The Essential G. K. Chesterton

by G. K. Chesterton

  Now the second thing to be remarked in apology for the picturesque is, that the very thing which makes it seem trivial ought really to make it seem important; I mean the fact that it consists necessarily of contrasts. It brings together types that stand out from their background, but are abruptly different from each other, like the clown among the fairies or the fool in the forest. And his audacious reconciliation is a mark not of frivolity but of extreme seriousness. A man who deals in harmonies, who only matches stars with angels or lambs with spring flowers, he indeed may be frivolous; for he is taking one mood at a time, and perhaps forgetting each mood as it passes. But a man who ventures to combine an angel and an octopus must have some serious view of the universe. The man who should write a dialogue between two early Christians might be a mere writer of dialogues. But a man who should write a dialogue between an early Christian and the Missing Link would have to be a philosopher. The more widely different the types talked of, the more serious and universal must be the philosophy which talks of them. The mark of the light and thoughtless writer is the harmony of his subject matter; the mark of the thoughtful writer is its apparent diversity. The most flippant lyric poet might write a pretty poem about lambs; but it requires something bolder and graver than a poet, it requires an ecstatic prophet, to talk about the lion lying down with the lamb.

  Dickens, at any rate, strongly supports this conception: that great literary men as such do not despise the purely pictorial. No man's works have so much the quality of illustrating themselves. Few men's works have been more thoroughly and eagerly illustrated; few men's works can it have been better fun to illustrate. As a rule this fascinating quality in the mere fantastic figures of the tale was inseparable from their farcical quality in the tale. Stiggins's red nose is distinctly connected with the fact that he is a member of the Ebenezer Temperance Association; Quilp is little, because a little of him goes a long way. Mr. Carker smiles and smiles and is a villain; Mr. Chadband is fat because in his case to be fat is to be hated. The story is immeasurably more important than the picture; it is not mere indulgence in the picturesque. Generally it is an intellectual love of the comic; not a pure love of the grotesque.

  But in one book Dickens suddenly confesses that he likes the grotesque even without the comic. In one case he makes clear that he enjoys pure pictures with a pure love of the picturesque. That place is _Barnaby Rudge_. There had indeed been hints of it in many episodes in his books; notably, for example, in that fine scene of the death of Quilp--a scene in which the dwarf remains fantastic long after he has ceased to be in any way funny. Still, the dwarf was meant to be funny. Humour of a horrible kind, but still humour, is the purpose of Quilp's existence and position in the book. Laughter is the object of all his oddities. But laughter is not the object of Barnaby Rudge's oddities. His idiot costume and his ugly raven are used for the purpose of the pure grotesque; solely to make a certain kind of Gothic sketch.

  It is commonly this love of pictures that drives men back upon the historical novel. But it is very typical of Dickens's living interest in his own time, that though he wrote two historical novels they were neither of them of very ancient history. They were both, indeed, of very recent history; only they were those parts of recent history which were specially picturesque. I do not think that this was due to any mere consciousness on his part that he knew no history. Undoubtedly he knew no history; and he may or may not have been conscious of the fact. But the consciousness did not prevent him from writing a _History of England_. Nor did it prevent him from interlarding all or any of his works with tales of the pictorial past, such as the tale of the broken swords in _Master Humphrey's Clock_, or the indefensibly delightful nightmare of the lady in the stage-coach, which helps to soften the amiable end of Pickwick. Neither, worst of all, did it prevent him from dogmatising anywhere and everywhere about the past, of which he knew nothing; it did not prevent him from telling the bells to tell Trotty Veck that the Middle Ages were a failure, nor from solemnly declaring that the best thing that the medival monks ever did was to create the mean and snobbish quietude of a modern cathedral city. No, it was not historical reverence that held him back from dealing with the remote past; but rather something much better--a living interest in the living century in which he was born. He would have thought himself quite intellectually capable of writing a novel about the Council of Trent or the First Crusade. He would have thought himself quite equal to analysing the psychology of Abelard or giving a bright, satiric sketch of St. Augustine. It must frankly be confessed that it was not a sense of his own unworthiness that held him back; I fear it was rather a sense of St. Augustine's unworthiness. He could not see the point of any history before the first slow swell of the French Revolution. He could understand the revolutions of the eighteenth century; all the other revolutions of history (so many and so splendid) were unmeaning to him. But the revolutions of the eighteenth century he did understand; and to them therefore he went back, as all historical novelists go back, in search of the picturesque. And from this fact an important result follows.

