The Essential G. K. Chesterton

by G. K. Chesterton

  This dull type of doubt clouds the consideration of many sacred things as it does that of the shrine of Bethlehem. It is applied to the divine reality of Bethlehem itself, as when sceptics still sneer at the littleness, the localism, the provincial particularity and obscurity of that divine origin; as if Christians could be confounded and silenced by a contrast which Christians in ten thousand hymns, songs and sermons have incessantly shouted and proclaimed. In this capital case, of course, the same principle holds. A man may think the tale is incredible; but it would never have been told at all if it had not been incongruous. But this particular case of the lesser contrast, that between the imperial pomp and the rustic poverty of the carpenter and the shepherds, is alone enough to illustrate the strange artistic fallacy involved. If it be the point that an emperor came to worship a carpenter, it is as artistically necessary to make the emperor imperial as to make the carpenter humble; if we wish to make plain to plain people that before this shrine kings are no better than shepherds, it is as necessary that the kings should have crowns as that the shepherds should have crooks. And if modern intellectuals do not know it, it is because nobody has really been mad enough even to try to make modern intellectualism popular. Now this conception of pomp as a popular thing, this conception of a concession to common human nature in colour and symbol, has a considerable bearing on many misunderstandings about the original enthusiasm that spread from the cave of Bethlehem over the whole Roman Empire. It is a curious fact that the moderns have mostly rebuked historic Christianity, not for being narrow, but for being broad. They have rebuked it because it did prove itself the desire of all nations, because it did satisfy the cravings of many creeds, because it did prove itself to idolaters as something as magic as their idols, or did prove itself to patriots something as lovable as their native land. In many other matters indeed, besides this popular art, we may find examples of the same illogical prejudice. Nothing betrays more curiously the bias of historians against the Christian faith than the fact that they blame in Christians the very human indulgences that they have praised in heathens. The same arts and allegories, the same phraseologies and philosophies, which appear first as proofs of heathen health turn up later as proofs of Christian corruption. It was noble of pagans to be pagan, but it was unpardonable of Christians to be paganised. They never tire of telling us of the glory that was Greece, the grandeur that was Rome, but the Church was infamous because it satisfied the Greek intellect and wielded the Roman power.

  Now on the first example of the attempt of theology to meet the claims of philosophy I will not here dwell at length. I will only remark in passing that it is an utter fallacy to suggest, as for instance Mr. Wells suggests in his fascinating _Outline of History_, that the subtleties of theology were a mere falling away from the simplicities of religion. Religion may be better simple for those who find it simple; but there are bound to be many who in any case find it subtle, among those who think about it and especially those who doubt about it. To take an example, there is no saying which the humanitarians of a broad religion more commonly offer as a model of simplicity than that most mystical affirmation "God is Love." And there is no theological quarrel of the Councils of the Church which they, especially Mr. Wells, more commonly deride as bitter and barren than that at the Council of Nicea about the Co-eternity of the Divine Son. Yet the subtle statement is simply a metaphysical explanation of the simple statement; and it would be quite possible even to make it a popular explanation, by saying that God could not love when there was nothing to be loved. Now the Church Councils were originally very popular, not to say riotous assemblies. So far from being undemocratic, they were rather too democratic; the real case against them was that they passed by uproarious votes, and not without violence, things that had ultimately to be considered more calmly by experts. But it may reasonably be suggested, I think, that the concentration of the Greek intellect on these things did gradually pass from a popular to a more professional or official thing; and that the traces of it have finally tended to fade from the official religion of the East. It was far otherwise with the more poetical and therefore more practical religion of the West. It was far otherwise with that direct appeal to pathos and affection in the highly coloured picture of the Shepherd and the King. In the West the world not only prolonged its life but recovered its youth. That is the meaning of the movement I have described as the awakening of the West and the resurrection of Rome. And the whole point of that movement, as I propose to suggest, was that it was a popular movement. It had returned with exactly that strange and simple energy that belongs to the story of Bethlehem. Not in vain had Constantine come clad in purple to look down into that dark cave at his feet; nor did the star mislead him when it seemed to end in the entrails of the earth. The men who followed him passed on, as it were, through the low and vaulted tunnel of the Dark Ages; but they had found the way, and the only way, out of that world of death, and their journey ended in the land of the living. They came out into a world more wonderful than the eyes of men have looked on before or after; they heard the hammers of hundreds of happy craftsmen working for once according to their own will, and saw St. Francis walking with his halo a cloud of birds.

