkey fairly, in flank and in all their length. I saw the old woman and the donkey PASSANT, as they might have appeared heraldically on the shield of some heroic family. I saw the old woman and the donkey dignified, decorative, and flat, as they might have marched across the Elgin Marbles. Seen thus under an equal light, there was nothing specially ugly about them; the cart was long and sufficiently comfortable; the donkey was stolid and sufficiently respectable; the old woman was lean but sufficiently strong, and even smiling in a sour, rustic manner. But seen from behind they looked like one black monstrous animal; the dark donkey cars seemed like dreadful wings, and the tall dark back of the woman, erect like a tree, seemed to grow taller and taller until one could almost scream.
Then we went by her with a blasting roar like a railway train, and fled far from her over the brow of the hill to my friend's home.
There we paused only for my friend to stock the car with some kind of picnic paraphernalia, and so started again, as it happened, by the way we had come. Thus it fell that we went shattering down that short, sharp hill again before the poor old woman and her donkey had managed to crawl to the top of it; and seeing them under a different light, I saw them very differently. Black against the sun, they had seemed comic; but bright against greenwood and grey cloud, they were not comic but tragic; for there are not a few things that seem fantastic in the twilight, and in the sunlight are sad. I saw that she had a grand, gaunt mask of ancient honour and endurance, and wide eyes sharpened to two shining points, as if looking for that small hope on the horizon of human life. I also saw that her cart contained carrots.
"Don't you feel, broadly speaking, a beast," I asked my friend, "when you go so easily and so fast?" For we had crashed by so that the crazy cart must have thrilled in every stick of it.
My friend was a good man, and said, "Yes. But I don't think it would do her any good if I went slower."
"No," I assented after reflection. "Perhaps the only pleasure we can give to her or any one else is to get out of their sight very soon."
My friend availed himself of this advice in no niggard spirit; I felt as if we were fleeing for our lives in throttling fear after some frightful atrocity. In truth, there is only one difference left between the secrecy of the two social classes: the poor hide themselves in darkness and the rich hide themselves in distance. They both hide.
As we shot like a lost boat over a cataract down into a whirlpool of white roads far below, I saw afar a black dot crawling like an insect. I looked again: I could hardly believe it. There was the slow old woman, with her slow old donkey, still toiling along the main road. I asked my friend to slacken, but when he said of the car, "She's wanting to go," I knew it was all up with him. For when you have called a thing female you have yielded to it utterly. We passed the old woman with a shock that must have shaken the earth: if her head did not reel and her heart quail, I know not what they were made of. And when we had fled perilously on in the gathering dark, spurning hamlets behind us, I suddenly called out, "Why, what asses we are! Why, it's She that is brave--she and the donkey. We are safe enough; we are artillery and plate-armour: and she stands up to us with matchwood and a snail! If you had grown old in a quiet valley, and people began firing cannon-balls as big as cabs at you in your seventieth year, wouldn't you jump--and she never moved an eyelid. Oh! we go very fast and very far, no doubt--"
As I spoke came a curious noise, and my friend, instead of going fast, began to go very slow; then he stopped; then he got out. Then he said, "And I left the Stepney behind."
The grey moths came out of the wood and the yellow stars came out to crown it, as my friend, with the lucidity of despair, explained to me (on the soundest scientific principles, of course) that nothing would be any good at all. We must sleep the night in the lane, except in the very unlikely event of some one coming by to carry a message to some town. Twice I thought I heard some tiny sound of such approach, and it died away like wind in the trees, and the motorist was already asleep when I heard it renewed and realized. Something certainly was approaching. I ran up the road--and there it was. Yes, It--and She. Thrice had she come, once comic and once tragic and once heroic. And when she came again it was as if in pardon on a pure errand of prosaic pity and relief. I am quite serious. I do not want you to laugh. It is not the first time a donkey has been received seriously, nor one riding a donkey with respect.
