The Essential G. K. Chesterton

by G. K. Chesterton

  No one will blame Professor Raleigh, who had to read a sort of funeral oration over Whistler at the opening of the Memorial Exhibition, if, finding himself in that position, he confined himself mostly to the merits and the stronger qualities of his subject. We should naturally go to some other type of composition for a proper consideration of the weaknesses of Whistler. But these must never be omitted from our view of him. Indeed, the truth is that it was not so much a question of the weaknesses of Whistler as of the intrinsic and primary weakness of Whistler. He was one of those people who live up to their emotional incomes, who are always taut and tingling with vanity. Hence he had no strength to spare; hence he had no kindness, no geniality; for geniality is almost definable as strength to spare. He had no god-like carelessness; he never forgot himself; his whole life was, to use his own expression, an arrangement. He went in for "the art of living"--a miserable trick. In a word, he was a great artist; but emphatically not a great man. In this connection I must differ strongly with Professor Raleigh upon what is, from a superficial literary point of view, one of his most effective points. He compares Whistler's laughter to the laughter of another man who was a great man as well as a great artist. "His attitude to the public was exactly the attitude taken up by Robert Browning, who suffered as long a period of neglect and mistake, in those lines of 'The Ring and the Book'--

  "'Well, British Public, ye who like me not, (God love you!) and will have your proper laugh At the dark question; laugh it! I'd laugh first.'

  "Mr. Whistler," adds Professor Raleigh, "always laughed first." The truth is, I believe, that Whistler never laughed at all. There was no laughter in his nature; because there was no thoughtlessness and self-abandonment, no humility. I cannot understand anybody reading "The Gentle Art of Making Enemies" and thinking that there is any laughter in the wit. His wit is a torture to him. He twists himself into arabesques of verbal felicity; he is full of a fierce carefulness; he is inspired with the complete seriousness of sincere malice. He hurts himself to hurt his opponent. Browning did laugh, because Browning did not care; Browning did not care, because Browning was a great man. And when Browning said in brackets to the simple, sensible people who did not like his books, "God love you!" he was not sneering in the least. He was laughing--that is to say, he meant exactly what he said.

  There are three distinct classes of great satirists who are also great men--that is to say, three classes of men who can laugh at something without losing their souls. The satirist of the first type is the man who, first of all enjoys himself, and then enjoys his enemies. In this sense he loves his enemy, and by a kind of exaggeration of Christianity he loves his enemy the more the more he becomes an enemy. He has a sort of overwhelming and aggressive happiness in his assertion of anger; his curse is as human as a benediction. Of this type of satire the great example is Rabelais. This is the first typical example of satire, the satire which is voluble, which is violent, which is indecent, but which is not malicious. The satire of Whistler was not this. He was never in any of his controversies simply happy; the proof of it is that he never talked absolute nonsense. There is a second type of mind which produces satire with the quality of greatness. That is embodied in the satirist whose passions are released and let go by some intolerable sense of wrong. He is maddened by the sense of men being maddened; his tongue becomes an unruly member, and testifies against all mankind. Such a man was Swift, in whom the saeva indignatio was a bitterness to others, because it was a bitterness to himself. Such a satirist Whistler was not. He did not laugh because he was happy, like Rabelais. But neither did he laugh because he was unhappy, like Swift.

  The third type of great satire is that in which he satirist is enabled to rise superior to his victim in the only serious sense which superiority can bear, in that of pitying the sinner and respecting the man even while he satirises both. Such an achievement can be found in a thing like Pope's "Atticus" a poem in which the satirist feels that he is satirising the weaknesses which belong specially to literary genius. Consequently he takes a pleasure in pointing out his enemy's strength before he points out his weakness. That is, perhaps, the highest and most honourable form of satire. That is not the satire of Whistler. He is not full of a great sorrow for the wrong done to human nature; for him the wrong is altogether done to himself.

