The Essential G. K. Chesterton Collection
Alarms and Discursions
All Things Considered
The Appetite of Tyranny
Appreciations and Criticisms of the Works of Charles Dickens
The Ballad of the White Horse
The Ball and The Cross
The Barbarism of Berlin
The Club of Queer Trades
The Crimes of England
The Defendant
Eugenics and Other Evils
George Bernard Shaw
Heretics
The Innocence of Father Brown
Lord Kitchener
Magic, A Fantastic Comedy
Manalive
The Man Who Knew Too Much
The Man Who Was Thursday
A Miscellany of Men
The Napoleon of Notting Hill
The New Jerusalem
Orthodoxy
Robert Browning
A Short History of England
The Trees of Pride
Tremendous Trifles
Twelve Types
Utopia of Usurers and other Essays
Varied Types
The Victorian Age in Literature
What I Saw in America
What's Wrong With The World
The Wild Knight and Other Poems
The Wisdom of Father Brown
ALARMS AND DISCURSIONS
By G. K. Chesterton
CONTENTS
1: INTRODUCTORY: ON GARGOYLES
2: THE SURRENDER OF A COCKNEY
3: THE NIGHTMARE
4: THE TELEGRAPH POLES
5: A DRAMA OF DOLLS
6: THE MAN AND HIS NEWSPAPER
7: THE APPETITE OF EARTH
8: SIMMONS AND THE SOCIAL TIE
9: CHEESE
10: THE RED TOWN
11: THE FURROWS
12: THE PHILOSOPHY OF SIGHT-SEEING
13: A CRIMINAL HEAD
14: THE WRATH OF THE ROSES
15: THE GOLD OF GLASTONBURY
16: THE FUTURISTS
17: DUKES
18: THE GLORY OF GREY
19: THE ANARCHIST
20: HOW I FOUND THE SUPERMAN
21: THE NEW HOUSE
22: THE WINGS OF STONE
23: THE THREE KINDS OF MEN
24: THE STEWARD OF THE CHILTERN HUNDREDS
25: THE FIELD OF BLOOD
26: THE STRANGENESS OF LUXURY
27: THE TRIUMPH OF THE DONKEY
28: THE WHEEL
29: FIVE HUNDRED AND FIFTY-FIVE
30: ETHANDUNE
31: THE FLAT FREAK
32: THE GARDEN OF THE SEA
33: THE SENTIMENTALIST
34: THE WHITE HORSES
35: THE LONG BOW
36: THE MODERN SCROOGE
37: THE HIGH PLAINS
38: THE CHORUS
39: A ROMANCE OF THE MARSHES
Introductory: On Gargoyles
Alone at some distance from the wasting walls of a disused abbey I found half sunken in the grass the grey and goggle-eyed visage of one of those graven monsters that made the ornamental water-spouts in the cathedrals of the Middle Ages. It lay there, scoured by ancient rains or striped by recent fungus, but still looking like the head of some huge dragon slain by a primeval hero. And as I looked at it, I thought of the meaning of the grotesque, and passed into some symbolic reverie of the three great stages of art.
I
Once upon a time there lived upon an island a merry and innocent people, mostly shepherds and tillers of the earth. They were republicans, like all primitive and simple souls; they talked over their affairs under a tree, and the nearest approach they had to a personal ruler was a sort of priest or white witch who said their prayers for them. They worshipped the sun, not idolatrously, but as the golden crown of the god whom all such infants see almost as plainly as the sun.
Now this priest was told by his people to build a great tower, pointing to the sky in salutation of the Sun-god; and he pondered long and heavily before he picked his materials. For he was resolved to use nothing that was not almost as clear and exquisite as sunshine itself; he would use nothing that was not washed as white as the rain can wash the heavens, nothing that did not sparkle as spotlessly as that crown of God. He would have nothing grotesque or obscure; he would not have even anything emphatic or even anything mysterious. He would have all the arches as light as laughter and as candid as logic. He built the temple in three concentric courts, which were cooler and more exquisite in substance each than the other. For the outer wall was a hedge of white lilies, ranked so thick that a green stalk was hardly to be seen; and the wall within that was of crystal, which smashed the sun into a million stars. And the wall within that, which was the tower itself, was a tower of pure water, forced up in an everlasting fountain; and upon the very tip and crest of that foaming spire was one big and blazing diamond, which the water tossed up eternally and caught again as a child catches a ball.
"Now," said the priest, "I have made a tower which is a little worthy of the sun."