  The result that follows is this: that his only two historical novels are both tales of revolutions--of eighteenth-century revolutions. These two eighteenth-century revolutions may seem to differ, and perhaps do differ in everything except in being revolutions and of the eighteenth century. The French Revolution, which is the theme of _A Tale of Two Cities_, was a revolt in favour of all that is now called enlightenment and liberation. The great Gordon Riot, which is the theme of _Barnaby Rudge_, was a revolt in favour of something which would now be called mere ignorant and obscurantist Protestantism. Nevertheless both belonged more typically to the age out of which Dickens came--the great sceptical and yet creative eighteenth century of Europe. Whether the mob rose on the right side or the wrong they both belonged to the time in which a mob could rise, in which a mob could conquer. No growth of intellectual science or of moral cowardice had made it impossible to fight in the streets, whether for the republic or for the Bible. If we wish to know what was the real link, existing actually in ultimate truth, existing unconsciously in Dickens's mind, which connected the Gordon Riots with the French Revolution, the link may be defined though not with any great adequacy. The nearest and truest way of stating it is that neither of the two could possibly happen in Fleet Street to-morrow evening.

  Another point of resemblance between the two books might be found in the fact that they both contain the sketch of the same kind of eighteenth-century aristocrat, if indeed that kind of aristocrat really existed in the eighteenth century. The diabolical dandy with the rapier and the sneer is at any rate a necessity of all normal plays and romances; hence Mr. Chester has a right to exist in this romance, and Foulon a right to exist in a page of history almost as cloudy and disputable as a romance. What Dickens and other romancers do probably omit from the picture of the eighteenth-century oligarch is probably his liberality. It must never be forgotten that even when he was a despot in practice he was generally a liberal in theory. Dickens and romancers make the pre-revolution tyrant a sincere believer in tyranny; generally he was not. He was a sceptic about everything, even about his own position. The romantic Foulon says of the people, "Let them eat grass," with bitter and deliberate contempt. The real Foulon (if he ever said it at all) probably said it as a sort of dreary joke because he couldn't think of any other way out of the problem. Similarly Mr. Chester, a cynic as he is, believes seriously in the beauty of being a gentleman; a real man of that type probably disbelieved in that as in everything else. Dickens was too bracing, one may say too bouncing himself to understand the psychology of fatigue in a protected and leisured class. He could understand a tyrant like Quilp, a tyrant who is on his throne because he has climbed up into it, like a monkey. He could not understand a tyrant who is on his throne because he is too weary to get out of it. The old aristocrats were in a dead way quite good-natured. They were even humanitarians; which perhaps accounts for the extent to which they roused against themselves the healthy hatr
ed of humanity. But they were tired humanitarians; tired with doing nothing. Figures like that of Mr. Chester, therefore, fail somewhat to give the true sense of something hopeless and helpless which led men to despair of the upper class. He has a boyish pleasure in play-acting; he has an interest in life; being a villain is his hobby. But the true man of that type had found all hobbies fail him. He had wearied of himself as he had wearied of a hundred women. He was graceful and could not even admire himself in the glass. He was witty and could not even laugh at his own jokes. Dickens could never understand tedium.

  There is no mark more strange and perhaps sinister of the interesting and not very sane condition of our modern literature, than the fact that tedium has been admirably described in it. Our best modern writers are never so exciting as they are about dulness. Mr. Rudyard Kipling is never so powerful as when he is painting yawning deserts, aching silences, sleepless nights, or infernal isolation. The excitement in one of the stories of Mr. Henry James becomes tense, thrilling, and almost intolerable in all the half hours during which nothing whatever is said or done. We are entering again into the mind, into the real mind of Foulon and Mr. Chester. We begin to understand the deep despair of those tyrants whom our fathers pulled down. But Dickens could never have understood that despair; it was not in his soul. And it is an interesting coincidence that here, in this book of _Barnaby Rudge_, there is a character meant to be wholly grotesque, who, nevertheless, expresses much of that element in Dickens which prevented him from being a true interpreter of the tired and sceptical aristocrat.

  Sim Tappertit is a fool, but a perfectly honourable fool. It requires some sincerity to pose. Posing means that one has not dried up in oneself all the youthful and innocent vanities with the slow paralysis of mere pride. Posing means that one is still fresh enough to enjoy the good opinion of one's fellows. On the other hand, the true cynic has not enough truth in him to attempt affectation; he has never even seen the truth, far less tried to imitate it. Now we might very well take the type of Mr. Chester on the one hand, and of Sim Tappertit on the other, as marking the issue, the conflict, and the victory which really ushered in the nineteenth century. Dickens was very like Sim Tappertit. The Liberal Revolution was very like a Sim Tappertit revolution. It was vulgar, it was overdone, it was absurd, but it was alive. Dickens was vulgar, was absurd, overdid everything, but he was alive. The aristocrats were perfectly correct, but quite dead; dead long before they were guillotined. The classics and critics who lamented that Dickens was no gentleman were quite right, but quite dead. The revolution thought itself rational; but so did Sim Tappertit. It was really a huge revolt of romanticism against a reason which had grown sick even of itself. Sim Tappertit rose against Mr. Chester; and, thank God! he put his foot upon his neck.