  He was not a great personality, because he thought so much about himself. And the case is stronger even than that. He was sometimes not even a great artist, because he thought so much about art. Any man with a vital knowledge of the human psychology ought to have the most profound suspicion of anybody who claims to be an artist, and talks a great deal about art. Art is a right and human thing, like walking or saying one's prayers; but the moment it begins to be talked about very solemnly, a man may be fairly certain that the thing has come into a congestion and a kind of difficulty.

  The artistic temperament is a disease that afflicts amateurs. It is a disease which arises from men not having sufficient power of expression to utter and get rid of the element of art in their being. It is healthful to every sane man to utter the art within him; it is essential to every sane man to get rid of the art within him at all costs. Artists of a large and wholesome vitality get rid of their art easily, as they breathe easily, or perspire easily. But in artists of less force, the thing becomes a pressure, and produces a definite pain, which is called the artistic temperament. Thus, very great artists are able to be ordinary men--men like Shakespeare or Browning. There are many real tragedies of the artistic temperament, tragedies of vanity or violence or fear. But the great tragedy of the artistic temperament is that it cannot produce any art.

  Whistler could produce art; and in so far he was a great man. But he could not forget art; and in so far he was only a man with the artistic temperament. There can be no stronger manifestation of the man who is a really great artist than the fact that he can dismiss the subject of art; that he can, upon due occasion, wish art at the bottom of the sea. Similarly, we should always be much more inclined to trust a solicitor who did not talk about conveyancing over the nuts and wine. What we really desire of any man conducting any business is that the full force of an ordinary man should be put into that particular study. We do not desire that the full force of that study should be put into an ordinary man. We do not in the least wish that our particular law-suit should pour its energy into our barrister's games with his children, or rides on his bicycle, or meditations on the morning star. But we do, as a matter of fact, desire that his games with his children, and his rides on his bicycle, and his meditations on the morning star should pour something of their energy into our law-suit. We do desire that if he has gained any especial lung development from the bicycle, or any bright and pleasing metaphors from the morning star, that the should be placed at our disposal in that particular forensic controversy. In a word, we are very glad that he is an ordinary man, since that may help him to be an exceptional lawyer.

  Whistler never ceased to be an artist. As Mr. Max Beerbohm pointed out in one of his extraordinarily sensible and sincere critiques, Whistler really regarded Whistler as his greatest work of art. The white lock, the single eyeglass, the remarkable hat--these were much dearer to him than any nocturnes or arrangements that he ever threw off. He could throw off the nocturnes; for some mysterious reason he could not throw off the hat. He never threw off from himself that disproportionate accumulation of aestheticism which is the burden of the amateur.

  It need hardly be said that this is the real explanation of the thing which has puzzled so many dilettante critics, the problem of the extreme ordinariness of the behaviour of so many great geniuses in history. Their behaviour was so ordinary that it was not recorded; hence it was so ordinary that it seemed mysterious. Hence people say that Bacon wrote Shakespeare. The modern artistic temperament cannot understand how a man who could write such lyrics as Shakespeare wrote, could be as keen as Shakespeare was on business transactions in a little town in Warwickshire. The explanation is simple enough; it is that Shak
espeare had a real lyrical impulse, wrote a real lyric, and so got rid of the impulse and went about his business. Being an artist did not prevent him from being an ordinary man, any more than being a sleeper at night or being a diner at dinner prevented him from being an ordinary man.

  All very great teachers and leaders have had this habit of assuming their point of view to be one which was human and casual, one which would readily appeal to every passing man. If a man is genuinely superior to his fellows the first thing that he believes in is the equality of man. We can see this, for instance, in that strange and innocent rationality with which Christ addressed any motley crowd that happened to stand about Him. "What man of you having a hundred sheep, and losing one, would not leave the ninety and nine in the wilderness, and go after that which was lost?" Or, again, "What man of you if his son ask for bread will he give him a stone, or if he ask for a fish will he give him a serpent?" This plainness, this almost prosaic camaraderie, is the note of all very great minds.