II
But about this time the island was caught in a swarm of pirates; and the shepherds had to turn themselves into rude warriors and seamen; and at first they were utterly broken down in blood and shame; and the pirates might have taken the jewel flung up for ever from their sacred fount. And then, after years of horror and humiliation, they gained a little and began to conquer because they did not mind defeat. And the pride of the pirates went sick within them after a few unexpected foils; and at last the invasion rolled back into the empty seas and the island was delivered. And for some reason after this men began to talk quite differently about the temple and the sun. Some, indeed, said, "You must not touch the temple; it is classical; it is perfect, since it admits no imperfections." But the others answered, "In that it differs from the sun, that shines on the evil and the good and on mud and monsters everywhere. The temple is of the noon; it is made of white marble clouds and sapphire sky. But the sun is not always of the noon. The sun dies daily, every night he is crucified in blood and fire." Now the priest had taught and fought through all the war, and his hair had grown white, but his eyes had grown young. And he said, "I was wrong and they are right. The sun, the symbol of our father, gives life to all those earthly things that are full of ugliness and energy. All the exaggerations are right, if they exaggerate the right thing. Let us point to heaven with tusks and horns and fins and trunks and tails so long as they all point to heaven. The ugly animals praise God as much as the beautiful. The frog's eyes stand out of his head because he is staring at heaven. The giraffe's neck is long because he is stretching towards heaven. The donkey has ears to hear--let him hear."
And under the new inspiration they planned a gorgeous cathedral in the Gothic manner, with all the animals of the earth crawling over it, and all the possible ugly things making up one common beauty, because they all appealed to the god. The columns of the temple were carved like the necks of giraffes; the dome was like an ugly tortoise; and the highest pinnacle was a monkey standing on his head with his tail pointing at the sun. And yet the whole was beautiful, because it was lifted up in one living and religious gesture as a man lifts his hands in prayer.
III
But this great plan was never properly completed. The people had brought up on great wagons the heavy tortoise roof and the huge necks of stone, and all the thousand and one oddities that made up that unity, the owls and the efts and the crocodiles and the kangaroos, which hideous by themselves might have been magnificent if reared in one definite proportion and dedicated to the sun. For this was Gothic, this was romantic, this was Christian art; this was the whole advance of S
hakespeare upon Sophocles. And that symbol which was to crown it all, the ape upside down, was really Christian; for man is the ape upside down.
But the rich, who had grown riotous in the long peace, obstructed the thing, and in some squabble a stone struck the priest on the head and he lost his memory. He saw piled in front of him frogs and elephants, monkeys and giraffes, toadstools and sharks, all the ugly things of the universe which he had collected to do honour to God. But he forgot why he had collected them. He could not remember the design or the object. He piled them all wildly into one heap fifty feet high; and when he had done it all the rich and influential went into a passion of applause and cried, "This is real art! This is Realism! This is things as they really are!"
That, I fancy, is the only true origin of Realism. Realism is simply Romanticism that has lost its reason. This is so not merely in the sense of insanity but of suicide. It has lost its reason; that is its reason for existing. The old Greeks summoned godlike things to worship their god. The medieval Christians summoned all things to worship theirs, dwarfs and pelicans, monkeys and madmen. The modern realists summon all these million creatures to worship their god; and then have no god for them to worship. Paganism was in art a pure beauty; that was the dawn. Christianity was a beauty created by controlling a million monsters of ugliness; and that in my belief was the zenith and the noon. Modern art and science practically mean having the million monsters and being unable to control them; and I will venture to call that the disruption and the decay. The finest lengths of the Elgin marbles consist splendid houses going to the temple of a virgin. Christianity, with its gargoyles and grotesques, really amounted to saying this: that a donkey could go before all the horses of the world when it was really going to the temple. Romance means a holy donkey going to the temple. Realism means a lost donkey going nowhere.
The fragments of futile journalism or fleeting impression which are here collected are very like the wrecks and riven blocks that were piled in a heap round my imaginary priest of the sun. They are very like that grey and gaping head of stone that I found overgrown with the grass. Yet I will venture to make even of these trivial fragments the high boast that I am a medievalist and not a modern. That is, I really have a notion of why I have collected all the nonsensical things there are. I have not the patience nor perhaps the constructive intelligence to state the connecting link between all these chaotic papers. But it could be stated. This row of shapeless and ungainly monsters which I now set before the reader does not consist of separate idols cut out capriciously in lonely valleys or various islands. These monsters are meant for the gargoyles of a definite cathedral. I have to carve the gargoyles, because I can carve nothing else; I leave to others the angels and the arches and the spires. But I am very sure of the style of the architecture, and of the consecration of the church.