The Wheel
In a quiet and rustic though fairl
y famous church in my neighbourhood there is a window supposed to represent an Angel on a Bicycle. It does definitely and indisputably represent a nude youth sitting on a wheel; but there is enough complication in the wheel and sanctity (I suppose) in the youth to warrant this working description. It is a thing of florid Renascence outline, and belongs to the highly pagan period which introduced all sorts of objects into ornament: personally I can believe in the bicycle more than in the angel. Men, they say, are now imitating angels; in their flying-machines, that is: not in any other respect that I have heard of. So perhaps the angel on the bicycle (if he is an angel and if it is a bicycle) was avenging himself by imitating man. If so, he showed that high order of intellect which is attributed to angels in the mediaeval books, though not always (perhaps) in the mediaeval pictures.
For wheels are the mark of a man quite as much as wings are the mark of an angel. Wheels are the things that are as old as mankind and yet are strictly peculiar to man, that are prehistoric but not pre-human.
A distinguished psychologist, who is well acquainted with physiology, has told me that parts of himself are certainly levers, while other parts are probably pulleys, but that after feeling himself carefully all over, he cannot find a wheel anywhere. The wheel, as a mode of movement, is a purely human thing. On the ancient escutcheon of Adam (which, like much of the rest of his costume, has not yet been discovered) the heraldic emblem was a wheel--passant. As a mode of progress, I say, it is unique. Many modern philosophers, like my friend before mentioned, are ready to find links between man and beast, and to show that man has been in all things the blind slave of his mother earth. Some, of a very different kind, are even eager to show it; especially if it can be twisted to the discredit of religion. But even the most eager scientists have often admitted in my hearing that they would be surprised if some kind of cow approached them moving solemnly on four wheels. Wings, fins, flappers, claws, hoofs, webs, trotters, with all these the fantastic families of the earth come against us and close around us, fluttering and flapping and rustling and galloping and lumbering and thundering; but there is no sound of wheels.
I remember dimly, if, indeed, I remember aright, that in some of those dark prophetic pages of Scripture, that seem of cloudy purple and dusky gold, there is a passage in which the seer beholds a violent dream of wheels. Perhaps this was indeed the symbolic declaration of the spiritual supremacy of man. Whatever the birds may do above or the fishes beneath his ship, man is the only thing to steer; the only thing to be conceived as steering. He may make the birds his friends, if he can. He may make the fishes his gods, if he chooses. But most certainly he will not believe a bird at the masthead; and it is hardly likely that he will even permit a fish at the helm. He is, as Swinburne says, helmsman and chief: he is literally the Man at the Wheel.
The wheel is an animal that is always standing on its head; only "it does it so rapidly that no philosopher has ever found out which is its head." Or if the phrase be felt as more exact, it is an animal that is always turning head over heels and progressing by this principle. Some fish, I think, turn head over heels (supposing them, for the sake of argument, to have heels); I have a dog who nearly did it; and I did it once myself when I was very small. It was an accident, and, as delightful novelist, Mr. De Morgan, would say, it never can happen again. Since then no one has accused me of being upside down except mentally: and I rather think that there is something to be said for that; especially as typified by the rotary symbol. A wheel is the sublime paradox; one part of it is always going forward and the other part always going back. Now this, as it happens, is highly similar to the proper condition of any human soul or any political state. Every sane soul or state looks at once backwards and forwards; and even goes backwards to come on.
For those interested in revolt (as I am) I only say meekly that one cannot have a Revolution without revolving. The wheel, being a logical thing, has reference to what is behind as well as what is before. It has (as every society should have) a part that perpetually leaps helplessly at the sky and a part that perpetually bows down its head into the dust. Why should people be so scornful of us who stand on our heads? Bowing down one's head in the dust is a very good thing, the humble beginning of all happiness. When we have bowed our heads in the dust for a little time the happiness comes; and then (leaving our heads' in the humble and reverent position) we kick up our heels behind in the air. That is the true origin of standing on one's head; and the ultimate defence of paradox. The wheel humbles itself to be exalted; only it does it a little quicker than I do.