  To very great minds the things on which men agree are so immeasurably more important than the things on which they differ, that the latter, for all practical purposes, disappear. They have too much in them of an ancient laughter even to endure to discuss the difference between the hats of two men who were both born of a woman, or between the subtly varied cultures of two men who have both to die. The first-rate great man is equal with other men, like Shakespeare. The second-rate great man is on his knees to other men, like Whitman. The third-rate great man is superior to other men, like Whistler.

  XVIII The Fallacy of the Young Nation

  To say that a man is an idealist is merely to say that he is a man; but, nevertheless, it might be possible to effect some valid distinction between one kind of idealist and another. One possible distinction, for instance, could be effected by saying that humanity is divided into conscious idealists and unconscious idealists. In a similar way, humanity is divided into conscious ritualists and unconscious ritualists. The curious thing is, in that example as in others, that it is the conscious ritualism which is comparatively simple, the unconscious ritual which is really heavy and complicated. The ritual which is comparatively rude and straightforward is the ritual which people call "ritualistic." It consists of plain things like bread and wine and fire, and men falling on their faces. But the ritual which is really complex, and many coloured, and elaborate, and needlessly formal, is the ritual which people enact without knowing it. It consists not of plain things like wine and fire, but of really peculiar, and local, and exceptional, and ingenious things--things like door-mats, and door-knockers, and electric bells, and silk hats, and white ties, and shiny cards, and confetti. The truth is that the modern man scarcely ever gets back to very old and simple things except when he is performing some religious mummery. The modern man can hardly get away from ritual except by entering a ritualistic church. In the case of these old and mystical formalities we can at least say that the ritual is not mere ritual; that the symbols employed are in most cases symbols which belong to a primary human poetry. The most ferocious opponent of the Christian ceremonials must admit that if Catholicism had not instituted the bread and wine, somebody else would most probably have done so. Any one with a poetical instinct will admit that to the ordinary human instinct bread symbolizes something which cannot very easily be symbolized otherwise; that wine, to the ordinary human instinct, symbolizes something which cannot very easily be symbolized otherwise. But white ties in the evening are ritual, and nothing else but ritual. No one would pretend that white ties in the evening are primary and poetical. Nobody would maintain that the ordinary human instinct would in any age or country tend to symbolize the idea of evening by a white necktie. Rather, the ordinary human instinct would, I imagine, tend to symbolize evening by cravats with some of the colours of the sunset, not white neckties, but tawny or crimson neckties--neckties of purple or olive, or some darkened gold. Mr. J. A. Kensit, for example, is under the impression that he is not a ritualist. But the daily life of Mr. J. A. Kensit, like that of any ordinary modern man, is, as a matter of fact, one continual and compressed catalogue of mystical mummery and flummery. To take one instance out of an inevitable hundred: I imagine that Mr. Kensit takes off his hat to a lady; and what can be more solemn and absurd, considered in the abstract, than, symbolizing the existence of the other sex by taking off a portion of your clothing and waving it in the air? This, I repeat, is not a natural and primitive symbol, like fire or food. A man might just as well have to take off his waistcoat to a lady; and if a man, by the social ritual of his civilization, had to take off his waistcoat to a lady, every chivalrous and sensible man would take off his waistcoat to a lady. In short, Mr. Kensit, and those who agree with him, may think, and quite sincerely think, that men give too much incense and ceremonial to their adoration of the other world. But nobody thinks that he can give too much incense and ceremonial to the adoration of this world. All men, then, are ritualists, but are either conscious or unconscious ritualists. The conscious ritualists are generally satisfied with a few very simple and elementary signs; the unconscious ritualists are not satisfied with anything short of the whole of human life, being almost insanely ritualistic. The first is called a ritualist because he invents and remembers one rite; the other is called an anti-ritualist because he obeys and forgets a thousand. And a somewhat similar distinction to this which I have drawn with some unavoidable length, between the conscious ritualist and the unconscious ritualist, exists between the conscious idealist and the unconscious idealist. It is idle to inveigh against cynics and materialists--there are no cynics, there are no materialists. Every man is idealistic; only it so often happens that he has the wrong ideal. Every man is incurably sentimental; but, unfortunately, it is so often a false sentiment. When we talk, for instance, of some unscrupulous commercial figure, and say that he would do anything for money, we use quite an inaccurate expression, and we slander him very much. He would not do anything for money. He would do some things for money; he would sell his soul for money, for instance; and, as Mirabeau humorously said, he would be quite wise "to take money for muck." He would oppress humanity for money; but then it happens that humanity and the soul are not things that he believes in; they are not his ideals. But he has his own dim and delicate ideals; and he would not violate these for money. He would not drink out of the soup-tureen, for money. He would not wear his coat-tails in front, for money. He would not spread a report that he had softening of the brain, for money. In the actual practice of life we find, in the matter of ideals, exactly what we have already found in the matter of ritual. We find that while there is a perfectly genuine danger of fanaticism from the men who have unworldly ideals, the permanent and urgent danger of fanaticism is from the men who have worldly ideals.