  CHAPTER XI

  THE MEANING OF THE CRUSADE

  There are three examples of Western work on the great eastern slope of the Mount of Olives; and they form a sort of triangle illustrating the truth about the different influences of the West on the East. At the foot of the hill is the garden kept by the Franciscans on the alleged site of Gethsemane, and containing the hoary olive that is supposed to be the terrible tree of the agony of Christ. Given the great age and slow growth of the olives, the tradition is not so unreasonable as some may suppose. But whether or not it is historically right, it is not artistically wrong. The instinct, if it was only an instinct, that made men fix upon this strange growth of grey and twisted wood, was a true imaginative instinct. One of the strange qualities of this strange Southern tree is its almost startling hardness; accidentally to strike the branch of an olive is like striking rock. With its stony surface, stunted stature, and strange holes and hollows, it is often more like a grotto than a tree. Hence it does not seem so unnatural that it should be treated as a holy grotto; or that this strange vegetation should claim to stand for ever like a sculptured monument. Even the shimmering or shivering silver foliage of the living olive might well have a legend like that of the aspen; as if it had grown grey with fear from the apocalyptic paradox of a divine vision of death. A child from one of the villages said to me, in broken English, that it was the place where God said his prayers. I for one could not ask for a finer or more defiant statement of all that separates the Christian from the Moslem or the Jew; _credo quia impossibile_.

  Around this terrible spot the Franciscans have done something which will strike many good and thoughtful people as quite fantastically inadequate; and which strikes me as fantastically but precisely right. They have laid out the garden simply as a garden, in a way that is completely natural because it is completely artificial. They have made flower-beds in the shape of stars and moons, and coloured them with flowers like those in the backyard of a cottage. The combination of these bright patterns in the sunshine with the awful shadow in the centre is certainly an incongruity in the sense of a contrast. But it is a poetical contrast, like that of birds building in a temple or flowers growing on a tomb. The best way of suggesting what I for one feel about it would be something like this; suppose we imagine a company of children, such as those whom Christ blessed in Jerusalem, afterwards put permanently in charge of a field full of his sorrow; it is probable that, if they could do anything with it, they would do something like this. They might cut it up into quaint shapes and dot it with red daisies or yellow marigolds. I really do not know that there is anything better that grown up people could do, since anything that the greatest of them could do must be, must look quite as small. "Shall I, the gnat that dances in Thy ray, dare to be reverent?" The Franciscans have not dared to
be reverent; they have only dared to be cheerful. It may be too awful an adventure of the imagination to imagine Christ in that garden. But there is not the smallest difficulty about imagining St. Francis there; and that is something to say of an institution which is eight hundred years old.

  Immediately above this little garden, overshadowing and almost overhanging it, is a gorgeous gilded building with golden domes and minarets glittering in the sun, and filling a splendid situation with almost shameless splendour; the Russian church built over the upper part of the garden, belonging to the Orthodox-Greeks. Here again many Western travellers will be troubled; and will think that golden building much too like a fairy palace in a pantomime. But here again I shall differ from them, though perhaps less strongly. It may be that the pleasure is childish rather than childlike; but I can imagine a child clapping his hands at the mere sight of those great domes like bubbles of gold against the blue sky. It is a little like Aladdin's Palace, but it has a place in art as Aladdin has a place in literature; especially since it is oriental literature. Those wise missionaries in China who were not afraid to depict the Twelve Apostles in the costume of Chinamen might have built such a church in a land of glittering mosques. And as it is said that the Russian has in him something of the child and something of the oriental, such a style may be quite sincere, and have even a certain simplicity in its splendour. It is genuine of its kind; it was built for those who like it; and those who do not like it can look at something else. This sort of thing may be called tawdry, but it is not what I call meretricious. What I call really meretricious can be found yet higher on the hill; towering to the sky and dominating all the valleys.

  The nature of the difference, I think, is worth noting. The German Hospice, which served as a sort of palace for the German Emperor, is a very big building with a very high tower, planned I believe with great efficiency, solidity and comfort, and fitted with a thousand things that mark its modernity compared with the things around, with the quaint garden of the Franciscans or the fantastic temple of the Russians. It is what I can only describe as a handsome building; rather as the more vulgar of the Victorian wits used to talk about a fine woman. By calling it a handsome building I mean that from the top of its dizzy tower to the bottom of its deepest foundations there is not one line or one tint of beauty. This negative fact, however, would be nothing; it might be honestly ugly and utilitarian like a factory or a prison; but it is not. It is as pretentious as the gilded dome below it; and it is pretentious in a wicked way where the other is pretentious in a good and innocent way. What annoys me about it is that it was not built by children, or even by savages, but by professors; and the professors could profess the art and could not practise it. The architects knew everything about a Romanesque building except how to build it. We feel that they accumulated on that spot all the learning and organisation and information and wealth of the world, to do this one particular thing; and then did it wrong. They did it wrong, not through superstition, not through fanatical exaggeration, not through provincial ignorance, but through pure, profound, internal, intellectual incompetence; that intellectual incompetence which so often goes with intellectual pride. I will mention only one matter out of a hundred. All the columns in the Kaiser's Chapel are in one way very suitable to their place; every one of them has a swelled head. The column itself is slender but the capital is not only big but bulging; and it has the air of bulging _downwards_, as if pressing heavily on something too slender to support it. This is false, not to any of the particular schools of architecture about which professors can read in libraries, but to the inmost instinctive idea of architecture itself. A Norman capital can be heavy because the Norman column is thick, and the whole thing expresses an elephantine massiveness and repose. And a Gothic column can be slender, because its strength is energy; and is expressed in its line, which shoots upwards like the life of a tree, like the jet of a fountain or even like the rush of a rocket. But a slender thing beneath, obviously oppressed by a bloated thing above, suggests weakness by one of those miraculous mistakes that are as precisely wrong as masterpieces are precisely right. And to all this is added the intolerable intuition; that the Russians and the Franciscans, even if we credit them with fantastic ignorance, are at least looking up at the sky; and we know how the learned Germans would look down upon them, from their monstrous tower upon the hill.

