The Essential G. K. Chesterton

by G. K. Chesterton

  But instead of basing all discussion of the problem upon the common-sense recognition of this fact--that the youth of the lower orders always has had and always must have formless and endless romantic reading of some kind, and then going on to make provision for its wholesomeness--we begin, generally speaking, by fantastic abuse of this reading as a whole and indignant surprise that the errand-boys under discussion do not read 'The Egoist' and 'The Master Builder.' It is the custom, particularly among magistrates, to attribute half the crimes of the Metropolis to cheap novelettes. If some grimy urchin runs away with an apple, the magistrate shrewdly points out that the child's knowledge that apples appease hunger is traceable to some curious literary researches. The boys themselves, when penitent, frequently accuse the novelettes with great bitterness, which is only to be expected from young people possessed of no little native humour. If I had forged a will, and could obtain sympathy by tracing the incident to the influence of Mr. George Moore's novels, I should find the greatest entertainment in the diversion. At any rate, it is firmly fixed in the minds of most people that gutter-boys, unlike everybody else in the community, find their principal motives for conduct in printed books.

  Now it is quite clear that this objection, the objection brought by magistrates, has nothing to do with literary merit. Bad story writing is not a crime. Mr. Hall Caine walks the streets openly, and cannot be put in prison for an anticlimax. The objection rests upon the theory that the tone of the mass of boys' novelettes is criminal and degraded, appealing to low cupidity and low cruelty. This is the magisterial theory, and this is rubbish.

  So far as I have seen them, in connection with the dirtiest book-stalls in the poorest districts, the facts are simply these: The whole bewildering mass of vulgar juvenile literature is concerned with adventures, rambling, disconnected and endless. It does not express any passion of any sort, for there is no human character of any sort. It runs eternally in certain grooves of local and historical type: the medieval knight, the eighteenth-century duellist, and the modern cowboy, recur with the same stiff simplicity as the conventional human figures in an Oriental pattern. I can quite as easily imagine a human being kindling wild appetites by the contemplation of his Turkey carpet as by such dehumanized and naked narrative as this.

  Among these stories there are a certain number which deal sympathetically with the adventures of robbers, outlaws and pirates, which present in a dignified and romantic light thieves and murderers like Dick Turpin and Claude Duval. That is to say, they do precisely the same thing as Scott's 'Ivanhoe,' Scott's 'Rob Roy,' Scott's 'Lady of the Lake,' Byron's 'Corsair,' Wordsworth's 'Rob Roy's Grave,' Stevenson's 'Macaire,' Mr. Max Pemberton's 'Iron Pirate,' and a thousand more works distributed systematically as prizes and Christmas presents. Nobody imagines that an admiration of Locksley in 'Ivanhoe' will lead a boy to shoot Japanese arrows at the deer in Richmond Park; no one thinks that the incautious opening of Wordsworth at the poem on Rob Roy will set him up for life as a blackmailer. In the case of our own class, we recognise that this wild life is contemplated with pleasure by the young, not because it is like their own life, but because it is different from it. It might at least cross our minds that, for whatever other reason the errand-boy reads 'The Red Revenge,' it really is not because he is dripping with the gore of his own friends and relatives.

  In this matter, as in all such matters, we lose our bearings entirely by speaking of the 'lower classes' when we mean humanity minus ourselves. This trivial romantic literature is not especially plebeian: it is simply human. The philanthropist can never forget classes and callings. He says, with a modest swagger, 'I have invited twenty-five factory hands to tea.' If he said 'I have invited twenty-five chartered accountants to tea,' everyone would see the humour of so simple a classification. But this is what we have done with this lumberland of foolish writing: we have probed, as if it were some monstrous new disease, what is, in fact, nothing but the foolish and valiant heart of man. Ordinary men will always be sentimentalists: for a sentimentalist is simply a man who has feelings and does not trouble to invent a new way of expressing them. These common and current publications have nothing essentially evil about them. They express the sanguine and heroic truisms on which civilization is built; for it is clear that unless civilization is built on truisms, it is not built at all. Clearly, there could be no safety for a society in which the remark by the Chief Justice that murder was wrong was regarded as an original and dazzling epigram.

  If the authors and publishers of 'Dick Deadshot,' and such remarkable works, were suddenly to make a raid upon the educated class, were to take down the names of every man, however distinguished, who was caught at a University Extension Lecture, were to confiscate all our novels and warn us all to correct our lives, we should be seriously annoyed. Yet they have far more right to do so than we; for they, with all their idiotcy, are normal and we are abnormal. It is the modern literature of the educated, not of the uneducated, which is avowedly and aggressively criminal. Books recommending profligacy and pessimism, at which the high-souled errand-boy would shudder, lie upon all our drawing-room tables. If the dirtiest old owner of the dirtiest old bookstall in Whitechapel dared to display works really recommending polygamy or suicide, his stock would be seized by the police. These things are our luxuries. And with a hypocrisy so ludicrous as to be almost unparalleled in history, we rate the gutter-boys for their immorality at the very time that we are discussing (with equivocal German Professors) whether morality is valid at all. At the very instant that we curse the Penny Dreadful for encouraging thefts upon property, we canvass the proposition that all property is theft. At the very instant we accuse it (quite unjustly) of lubricity and indecency, we are cheerfully reading philosophies which glory in lubricity and indecency. At the very instant that we charge it with encouraging the young to destroy life, we are placidly discussing whether life is worth preserving.

