The Essential G. K. Chesterton

by G. K. Chesterton

  The second phase of the man's really fruitful efficacy is in a sense the converse of this. He has improved philosophic discussions by making them more popular. But he has also improved popular amusements by making them more philosophic. And by more philosophic I do not mean duller, but funnier; that is more varied. All real fun is in cosmic contrasts, which involve a view of the cosmos. But I know that this second strength in Shaw is really difficult to state and must be approached by explanations and even by eliminations. Let me say at once that I think nothing of Shaw or anybody else merely for playing the daring sceptic. I do not think he has done any good or even achieved any effect simply by asking startling questions. It is possible that there have been ages so sluggish or automatic that anything that woke them up at all was a good thing. It is sufficient to be certain that ours is not such an age. We do not need waking up; rather we suffer from insomnia, with all its results of fear and exaggeration and frightful waking dreams. The modern mind is not a donkey which wants kicking to make it go on. The modern mind is more like a motor-car on a lonely road which two amateur motorists have been just clever enough to take to pieces, but are not quite clever enough to put together again. Under these circumstances kicking the car has never been found by the best experts to be effective. No one, therefore, does any good to our age merely by asking questions--unless he can answer the questions. Asking questions is already the fashionable and aristocratic sport which has brought most of us into the bankruptcy court. The note of our age is a note of interrogation. And the final point is so plain; no sceptical philosopher can ask any questions that may not equally be asked by a tired child on a hot afternoon. "Am I a boy?--Why am I a boy?--Why aren't I a chair?--What is a chair?" A child will sometimes ask questions of this sort for two hours. And the philosophers of Protestant Europe have asked them for two hundred years.

  If that were all that I meant by Shaw making men more philosophic, I should put it not among his good influences but his bad. He did do that to some extent; and so far he is bad. But there is a much bigger and better sense in which he has been a philosopher. He has brought back into English drama all the streams of fact or tendency which are commonly called undramatic. They were there in Shakespeare's time; but they have scarcely been there since until Shaw. I mean that Shakespeare, being interested in everything, put everything into a play. If he had lately been thinking about the irony and even contradiction confronting us in self-preservation and suicide, he put it all into _Hamlet_. If he was annoyed by some passing boom in theatrical babies he put that into _Hamlet_ too. He would put anything into _Hamlet_ which he really thought was true, from his favourite nursery ballads to his personal (and perhaps unfashionable) conviction of the Catholic purgatory. There is no fact that strikes one, I think, about Shakespeare, except the fact of how dramatic he could be, so much as the fact of how undramatic he could be.

  In this great sense Shaw has brought philosophy back into drama--philosophy in the sense of a certain freedom of the mind. This is not a freedom to think what one likes (which is absurd, for one can only think what one thinks); it is a freedom to think about what one likes, which is quite a different thing and the spring of all thought. Shakespeare (in a weak moment, I think) said that all the world is a stage. But Shakespeare acted on the much finer principle that a stage is all the world. So there are in all Bernard Shaw's plays patches of what people would call essentially undramatic stuff, which the dramatist puts in because he is honest and would rather prove his case than succeed with his play. Shaw has brought back into English drama that Shakespearian universality which, if you like, you can call Shakespearian irrelevance. Perhaps a better definition than either is a habit of thinking the truth worth telling even when you meet it by accident. In Shaw's plays one meets an incredible number of truths by accident.

  To be up to date is a paltry ambition except in an almanac, and Shaw has sometimes talked this almanac philosophy. Nevertheless there is a real sense in which the phrase may be wisely used, and that is in cases where some stereotyped version of what is happening hides what is really happening from our eyes. Thus, for instance, newspapers are never up to date. The men who write leading articles are always behind the times, because they are in a hurry. They are forced to fall back on their old-fashioned view of things; they have no time to fashion a new one. Everything that is done in a hurry is certain to be antiquated; that is why modern industrial civilisation bears so curious a resemblance to barbarism. Thus when newspapers say that the _Times_ is a solemn old Tory paper, they are out of date; their talk is behind the talk in Fleet Street. Thus when newspapers say that Christian dogmas are crumbling, they are out of date; their talk is behind the talk in public-houses. Now in this sense Shaw has kept in a really stirring sense up to date. He has introduced into the theatre the things that no one else had introduced into a theatre--the things in the street outside. The theatre is a sort of thing which proudly sends a hansom-cab across the stage as Realism, while everybody outside is whistling for motor-cabs.