  And this is as true of the moral as of the artistic elements in the modern Jerusalem. To show that I am not unjustly partisan, I will say frankly that I see little to complain of in that common subject of complaint; the mosaic portrait of the Emperor on the ceiling of the chapel. It is but one among many figures; and it is not an unknown practice to include a figure of the founder in such church decorations. The real example of that startling moral stupidity which marked the barbaric imperialism can be found in another figure of which, curiously enough, considerably less notice seems to have been taken. It is the more remarkable because it is but an artistic shadow of the actual fact; and merely records in outline and relief the temporary masquerade in which the man walked about in broad daylight. I mean the really astounding trick of dressing himself up as a Crusader. That was, under the circumstances, far more ludicrous and lunatic a proceeding than if he had filled the whole ceiling with cherub heads with his own features, or festooned all the walls with one ornamental pattern of his moustaches.

  The German Emperor came to Jerusalem under the escort of the Turks, as the ally of the Turks, and solely because of the victory and supremacy of the Turks. In other words, he came to Jerusalem solely because the Crusaders had lost Jerusalem; he came there solely because the Crusaders had been routed, ruined, butchered before and after the disaster of Hattin: because the Cross had gone down in blood before the Crescent, under which alone he could ride in with safety. Under those circumstances to dress up as a Crusader, as if for a fancy dress ball, was a mixture of madness and vulgarity which literally stops the breath. There is no need whatever to blame him for being in alliance with the Turks; hundreds of people have been in alliance with the Turks; the English especially have been far too much in alliance with them. But if any one wants to appreciate the true difference, distinct from all the cant of newspaper nationality, between the English and the Germans (who were classed together by the same newspapers a little time before the war) let him take this single incident as a test. Lord Palmerston, for instance, was a firm friend of the Turks. Imagine Lord Palmerston appearing in chain mail and the shield of a Red Cross Knight.

  It is obvious enough that Palmerston would have said that he cared no more for the Crusade than for the Siege of Troy; that his diplomacy was directed by practical patriotic considerations of the moment; and that he regarded the religious wars of the twelfth century as a rubbish heap of remote superstitions. In this he would be quite wrong, but quite intelligible and quite sincere; an English aristocrat of the nineteenth century inheriting from the English aristocrats of the eighteenth century; whose views were simply those of Voltaire. And these things are something of an allegory. For the Voltairian version of the Crusades is still by far the most reasonable of all merely hostile views of the Crusades. If they were not a creative movement of religion, then they were simply a destructive movement of superstition; and whether we agree with Voltaire in calling it superstition or with Villehardouin in calling it religion, at least both these very clear-headed Frenchmen would agree that the motive did exist and did explain the facts. But just as there is a clumsy German building with statues that at once patronise and parody the Crusaders, so there is a clumsy German theory that at once patronises and minimises the Crusades. According to this theory the essential truth about a Crusade was that it was not a Crusade. It was something that the professors, in the old days before the war, used to call a Teutonic Folk-Wandering. Godfrey and St. Louis were not, as Villehardouin would say, fighting for the truth; they were not even, as Voltaire would say, fighting for what they thought was the truth; this was only what they thought they thought, and they were real
ly thinking of something entirely different. They were not moved either by piety or priestcraft, but by a new and unexpected nomadism. They were not inspired either by faith or fanaticism, but by an unusually aimless taste for foreign travel. This theory that the war of the two great religions could be explained by "Wanderlust" was current about twenty years ago among the historical professors of Germany, and with many of their other views, was often accepted by the historical professors of England. It was swallowed by an earthquake, along with other rubbish, in the year 1914.