  But it is we who are the morbid exceptions; it is we who are the criminal class. This should be our great comfort. The vast mass of humanity, with their vast mass of idle books and idle words, have never doubted and never will doubt that courage is splendid, that fidelity is noble, that distressed ladies should be rescued, and vanquished enemies spared. There are a large number of cultivated persons who doubt these maxims of daily life, just as there are a large number of persons who believe they are the Prince of Wales; and I am told that both classes of people are entertaining conversationalists. But the average man or boy writes daily in these great gaudy diaries of his soul, which we call Penny Dreadfuls, a plainer and better gospel than any of those iridescent ethical paradoxes that the fashionable change as often as their bonnets. It may be a very limited aim in morality to shoot a 'many-faced and fickle traitor,' but at least it is a better aim than to be a many-faced and fickle traitor, which is a simple summary of a good many modern systems from Mr. d'Annunzio's downwards. So long as the coarse and thin texture of mere current popular romance is not touched by a paltry culture it will never be vitally immoral. It is always on the side of life. The poor--the slaves who really stoop under the burden of life--have often been mad, scatter-brained and cruel, but never hopeless. That is a class privilege, like cigars. Their drivelling literature will always be a 'blood and thunder' literature, as simple as the thunder of heaven and the blood of men.

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  A DEFENCE OF RASH VOWS

  If a prosperous modern man, with a high hat and a frock-coat, were to solemnly pledge himself before all his clerks and friends to count the leaves on every third tree in Holland Walk, to hop up to the City on one leg every Thursday, to repeat the whole of Mill's 'Liberty' seventy-six times, to collect 300 dandelions in fields belonging to anyone of the name of Brown, to remain for thirty-one hours holding his left ear in his right hand, to sing the names of all his aunts in order of age on the top of an omnibus, or make any such unusual undertaking, we should immediately conclude that the man was mad, or, as it is sometimes expressed, was 'an artist in life.' Yet these
vows are not more extraordinary than the vows which in the Middle Ages and in similar periods were made, not by fanatics merely, but by the greatest figures in civic and national civilization--by kings, judges, poets, and priests. One man swore to chain two mountains together, and the great chain hung there, it was said, for ages as a monument of that mystical folly. Another swore that he would find his way to Jerusalem with a patch over his eyes, and died looking for it. It is not easy to see that these two exploits, judged from a strictly rational standpoint, are any saner than the acts above suggested. A mountain is commonly a stationary and reliable object which it is not necessary to chain up at night like a dog. And it is not easy at first sight to see that a man pays a very high compliment to the Holy City by setting out for it under conditions which render it to the last degree improbable that he will ever get there.

  But about this there is one striking thing to be noticed. If men behaved in that way in our time, we should, as we have said, regard them as symbols of the 'decadence.' But the men who did these things were not decadent; they belonged generally to the most robust classes of what is generally regarded as a robust age. Again, it will be urged that if men essentially sane performed such insanities, it was under the capricious direction of a superstitious religious system. This, again, will not hold water; for in the purely terrestrial and even sensual departments of life, such as love and lust, the medieval princes show the same mad promises and performances, the same misshapen imagination and the same monstrous self-sacrifice. Here we have a contradiction, to explain which it is necessary to think of the whole nature of vows from the beginning. And if we consider seriously and correctly the nature of vows, we shall, unless I am much mistaken, come to the conclusion that it is perfectly sane, and even sensible, to swear to chain mountains together, and that, if insanity is involved at all, it is a little insane not to do so.

  The man who makes a vow makes an appointment with himself at some distant time or place. The danger of it is that himself should not keep the appointment. And in modern times this terror of one's self, of the weakness and mutability of one's self, has perilously increased, and is the real basis of the objection to vows of any kind. A modern man refrains from swearing to count the leaves on every third tree in Holland Walk, not because it is silly to do so (he does many sillier things), but because he has a profound conviction that before he had got to the three hundred and seventy-ninth leaf on the first tree he would be excessively tired of the subject and want to go home to tea. In other words, we fear that by that time he will be, in the common but hideously significant phrase, _another man_. Now, it is this horrible fairy tale of a man constantly changing into other men that is the soul of the Decadence. That John Paterson should, with apparent calm, look forward to being a certain General Barker on Monday, Dr. Macgregor on Tuesday, Sir Walter Carstairs on Wednesday, and Sam Slugg on Thursday, may seem a nightmare; but to that nightmare we give the name of modern culture. One great decadent, who is now dead, published a poem some time ago, in which he powerfully summed up the whole spirit of the movement by declaring that he could stand in the prison yard and entirely comprehend the feelings of a man about to be hanged:

  'For he that lives more lives than one More deaths than one must die.'