  Consider in this respect how many and fine have been Shaw's intrusions into the theatre with the things that were really going on. Daily papers and daily matines were still gravely explaining how much modern war depended on gunpowder. _Arms and the Man_ explained how much modern war depends on chocolate. Every play and paper described the Vicar who was a mild Conservative. _Candida_ caught hold of the modern Vicar who is an advanced Socialist. Numberless magazine articles and society comedies describe the emancipated woman as new and wild. Only _You Never Can Tell_ was young enough to see that the emancipated woman is already old and respectable. Every comic paper has caricatured the uneducated upstart. Only the author of _Man and Superman_ knew enough about the modern world to caricature the educated upstart--the man Straker who can quote Beaumarchais, though he cannot pronounce him. This is the second real and great work of Shaw--the letting in of the world on to the stage, as the rivers were let in upon the Augean Stable. He has let a little of the Haymarket into the Haymarket Theatre. He has permitted some whispers of the Strand to enter the Strand Theatre. A variety of solutions in philosophy is as silly as it is in arithmetic, but one may be justly proud of a variety of materials for a solution. After Shaw, one may say, there is nothing that cannot be introduced into a play if one can make it decent, amusing, and relevant. The state of a man's health, the religion of his childhood, his ear for music, or his ignorance of cookery can all be made vivid if they have anything to do with the subject. A soldier may mention the commissariat as well as the cavalry; and, better still, a priest may mention theology as well as religion. That is being a philosopher; that is bringing the universe on the stage.

  Lastly, he has obliterated the mere cynic. He has been so much more cynical than anyone else for the public good that no one has dared since to be really cynical for anything smaller. The Chinese crackers of the frivolous cynics fail to excite us after the dynamite of the serious and aspiring cynic. Bernard Shaw and I (who are growing grey together) can remember an epoch which many of his followers do not know: an epoch of real pessimism. The years from 1885 to 1898 were like the hours of afternoon in a rich house with large rooms; the hours before tea-time. They believed in nothing except good manners; and the essence of good manners is to conceal a yawn. A yawn may be defined as a silent yell. The power which the young pessimist of that time showed in this direction would have astonished anyone but him. He yawned so wide as to swallow the world. He swallowed the world like an unpleasant pill before retiring to an eternal rest. Now the last and best glory of Shaw is that in the circles where this creature was found, he is not. He has not been killed (I don't know exactly why), but he has actually turned into a Shaw idealist. This is no exaggeration. I meet men who, when I knew them in 1898, were just a little too lazy to destroy the universe. They are now conscious of not being quite worthy to abolish some prison regulations. This destruction and conversion seem to me the mark of something actually great. It is always great to destroy a type without destroying a man. The f
ollowers of Shaw are optimists; some of them are so simple as even to use the word. They are sometimes rather pallid optimists, frequently very worried optimists, occasionally, to tell the truth, rather cross optimists: but they not pessimists; they can exult though they cannot laugh. He has at least withered up among them the mere pose of impossibility. Like every great teacher, he has cursed the barren fig-tree. For nothing except that impossibility is really impossible.

  I know it is all very strange. From the height of eight hundred years ago, or of eight hundred years hence, our age must look incredibly odd. We call the twelfth century ascetic. We call our own time hedonist and full of praise and pleasure. But in the ascetic age the love of life was evident and enormous, so that it had to be restrained. In an hedonist age pleasure has always sunk low, so that it has to be encouraged. How high the sea of human happiness rose in the Middle Ages, we now only know by the colossal walls that they built to keep it in bounds. How low human happiness sank in the twentieth century our children will only know by these extraordinary modern books, which tell people that it is a duty to be cheerful and that life is not so bad after all. Humanity never produces optimists till it has ceased to produce happy men. It is strange to be obliged to impose a holiday like a fast, and to drive men to a banquet with spears. But this shall be written of our time: that when the spirit who denies besieged the last citadel, blaspheming life itself, there were some, there was one especially, whose voice was heard and whose spear was never broken.

  THE END

  HERETICS

  by

  Gilbert K. Chesterton

  "To My Father"

  Source

  Heretics was copyrighted in 1905 by the John Lane Company. This electronic text is derived from the twelth (1919) edition published by the John Lane Company of New York City and printed by the Plimpton Press of Norwood, Massachusetts. The text carefully follows that of the published edition (including British spelling).

  The Author

  Gilbert Keith Chesterton was born in London, England on the 29th of May, 1874. Though he considered himself a mere "rollicking journalist," he was actually a prolific and gifted writer in virtually every area of literature. A man of strong opinions and enormously talented at defending them, his exuberant personality nevertheless allowed him to maintain warm friendships with people--such as George Bernard Shaw and H. G. Wells--with whom he vehemently disagreed.

  Chesterton had no difficulty standing up for what he believed. He was one of the few journalists to oppose the Boer War. His 1922 "Eugenics and Other Evils" attacked what was at that time the most progressive of all ideas, the idea that the human race could and should breed a superior version of itself. In the Nazi experience, history demonstrated the wisdom of his once "reactionary" views.

