I shall not talk here, any more than anywhere else in this book, about the "sedulous ape" business. No man ever wrote as well as Stevenson who cared only about writing. Yet there is a sense, though a misleading one, in which his original inspirations were artistic rather than purely philosophical. To put the point in that curt covenanting way which he himself could sometimes command, he thought it immoral to neglect romance. The whole of his real position was expressed in that phrase of one of his letters "our civilisation is a dingy ungentlemanly business: it drops so much out of a man." On the whole he concluded that what had been dropped out of the man was the boy. He pursued pirates as Defoe would have fled from them; and summed up his simplest emotions in that touching _cri de coeur_ "shall we never shed blood?" He did for the penny dreadful what Coleridge had done for the penny ballad. He proved that, because it was really human, it could really rise as near to heaven as human nature could take it. If Thackeray is our youth, Stevenson is our boyhood: and though this is not the most artistic thing in him, it is the most important thing in the history of Victorian art. All the other fine things he did were, for curious reasons, remote from the current of his age. For instance, he had the good as well as the bad of coming from a Scotch Calvinist's house. No man in that age had so healthy an instinct for the actuality of positive evil. In _The Master of Ballantrae_ he did prove with a pen of steel, that the Devil is a gentleman--but is none the less the Devil. It is also characteristic of him (and of the revolt from Victorian respectability in general) that his most blood-and-thunder sensational tale is also that which contains his most intimate and bitter truth. _Dr. Jekyll and Mr. Hyde_ is a double triumph; it has the outside excitement that belongs to Conan Doyle with the inside excitement that belongs to Henry James. Alas, it is equally characteristic of the Victorian time that while nearly every Englishman has enjoyed the anecdote, hardly one Englishman has seen the joke--I mean the point. You will find twenty allusions to Jekyll and Hyde in a day's newspaper reading. You will also find that all such allusions suppose the two personalities to be equal, neither caring for the other. Or more roughly, they think the book means that man can be cloven into two creatures, good and evil. The whole stab of the story is that man _can't_: because while evil does not care for good, good must care for evil. Or, in other words, man cannot escape from God, because good is the God in man; and insists on omniscience. This point, which is good psychology and also good theology and also good art, has missed its main intention merely because it was also good story-telling.
If the rather vague Victorian public did not appreciate the deep and even tragic ethics with which Stevenson was concerned, still less were they of a sort to appreciate the French finish and fastidiousness of his style; in which he seemed to pick the right word up on the point of his pen, like a man playing spillikins. But that style also had a quality that could be felt; it had a military edge to it, an _acies_; and there was a kind of swordsmanship about it. Thus all the circumstances led, not so much to the narrowing of Stevenson to the romance of the fighting spirit; but the narrowing of his influence to that romance. He had a great many other things to say; but this was what we were willing to hear: a reaction against the gross contempt for soldiering which had really given a certain Chinese deadness to the Victorians. Yet another circumstance thrust him down the same path; and in a manner not wholly fortunate. The fact that he was a sick man immeasurably increases the credit to his manhood in preaching a sane levity and pugnacious optimism. But it also forbade him full familiarity with the actualities of sport, war, or comradeship: and here and there his note is false in these matters, and reminds one (though very remotely) of the mere provincial bully that Henley sometimes sank to be.
For Stevenson had at his elbow a friend, an invalid like himself, a man of courage and stoicism like himself; but a man in whom everything that Stevenson made delicate and rational became unbalanced and blind. The difference is, moreover, that Stevenson was quite right in claiming that he could treat his limitation as an accident; that his medicines "did not colour his life." His life was really coloured out of a shilling paint-box, like his toy-theatre: such high spirits as he had are the key to him: his sufferings are not the key to him. But Henley's sufferings are the key to Henley; much must be excused him, and there is much to be excused. The result was that while there was always a certain dainty equity about Stevenson's judgments, even when he was wrong, Henley seemed to think that on the right side the wronger you were the better. There was much that was feminine in him; and he is most understandable when surprised in those little solitary poems which speak of emotions mellowed, of sunset and a quiet end. Henley hurled himself into the new fashion of praising Colonial adventure at the expense both of the Christian and the republican traditions; but the sentiment did not spread widely until the note was struck outside England in one of the conquered countries; and a writer of Anglo-Indian short stories showed the stamp of the thing called genius; that indefinable, dangerous and often temporary thing.
For it is really impossible to criticise Rudyard Kipling as part of Victorian literature, because he is the end of such literature. He has many other powerful elements; an Indian element, which makes him exquisitely sympathetic with the Indian; a vague Jingo influence which makes him sympathetic with the man that crushes the Indian; a vague journalistic sympathy with the men that misrepresent everything that has happened to the Indian; but of the Victorian virtues, nothing.
All that was right or wrong in Kipling was expressed in the final convulsion that he almost in person managed to achieve. The nearest that any honest man can come to the thing called "impartiality" is to confess that he is partial. I therefore confess that I think this last turn of the Victorian Age was an unfortunate turn; much on the other side can be said, and I hope will be said. But about the facts there can be no question. The Imperialism of Kipling was equally remote from the Victorian caution and the Victorian idealism: and our subject does quite seriously end here. The world was full of the trampling of totally new forces, gold was sighted from far in a sort of cynical romanticism: the guns opened across Africa; and the great queen died.