  AMERICAN NOTES

  _American Notes_ was written soon after Dickens had returned from his first visit to America. That visit had, of course, been a great epoch in his life; but how much of an epoch men did not truly realise until, some time after, in the middle of a quiet story about Salisbury and a ridiculous architect, his feelings flamed out and flared up to the stars in _Martin Chuzzlewit_. The _American Notes_ are, however, interesting, because in them he betrays his feelings when he does not know that he is betraying them. Dickens's first visit to America was, from his own point of view, and at the beginning, a happy and festive experiment. It is very characteristic of him that he went among the Americans, enjoyed them, even admired them, and then had a quarrel with them. Nothing was ever so unmistakable as his good-will, except his ill-will; and they were never far apart. And this was not, as some bloodless moderns have sneeringly insinuated, a mere repetition of the proximity between the benevolent stage and the quarrelsome stage of drink. It was a piece of pure optimism; he believed so readily that men were going to be good to him that an injury to him was something more than an injury: it was a shock. What was the exact nature of the American shock must, however, be more carefully stated.

  The famous quarrel between Dickens and America, which finds its most elaborate expression in _American Notes_, though its most brilliant expression in _Martin Chuzzlewit_, is an incident about which a great deal remains to be said. But the thing which most specially remains to be said is this. This old Anglo-American quarrel was much more fundamentally friendly than most Anglo-American alliances. In Dickens's day each nation understood the other enough to argue. In our time neither nation understands itself even enough to quarrel. There was an English tradition, from Fox and eighteenth-century England; there was an American tradition from Franklin and eighteenth-century America; and they were still close enough together to discuss their differences with acrimony, perhaps, but with certain fundamental understandings. The eighteenth-century belief in a liberal civilisation was still a dogma; for dogma is the only thing that makes argument or reasoning possible. America, under all its swagger, did still really believe that Europe was its fountain and its mother, because Europe was more fully civilised. Dickens, under all his disgust, did still believe that America was in advance of Europe, because it was more democratic. It was an age, in short, in which the word "progress" could still be used reasonably; because the whole world looked to one way of escape and there was only one kind of progress under discussion. Now, of course, "progress" is a useless word; for progress takes for granted an already defined direction; and it is exactly about the direction that we disagree. Do not let us therefore be misled into any mistaken optimism or special self-congratulation upon what many people would call the improved relations between England and America. The relations are improved because America has finally become a foreign country. And with foreign countries all sane men take care to exchange a certain consideration and courtesy. But even as late as the time of Dickens's first visit to the United States, we English still felt America as a colony; an insolent, offensive, and even unintelligible colony sometimes, but still a colony; a part of our civilisation, a limb of our life. And America itself, as I have said, under all its bounce and independence, really regarded us as a mother country. This being the case it was possible for us to quarrel, like kinsmen. Now we only bow and smile, like strangers.

  This tone, as a sort of family responsibility, can be felt quite specially all through the satires or suggestions of these _American Notes_. Dickens is cross with America because he is worried about America; as if he were its father. He explores its industrial, legal, and educational arrangements like a mother looking at the housekeeping of a married son; he makes suggestions with a certain acidity; he takes a strange pleasure in being pessimistic. He advises them to take note of how much better certain things are done in England. All this is very different from Dickens's characteristic way of dealing with a foreign country. In countries really foreign, such as France, Switzerland, and Italy, he had two attitudes, neither of them in the least worried or paternal. When he found a thing in Europe which he did not understand, such as the Roman Catholic Church, he simply called it an old-world superstition, and sat looking at it like a moonlit ruin. When he found something that he did understand, such as luncheon baskets, he burst into carols of praise over the superior sense in our civilisation and good management to Continental methods. An example of the first attitude may be found in one of his letters, in which he describes the backwardness and idleness of Catholics who would not build a Birmingham in Italy. He seems quite unconscious of the obvious truth, that the backwardness of Catholics was simply the refusal of Bob Cratchit to enter the house of Gradgrind. An example of the second attitude can be found in the purple patches of fun in _Mugby Junction_; in which the English waitress denounces the profligate French habit of providing new bread and clean food for people travelling by rail. The point is, however, that in neither case has he the air of one suggesting improvements or sharing a problem with the people engaged on it. He does not go carefully with a notebook through Jesuit schools nor offer friendly suggestions to the governors of Parisian prisons. Or if he does, it is in a different spirit; it is in the spirit of
an ordinary tourist being shown over the Coliseum or the Pyramids. But he visited America in the spirit of a Government inspector dealing with something it was his duty to inspect. This is never felt either in his praise or blame of Continental countries. When he did not leave a foreign country to decay like a dead dog, he merely watched it at play like a kitten. France he mistook for a kitten. Italy he mistook for a dead dog.

  But with America he could feel--and fear. There he could hate, because he could love. There he could feel not the past alone nor the present, but the future also; and, like all brave men, when he saw the future he was a little afraid of it. For of all tests by which the good citizen and strong reformer can be distinguished from the vague faddist or the inhuman sceptic, I know no better test than this--that the unreal reformer sees in front of him one certain future, the future of his fad; while the real reformer sees before him ten or twenty futures among which his country must choose, and may, in some dreadful hour, choose the wrong one. The true patriot is always doubtful of victory; because he knows that he is dealing with a living thing; a thing with free will. To be certain of free will is to be uncertain of success.