  His poetry runs the gamut from the comic 1908 "On Running After One's Hat" to dark and serious ballads. During the dark days of 1940, when Britain stood virtually alone against the armed might of Nazi Germany, these lines from his 1911 Ballad of the White Horse were often quoted:

  I tell you naught for your comfort, Yea, naught for your desire, Save that the sky grows darker yet And the sea rises higher.

  Though not written for a scholarly audience, his biographies of authors and historical figures like Charles Dickens and St. Francis of Assisi often contain brilliant insights into their subjects. His Father Brown mystery stories, written between 1911 and 1936, are still being read and adapted for television.

  His politics fitted with his deep distrust of concentrated wealth and power of any sort. Along with his friend Hilaire Belloc and in books like the 1910 "What's Wrong with the World" he advocated a view called "Distributionism" that was best summed up by his expression that every man ought to be allowed to own "three acres and a cow." Though not know as a political thinker, his political influence has circled the world. Some see in him the father of the "small is beautiful" movement and a newspaper article by him is credited with provoking Gandhi to seek a "genuine" nationalism for India rather than one that imitated the British.

  Heretics belongs to yet another area of literature at which Chesterton excelled. A fun-loving and gregarious man, he was nevertheless troubled in his adolescence by thoughts of suicide. In Christianity he found the answers to the dilemmas and paradoxes he saw in life. Other books in that same series include his 1908 Orthodoxy (written in response to attacks on this book) and his 1925 The Everlasting Man. Orthodoxy is also available as electronic text.

  Chesterton died on the 14th of June, 1936 in Beaconsfield, Buckinghamshire, England. During his life he published 69 books and at least another ten based on his writings have been published after his death. Many of those books are still in print. Ignatius Press is systematically publishing his collected writings.

  Table of Contents

  1. Introductory Remarks on the Importance of Othodoxy 2. On the Negative Spirit 3. On Mr. Rudyard Kipling and Making the World Small 4. Mr. Bernard Shaw 5. Mr. H. G. Wells and the Giants 6. Christmas and the Esthetes 7. Omar and the Sacred Vine 8. The Mildness of the Yellow Press 9. The Moods of Mr. George Moore 10. On Sandals and Simplicity 11. Science and the Savages 12. Paganism and Mr. Lowes Dickinson 13. Celts and Celtophiles 14. On Certain Modern Writers and the Institution of the Family 15. On Smart Novelists and the Smart Set 16. On Mr. McCabe and a Divine Frivolity 17. On the Wit of Whistler 18. The Fallacy of the Young Nation 19. Slum Novelists and the Slums 20. Concluding Remarks on the Importance of Orthodoxy

  I. Introductory Remarks on the Importance of Orthodoxy

  Nothing more strangely indicates an enormous and silent evil of modern society than the extraordinary use which is made nowadays of the word "orthodox." In former days the heretic was proud of not being a heretic. It was the kingdoms of the world and the police and the judges who were heretics. He was orthodox. He had no pride in having rebelled against them; they had rebelled against him. The armies with their cruel security, the kings with their cold faces, the decorous processes of State, the reasonable processes of law--all these like sheep had gone astray. The man was proud of being orthodox, was proud of being right. If he stood alone in a howling wilderness he was more than a man; he was a church. He was the centre of the universe; it was round him that the stars swung. All the tortures torn out of forgotten hells could not make him admit that he was heretical. But a few modern phrases have made him boast of it. He says, with a conscious laugh, "I suppose I am very heretical," and looks round for applause. The word "heresy" not only means no longer being wrong; it practically means being clear-headed and courageous. The word "orthodoxy" not only no longer means being right; it practically means being wrong. All this can mean one thing, and one thing only. It means that people care less for whether they are philosophically right. For obviously a man ought to confess himself crazy before he confesses himself heretical. The Bohemian, with a red tie, ought to pique himself on his orthodoxy. The dynamiter, laying a bomb, ought to feel that, whatever else he is, at least he is orthodox.

  It is foolish, generally speaking, for a philosopher to set fire to another philosopher in Smithfield Market because they do not agree in their theory of the universe. That was done very frequently in the last decadence of the Middle Ages, and it failed altogether in its object. But there is one thing that is infinitely more absurd and unpractical than burning a man for his philosophy. This is the habit of saying that his philosophy does not matter, and this is done universally in the twentieth century, in the decadence of the great revolutionary period. General theories are everywhere contemned; the doctrine of the Rights of Man is dismissed with the doctrine of the Fall of Man. Atheism itself is too theological for us to-day. Revolution itself is too much of a system; liberty itself is too much of a restraint. We will have no generalizations. Mr. Bernard Shaw has put the view in a perfect epigram: "The golden rule is that there is no golden rule." We are more and more to discuss details in art, politics, literature. A man's opinion on tramcars matters; his opinion on Botticelli matters; his opinion on all things
does not matter. He may turn over and explore a million objects, but he must not find that strange object, the universe; for if he does he will have a religion, and be lost. Everything matters--except everything.