The Surrender of a Cockney
Evert man, though he were born in the very belfry of Bow and spent his infancy climbing among chimneys, has waiting for him somewhere a country house which he has never seen; but which was built for him in the very shape of his soul. It stands patiently waiting to be found, knee-deep in orchards of Kent or mirrored in pools of Lincoln; and when the man sees it he remembers it, though he has never seen it before. Even I have been forced to confess this at last, who am a Cockney, if ever there was one, a Cockney not only on principle, but with savage pride. I have always maintained, quite seriously, that the Lord is not in the wind or thunder of the waste, but if anywhere in the still small voice of Fleet Street. I sincerely maintain that Nature-worship is more morally dangerous than the most vulgar man-worship of the cities; since it can easily be perverted into the worship of an impersonal mystery, carelessness, or cruelty. Thoreau would have been a jollier fellow if he had devoted himself to a greengrocer instead of to greens. Swinburne would have been a better moralist if he had worshipped a fishmonger instead of worshipping the sea. I prefer the philosophy of bricks and mortar to the philosophy of turnips. To call a man a turnip may be playful, but is seldom respectful. But when we wish to pay emphatic honour to a man, to praise the firmness of his nature, the squareness of his conduct, the strong humility with which he is interlocked with his equals in silent mutual support, then we invoke the nobler Cockney metaphor, and call him a brick.
But, despite all these theories, I have surrendered; I have struck my colours at sight; at a mere glimpse through the opening of a hedge. I shall come down to living in the country, like any common Socialist or Simple Lifer. I shall end my days in a village, in the character of the Village Idiot, and be a spectacle and a judgment to mankind. I have already learnt the rustic manner of leaning upon a gate; and I was thus gymnastically occupied at the moment when my eye caught the house that was made for me. It stood well back from the road, and was built of a good yellow brick; it was narrow for its height, like the tower of some Border robber; and over the front door was carved in large letters, "1908." That last burst of sincerity, that superb scorn of antiquarian sentiment, overwhelmed me finally. I closed my eyes in a kind of ecstasy. My friend (who was helping me to lean on the gate) asked me with some curiosity what I was doing.
"My dear fellow," I said, with emotion, "I am bidding farewell to forty-three hansom cabmen."
"Well," he said, "I suppose they would think this county rather outside the radius."
"Oh, my friend," I cried brokenly, "how beautiful London is! Why do they only write poetry about the country? I could turn every lyric cry into Cockney.
"'My heart leaps up when I behold A sky-sign in the sky,'
"as I observed in a volume which is too little read, founded on the older English poets. You never saw my 'Golden Treasury Regilded; or, The Classics Made Cockney'--it contained some fine lines.
"'O Wild West End, thou breath of London's being,'
"or the reminiscence of Keats, beginning
"'City of smuts and mellow fogfulness.';
"I have written many such lines on the beauty of London; yet I never realized that London was really beautiful till now. Do you ask me why? It is because I have left it for ever."
"If you will take my advice," said my friend, "you will humbly endeavour not to be a fool. What is the sense of this mad modern notion that every literary man must live in the country, with the pigs and the donkeys and the squires? Chaucer and Spenser and Milton and Dryden lived in London; Shakespeare and Dr. Johnson came to London because they had had quite enough of the country. And as for trumpery topical journalists like you, why, they would cut their throats in the country. You have confessed it yourself in your own last words. You hunger and thirst after the streets; you think London the finest place on the planet. And if by some miracle a Bayswater omnibus could come down this green country lane you would utter a yell of joy."
Then a light burst upon my brain, and I turned upon him with terrible sternness.
"Why, miserable aesthete," I said in a voice of thunder, "that is the true country spirit! That is how the real rustic feels. The real rustic does utter a yell of joy at the sight of a Bayswater omnibus. The real rustic does think London the finest place on the planet. In the few moments that I have stood by this stile, I have grown rooted here like an ancient tree; I have been here for ages. Petulant Suburban, I am the real rustic. I believe that the streets of London are paved with gold; and I mean to see it before I die."
The evening breeze freshened among the little tossing trees of that lane, and the purple evening clouds piled up and darkened behind my Country Seat, the house that belonged to me, making, by contrast, its yellow bricks gleam like gold. At last my friend said: "To cut it short, then, you mean that you will live in the country because you won't like it. What on earth will you do here; dig up the garden?"
"Dig!" I answered, in honourable scorn. "Dig! Do work at my Country Seat; no, thank you. When I find a Country Seat, I sit in it. And for your other objection, you are quite wrong. I do not dislike the country, but I like the town more. Therefore the art of happiness certainly suggests that
I should live in the country and think about the town. Modern nature-worship is all upside down. Trees and fields ought to be the ordinary things; terraces and temples ought to be extraordinary. I am on the side of the man who lives in the country and wants to go to London. I abominate and abjure the man who lives in London and wants to go to the country; I do it with all the more heartiness because I am that sort of man myself. We must learn to love London again, as rustics love it. Therefore (I quote again from the great Cockney version of The Golden Treasury)--
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