* * * * *
Of what will now be the future of so separate and almost secretive an adventure of the English, the present writer will not permit himself, even for an instant, to prophesy. The Victorian Age made one or two mistakes, but they were mistakes that were really useful; that is, mistakes that were really mistaken. They thought that commerce outside a country must extend peace: it has certainly often extended war. They thought that commerce inside a country must certainly promote prosperity; it has largely promoted poverty. But for them these were experiments; for us they ought to be lessons. If _we_ continue the capitalist use of the populace--if _we_ continue the capitalist use of external arms, it will lie heavy on the living. The dishonour will not be on the dead.
BIBLIOGRAPHICAL NOTE
After having surveyed the immense field presented in such a volume as Mr. George Mair's _Modern English Literature_ in this series, or, more fully, in the _Cambridge History of Modern Literature_, the later volume of Chambers' _English Literature_, Mr. Gosse's _History of Modern English Literature_, or Henry Morley's _English Literature in the Reign of Victoria_, the wise reader will choose some portion for closer study, and will go straight to the originals before he has any further traffic with critics or commentators, however able.
He will then need the aid of fuller biographies. Some Victorian _Lives_ are already classic, or nearly so, among them Sir G. Trevelyan's _Macaulay_, Forster's _Dickens_, Mrs. Gaskell's _Charlotte Bront_, Froude's _Carlyle_, and Sir E. T. Cook's _Ruskin_. With these may be ranged the great _Dictionary of National Biography_. The "English Men of Letters" Series includes H. D. Traill's _Coleridge_, Ainger's _Lamb_, Trollope's _Thackeray_, Leslie Stephen's _George Eliot_, Herbert Paul's _Matthew Arnold_, Sir A. Lyall's _Tennyson_, G. K. Chesterton's _Robert Browning_, and A. C. Benson's _Fitzgerald_. At least two autobiographies must be named, those of Herbert Spencer
and John Stuart Mill, and, as antidote to Newman's _Apologia_, the gay self-revelations of Borrow, and Jefferies' _Story of My Heart_. Other considerable volumes are W. J. Cross's _George Eliot_, Lionel Johnson's _Art of Thomas Hardy_, Mr. W. M. Rossetti's _Dante G. Rossetti_, Colvin's _R. L. Stevenson_, J. W. Mackail's _William Morris_, Holman Hunt's _Pre-Raphaelite Brotherhood_, Sir Leslie Stephen's _The Utilitarians_, Buxton Forman's _Our Living Poets_, Edward Thomas's _Swinburne_, Monypenny's _Disraeli_, Dawson's _Victorian Novelists_, and Stedman's _Victorian Poets_. The "Everyman" _Short Biographical Dictionary of English Literature_ is useful for dates.
The latter half of the second volume of Mr. F. A. Mumby's _Letters of Literary Men_ is devoted to the Victorian Age. There are fuller collections of the _Letters_ of Leigh Hunt, Thackeray, Dickens, the Brownings, Fitzgerald, Charles Kingsley, Matthew Arnold, and more recently the _Letters of George Meredith_, edited by his son.
Among the important critical writers of the period, Matthew Arnold (_Essays in Criticism_, _Study of Celtic Literature_, etc.) stands easily first. Others are John, now Lord, Morley (_Studies in Literature_, etc.), Augustine Birrell (_Obiter Dicta_, _Essays_), W. E. Henley (_Views and Reviews_), J. Addington Symonds (_Essays_), J. Churton Collins, Richard Garnett, Stopford A. Brooke, George E. B. Saintsbury (_History of Criticism_), R. H. Hutton (_Contemporary Thought_), J. M. Robertson (_Modern Humanists_, _Buckle_, etc.), Frederic Harrison (_The Choice of Books_, etc.), Andrew Lang, Walter Bagehot, Edmund Gosse, Prof. Dowden, Sir Walter Raleigh, and Sir A. T. Quiller Couch.
WHAT I SAW IN AMERICA
BY
G. K. CHESTERTON
_What is America?_
I have never managed to lose my old conviction that travel narrows the mind. At least a man must make a double effort of moral humility and imaginative energy to prevent it from narrowing his mind. Indeed there is something touching and even tragic about the thought of the thoughtless tourist, who might have stayed at home loving Laplanders, embracing Chinamen, and clasping Patagonians to his heart in Hampstead or Surbiton, but for his blind and suicidal impulse to go and see what they looked like. This is not meant for nonsense; still less is it meant for the silliest sort of nonsense, which is cynicism. The human bond that he feels at home is not an illusion. On the contrary, it is rather an inner reality. Man is inside all men. In a real sense any man may be inside any men. But to travel is to leave the inside and draw dangerously near the outside. So long as he thought of men in the abstract, like naked toiling figures in some classic frieze, merely as those who labour and love their children and die, he was thinking the fundamental truth about them. By going to look at their unfamiliar manners and customs he is inviting them to disguise themselves in fantastic masks and costumes. Many modern internationalists talk as if men of different nationalities had only to meet and mix and understand each other. In reality that is the moment of supreme danger--the moment when they meet. We might shiver, as at the old euphemism by which a meeting meant a duel.