  And the end of all this is that maddening horror of unreality which descends upon the decadents, and compared with which physical pain itself would have the freshness of a youthful thing. The one hell which imagination must conceive as most hellish is to be eternally acting a play without even the narrowest and dirtiest greenroom in which to be human. And this is the condition of the decadent, of the aesthete, of the free-lover. To be everlastingly passing through dangers which we know cannot scathe us, to be taking oaths which we know cannot bind us, to be defying enemies who we know cannot conquer us--this is the grinning tyranny of decadence which is called freedom.

  Let us turn, on the other hand, to the maker of vows. The man who made a vow, however wild, gave a healthy and natural expression to the greatness of a great moment. He vowed, for example, to chain two mountains together, perhaps a symbol of some great relief, or love, or aspiration. Short as the moment of his resolve might be, it was, like all great moments, a moment of immortality, and the desire to say of it _exegi monumentum oere perennius_ was the only sentiment that would satisfy his mind. The modern aesthetic man would, of course, easily see the emotional opportunity; he would vow to chain two mountains together. But, then, he would quite as cheerfully vow to chain the earth to the moon. And the withering consciousness that he did not mean what he said, that he was, in truth, saying nothing of any great import, would take from him exactly that sense of daring actuality which is the excitement of a vow. For what could be more maddening than an existence in which our mother or aunt received the information that we were going to assassinate the King or build a temple on Ben Nevis with the genial composure of custom?

  The revolt against vows has been carried in our day even to the extent of a revolt against the typical vow of marriage. It is most amusing to listen to the opponents of marriage on this subject. They appear to imagine that the ideal of constancy was a yoke mysteriously imposed on mankind by the devil, instead of being, as it is, a yoke consistently imposed by all lovers on themselves. They have invented a phrase, a phrase that is a black and white contradiction in two words--'free-love'--as if a lover ever had been, or ever could be, free. It is the nature of love to bind itself, and the institution of marriage merely paid the average man the compliment of taking him at his word. Modern sages offer to the lover, with an ill-flavoured grin, the largest liberties and the fullest irresponsibility; but they do not respect him as the old Church respected him; they do not write his oath upon the heavens, as the record of his highest moment. They give him every liberty except the liberty to sell his liberty, which is the only one that he wants.

  In Mr. Bernard Shaw's brilliant play 'The Philanderer,' we have a vivid picture of this state of things. Charteris is a man perpetually endeavouring to be a free-lover, which is like endeavouring to be a married bachelor or a white negro. He is wandering in a hungry search for a certain exhilaration which he can only have when he has the courage to cease from wandering. Men knew better than this in old times--in the time, for example, of Shakespeare's heroes. When Shakespeare's men are really celibate they praise the undoubted advantages of celibacy, liberty, irresponsibility, a chance of continual change. But they were not such fools as to continue to talk of liberty when they were in such a condition that they could be made happy or miserable by the moving of someone else's eyebrow. Suckling classes love with debt in his praise of freedom.

  'And he that's fairly out of both Of all the world is blest. He lives as in the golden age, When all things made were common; He takes his pipe, he takes his glass, He fears no man or woman.'

  This is a perfectly possible, rational and manly position. But what have lovers to do with ridiculous affectations of fearing no man or woman? They know that in the turning of a hand the whole cosmic engine to the remotest star may become an instrument of music or an instrument of torture. They hear a song older than Suckling's, that has survived a hundred philosophies. 'Who is this that looketh out of the window, fair as the sun, clear as the moon, terrible as an army with banners?'

  As we have said, it is exactly this backdoor, this sense of having a retreat behind us, that is, to our minds, the sterilizing spirit in modern pleasure. Everywhere there is the persistent and insane attempt to obtain pleasure without paying for it. Thus, in politics the modern Jingoes practically say, 'Let us have the pleasures of conquerors without the pains of soldiers: let us sit on sofas and be a hardy race.' Thus, in religion and morals, the decadent mystics say: 'Let us have the fragrance of sacred purity without the sorrows of self-restraint; let us sing hymns alternately to the Virgin and Priapus.' Thus in love the free-lovers say: 'Let us have the splendour of offering ourselves without the peril of committing ourselves; let us see whether one cannot commit suicide an unlimited number
of times.'

  Emphatically it will not work. There are thrilling moments, doubtless, for the spectator, the amateur, and the aesthete; but there is one thrill that is known only to the soldier who fights for his own flag, to the ascetic who starves himself for his own illumination, to the lover who makes finally his own choice. And it is this transfiguring self-discipline that makes the vow a truly sane thing. It must have satisfied even the giant hunger of the soul of a lover or a poet to know that in consequence of some one instant of decision that strange chain would hang for centuries in the Alps among the silences of stars and snows. All around us is the city of small sins, abounding in backways and retreats, but surely, sooner or later, the towering flame will rise from the harbour announcing that the reign of the cowards is over and a man is burning his ships.

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  A DEFENCE OF SKELETONS