Five Hundred and Fifty-five
Life is full of a ceaseless shower of small coincidences: too small to be worth mentioning except for a special purpose, often too trifling even to be noticed, any more than we notice one snowflake falling on another. It is this that lends a frightful plausibility to all false doctrines and evil fads. There are always such crowds of accidental arguments for anything. If I said suddenly that historical truth is generally told by red-haired men, I have no doubt that ten minutes' reflection (in which I decline to indulge) would provide me with a handsome list of instances in support of it. I remember a riotous argument about Bacon and Shakespeare in which I offered quite at random to show that Lord Rosebery had written the works of Mr. W. B. Yeats. No sooner had I said the words than a torrent of coincidences rushed upon my mind. I pointed out, for instance, that Mr. Yeats's chief work was "The Secret Rose." This may easily be paraphrased as "The Quiet or Modest Rose"; and so, of course, as the Primrose. A second after I saw the same suggestion in the combination of "rose" and "bury." If I had pursued the matter, who knows but I might have been a raving maniac by this time.
We trip over these trivial repetitions and exactitudes at every turn, only they are too trivial even for conversation. A man named Williams did walk into a strange house and murder a man named Williamson; it sounds like a sort of infanticide. A journalist of my acquaintance did move quite unconsciously from a place called Overstrand to a place called Overroads. When he had made this escape he was very properly pursued by a voting card from Battersea, on which a political agent named Burn asked him to vote for a political candidate named Burns. And when he did so another coincidence happened to him: rather a spiritual than a material coincidence; a mystical thing, a matter of a magic number.
For a sufficient number of reasons, the man I know went up to vote in Battersea in a drifting and even dubious frame of mind. As the train slid through swampy woods and sullen skies there came into his empty mind those idle and yet awful questions which come when the mind is empty. Fools make cosmic systems out of them; knaves make profane poems out of them; men try to crush them like an ugly lust. Religion is only the responsible reinforcement of common courage and common sense. Religion only sets up the normal mood of health against the hundred moods of disease.
But there is this about such ghastly empty enigmas, that they always have an answer to the obvious answer, the reply offered by daily reason. Suppose a man's children have gone swimming; suppose he is suddenly throttled by the senseless--fear that they are drowned. The obvious answer is, "Only one man in a thousand has his children drowned." But a deeper voice (deeper, being as deep as hell) answers, "And why should not you--be the thousandth man?" What is true of tragic doubt is true also of trivial doubt. The voter's guardian devil said to him, "If you don't vote to-day you can do fifteen things which will quite certainly do some good somewhere, please a friend, please a child, please a maddened publisher. And what good do you expect to do by voting? You don't think your man will get in by one vote, do you?" To this he knew the answer of common sense, "But if everybody said that, nobody would get in at all." And then there came that deeper voice from Hades, "But you are not settling what everybody shall do, but what one person on one occasion shall do. If this afternoon you went your way about more solid things, how would it matter and who would ever know?" Yet somehow the voter drove on blindly through the blackening London roads, and found somewhere a tedious polling station
and recorded his tiny vote.
The politician for whom the voter had voted got in by five hundred and fifty-five votes. The voter read this next morning at breakfast, being in a more cheery and expansive mood, and found something very fascinating not merely in the fact of the majority, but even in the form of it. There was something symbolic about the three exact figures; one felt it might be a sort of motto or cipher. In the great book of seals and cloudy symbols there is just such a thundering repetition. Six hundred and sixty-six was the Mark of the Beast. Five hundred and fifty-five is the Mark of the Man; the triumphant tribune and citizen. A number so symmetrical as that really rises out of the region of science into the region of art. It is a pattern, like the egg-and-dart ornament or the Greek key. One might edge a wall-paper or fringe a robe with a recurring decimal. And while the voter luxuriated in this light exactitude of the numbers, a thought crossed his mind and he almost leapt to his feet. "Why, good heavens!" he cried. "I won that election; and it was won by one vote! But for me it would have been the despicable, broken-backed, disjointed, inharmonious figure five hundred and fifty-four. The whole artistic point would have vanished. The Mark of the Man would have disappeared from history. It was I who with a masterful hand seized the chisel and carved the hieroglyph--complete and perfect. I clutched the trembling hand of Destiny when it was about to make a dull square four and forced it to make a nice curly five. Why, but for me the Cosmos would have lost a coincidence!" After this outburst the voter sat down and finished his breakfast.
The Essential G. K. Chesterton Page 11