  People who say that an ideal is a dangerous thing, that it deludes and intoxicates, are perfectly right. But the ideal which intoxicates most is the least idealistic kind of ideal. The ideal which intoxicates least is the very ideal ideal; that sobers us suddenly, as all heights and precipices and great distances do. Granted that it is a great evil to mistake a cloud for a cape; still, the cloud, which can be most easily mistaken for a cape, is the cloud that is nearest the earth. Similarly, we may grant that it may be dangerous to mistake an ideal for something practical. But we shall still point out that, in this respect, the most dangerous ideal of all is the ideal which looks a little practical. It is difficult to attain a high ideal; consequently, it is almost impossible to persuade ourselves that we have attained it. But it is easy to attain a low ideal; consequently, it is easier still to persuade ourselves that we have attained it when we have done nothing of the kind. To take a random example. It might be called a high ambition to wish to be an archangel; the man who entertained such an ideal would very possibly exhibit asceticism, or even frenzy, but not, I think, delusion. He would not think he was an archangel, and go about flapping his hands under the impression that they were wings. But suppose that a sane man had a low ideal; suppose he
wished to be a gentleman. Any one who knows the world knows that in nine weeks he would have persuaded himself that he was a gentleman; and this being manifestly not the case, the result will be very real and practical dislocations and calamities in social life. It is not the wild ideals which wreck the practical world; it is the tame ideals.

  The matter may, perhaps, be illustrated by a parallel from our modern politics. When men tell us that the old Liberal politicians of the type of Gladstone cared only for ideals, of course, they are talking nonsense--they cared for a great many other things, including votes. And when men tell us that modern politicians of the type of Mr. Chamberlain or, in another way, Lord Rosebery, care only for votes or for material interest, then again they are talking nonsense--these men care for ideals like all other men. But the real distinction which may be drawn is this, that to the older politician the ideal was an ideal, and nothing else. To the new politician his dream is not only a good dream, it is a reality. The old politician would have said, "It would be a good thing if there were a Republican Federation dominating the world." But the modern politician does not say, "It would be a good thing if there were a British Imperialism dominating the world." He says, "It is a good thing that there is a British Imperialism dominating the world;" whereas clearly there is nothing of the kind. The old Liberal would say "There ought to be a good Irish government in Ireland." But the ordinary modern Unionist does not say, "There ought to be a good English government in Ireland." He says, "There is a good English government in Ireland;" which is absurd. In short, the modern politicians seem to think that a man becomes practical merely by making assertions entirely about practical things. Apparently, a delusion does not matter as long as it is a materialistic delusion. Instinctively most of us feel that, as a practical matter, even the contrary is true. I certainly would much rather share my apartments with a gentleman who thought he was God than with a gentleman who thought he was a grasshopper. To be continually haunted by practical images and practical problems, to be constantly thinking of things as actual, as urgent, as in process of completion--these things do not prove a man to be practical; these things, indeed, are among the most ordinary signs of a lunatic. That our modern statesmen are materialistic is nothing against their being also morbid. Seeing angels in a vision may make a man a supernaturalist to excess. But merely seeing snakes in delirium tremens does not make him a naturalist.