Travel ought to combine amusement with instruction; but most travellers are so much amused that they refuse to be instructed. I do not blame them for being amused; it is perfectly natural to be amused at a Dutchman for being Dutch or a Chinaman for being Chinese. Where they are wrong is that they take their own amusement seriously. They base on it their serious ideas of international instruction. It was said that the Englishman takes his pleasures sadly; and the pleasure of despising foreigners is one which he takes most sadly of all. He comes to scoff and does not remain to pray, but rather to excommunicate. Hence in international relations there is far too little laughing, and far too much sneering. But I believe that there is a better way which largely consists of laughter; a form of friendship between nations which is actually founded on differences. To hint at some such better way is the only excuse of this book.
Let me begin my American impressions with two impressions I had before I went to America. One was an incident and the other an idea; and when taken together they illustrate the attitude I mean. The first principle is that nobody should be ashamed of thinking a thing funny because it is foreign; the second is that he should be ashamed of thinking it wrong because it is funny. The reaction of his senses and superficial habits of mind against something new, and to him abnormal, is a perfectly healthy reaction. But the mind which imagines that mere unfamiliarity can possibly prove anything about inferiority is a very inadequate mind. It is inadequate even in criticising things that may really be inferior to the things involved here. It is far better to laugh at a negro for having a black face than to sneer at him for having a sloping skull. It is proportionally even more preferable to laugh rather than judge in dealing with highly civilised peoples. Therefore I put at the beginning two working examples of what I felt about America before I saw it; the sort of thing that a man has a right to enjoy as a joke, and the sort of thing he has a duty to understand and respect, because it is the explanation of the joke.
When I went to the American consulate to regularise my passports, I was capable of expecting the American consulate to be American. Embassies and consulates are by tradition like islands of the soil for which they stand; and I have often found the tradition corresponding to a truth. I have seen the unmistakable French official living on omelettes and a little wine and serving his sacred abstractions under the last palm-trees fringing a desert. In the heat and noise of quarrelling Turks and Egyptians, I have come suddenly, as with the cool shock of his own shower-bath, on the listless amiability of the English gentleman. The officials I interviewed were very American, especially in being very polite; for whatever may have been the mood or meaning of Martin Chuzzlewit, I have always found Americans by far the politest people in the world. They put in my hands a form to be filled up, to all appearance like other forms I had filled up in other passport offices. But in reality it was very different from any form I had ever filled up in my life. At least it was a little like a freer form of the game called 'Confessions' which my friends and I invented in our youth; an examination paper containing questions like, 'If you saw a rhinoceros in the front garden, what would you do?' One of my friends, I remember, wrote, 'Take the pledge.' But that is another story, and might bring Mr. Pussyfoot Johnson on the scene before his time.
One of the questions on the paper was, 'Are you an anarchist?' To which a detached philosopher would naturally feel inclined to answer, 'What the devil has that to do with you? Are you an atheist?' along with some playful efforts to cross-examine the official about what constitutes an [Greek: arch]. Then there was the question, 'Are you in favour of subverting the government of the United States by force?' Against this I should write, 'I prefer to answer that question at the end of my tour and not the beginning.' The inquisitor, in his more than morbid curiosity, had then written down, 'Are you a polygamist?' The answer to this is, 'No such luck' or 'Not such a fool,' according to our experience of the other sex. But perhaps a better answer would be that given to W. T. Stead when he circulated the rhetorical question, 'Shall I slay my brother Boer?'--the answer that ran, 'Never interfere in family matters.' But among many things that amused me almost to the point of treating the form thus disrespectfully, the most amusing was the thought of the ruthless outlaw who should feel compelled to treat it respectfully. I like to think of the foreign desperado, seeking to slip into America with official papers under official protection, and sitting down to write with a beautiful gravity, 'I am an anarchist. I hate you all and wish to destroy you.' Or, 'I intend to subvert by force the government of the United States as soon as possible, sticking the long sheath-knife in my left trouser-pocket into Mr. Harding at the earliest opportunity.' Or again, 'Yes, I am a polygamist all right, and my forty-seven wives are accompanying me on the voyage disguised as secretaries.' There seems to be a certain simplicity of mind about these answers; and it is reassuring to know that anarchists and polygamists are so pure and good that the police have only to ask them questions and they are certain to tell no lies.
Now that is a model of
the sort of foreign practice, founded on foreign problems, at which a man's first impulse is naturally to laugh. Nor have I any intention of apologising for my laughter. A man is perfectly entitled to laugh at a thing because he happens to find it incomprehensible. What he has no right to do is to laugh at it as incomprehensible, and then criticise it as if he comprehended it. The very fact of its unfamiliarity and mystery ought to set him thinking about the deeper causes that make people so different from himself, and that without merely assuming that they must be inferior to himself.
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