The Essential G. K. Chesterton

by G. K. Chesterton

  I do not wish the reader to confuse me for a moment with those vague persons who imagine that Ibsen is what they call a pessimist. There are plenty of wholesome people in Ibsen, plenty of good people, plenty of happy people, plenty of examples of men acting wisely and things ending well. That is not my meaning. My meaning is that Ibsen has throughout, and does not disguise, a certain vagueness and a changing attitude as well as a doubting attitude towards what is really wisdom and virtue in this life--a vagueness which contrasts very remarkably with the decisiveness with which he pounces on something which he perceives to be a root of evil, some convention, some deception, some ignorance. We know that the hero of GHOSTS is mad, and we know why he is mad. We do also know that Dr. Stockman is sane; but we do not know why he is sane. Ibsen does not profess to know how virtue and happiness are brought about, in the sense that he professes to know how our modern sexual tragedies are brought about. Falsehood works ruin in THE PILLARS OF SOCIETY, but truth works equal ruin in THE WILD DUCK. There are no cardinal virtues of Ibsenism. There is no ideal man of Ibsen. All this is not only admitted, but vaunted in the most valuable and thoughtful of all the eulogies upon Ibsen, Mr. Bernard Shaw's QUINTESSENCE OF IBSENISM. Mr. Shaw sums up Ibsen's teaching in the phrase, "The golden rule is that there is no golden rule." In his eyes this absence of an enduring and positive ideal, this absence of a permanent key to virtue, is the one great Ibsen merit. I am not discussing now with any fullness whether this is so or not. All I venture to point out, with an increased firmness, is that this omission, good or bad, does leave us face to face with the problem of a human consciousness filled with very definite images of evil, and with no definite image of good. To us light must be henceforward the dark thing--the thing of which we cannot speak. To us, as to Milton's devils in Pandemonium, it is darkness that is visible. The human race, according to religion, fell once, and in falling gained knowledge of good and of evil. Now we have fallen a second time, and only the knowledge of evil remains to us.

  A great silent collapse, an enormous unspoken disappointment, has in our time fallen on our Northern civilization. All previous ages have sweated and been crucified in an attempt to realize what is really the right life, what was really the good man. A definite part of the modern world has come beyond question to the conclusion that there is no answer to these questions, that the most that we can do is to set up a few notice-boards at places of obvious danger, to warn men, for instance, against drinking themselves to death, or ignoring the mere existence of their neighbours. Ibsen is the first to return from the baffled hunt to bring us the tidings of great failure.

  Every one of the popular modern phrases and ideals is a dodge in order to shirk the problem of what is good. We are fond of talking about "liberty"; that, as we talk of it, is a dodge to avoid discussing what is good. We are fond of talking about "progress"; that is a dodge to avoid discussing what is good. We are fond of talking about "education"; that is a dodge to avoid discussing what is good. The modern man says, "Let us leave all these arbitrary standards and embrace liberty." This is, logically rendered, "Let us not decide what is good, but let it be considered good not to decide it." He says, "Away with your old moral formulae; I am for progress." This, logically stated, means, "Let us not settle what is good; but let us settle whether we are getting more of it." He says, "Neither in religion nor morality, my friend, lie the hopes of the race, but in education." This, clearly expressed, means, "We cannot decide what is good, but let us give it to our children."

  Mr. H.G. Wells, that exceedingly clear-sighted man, has pointed out in a recent work that this has happened in connection with economic questions. The old economists, he says, made generalizations, and they were (in Mr. Wells's view) mostly wrong. But the new economists, he says, seem to have lost the power of making any generalizations at all. And they cover this incapacity with a general claim to be, in specific cases, regarded as "experts", a claim "proper enough in a hairdresser or a fashionable physician, but indecent in a philosopher or a man of science." But in spite of the refreshing rationality with which Mr. Wells has indicated this, it must also be said that he himself has fallen into the same enormous modern error. In the opening pages of that excellent book MANKIND IN THE MAKING, he dismisses the ideals of art, religion, abstract morality, and the rest, and says that he is going to consider men in their chief function, the function of parenthood. He is going to discuss life as a "tissue of births." He is not going to ask what will produce satisfactory saints or satisfactory heroes, but what will produce satisfactory fathers and mothers. The whole is set forward so sensibly that it is a few moments at least before the reader realises that it is another example of unconscious shirking. What is the good of begetting a man until we have settled what is the good of being a man? You are merely handing on to him a problem you dare not settle yourself. It is as if a man were asked, "What is the use of a hammer?" and answered, "To make hammers"; and when asked, "And of those hammers, what is the use?" answered, "To make hammers again". Just as such a man would be perpetually putting off the question of the ultimate use of carpentry, so Mr. Wells and all the rest of us are by these phrases successfully putting off the question of the ultimate value of the human life.

  The case of the general talk of "progress" is, indeed, an extreme one. As enunciated today, "progress" is simply a comparative of which we have not settled the superlative. We meet every ideal of religion, patriotism, beauty, or brute pleasure with the alternative ideal of progress--that is to say, we meet every proposal of getting something that we know about, with an alternative proposal of getting a great deal more of nobody knows what. Progress, properly understood, has, indeed, a most dignified and legitimate meaning. But as used in opposition to precise moral ideals, it is ludicrous. So far from it being the truth that the ideal of progress is to be set against that of ethical or religious finality, the reverse is the truth. Nobody has any business to use the word "progress" unless he has a definite creed and a cast-iron code of morals. Nobody can be progressive without being doctrinal; I might almost say that nobody can be progressive without being infallible--at any rate, without believing in some infallibility. For progress by its very name indicates a direction; and the moment we are in the least doubtful about the direction, we become in the same degree doubtful about the progress. Never perhaps since the beginning of the world has there been an age that had less right to use the word "progress" than we. In the Catholic twelfth century, in the philosophic eighteenth century, the direction may have been a good or a bad one, men may have differed more or less about how far they went, and in what direction, but about the direction they did in the main agree, and consequently they had the genuine sensation of progress. But it is precisely about the direction that we disagree. Whether the future excellence lies in more law or less law, in more liberty or less liberty; whether property will be finally concentrated or finally cut up; whether sexual passion will reach its sanest in an almost virgin intellectualism or in a full animal freedom; whether we should love everybody with Tolstoy, or spare nobody with Nietzsche;--these are the things about which we are actually fighting most. It is not merely true that the age which has settled least what is progress is this "progressive" age. It is, moreover, true that the people who have settled least what is progress are the most "progressive" people in it. The ordinary mass, the men who have never troubled about progress, might be trusted perhaps to progress. The particular individuals who talk about progress would certainly fly to the four winds of heaven when the pistol-shot started the race. I do not, therefore, say that the word "progress" is unmeaning; I say it is unmeaning without the previous definition of a moral doctrine, and that it can only be applied to groups of persons who hold that doctrine in common. Progress is not an illegitimate word, but it is logically evident that it is illegitimate for us. It is a sacred word, a word which could only rightly be used by rigid believers and in the ages of faith.

  III. On Mr. Rudyard Kipling and Making the World Small

  There is no
such thing on earth as an uninteresting subject; the only thing that can exist is an uninterested person. Nothing is more keenly required than a defence of bores. When Byron divided humanity into the bores and bored, he omitted to notice that the higher qualities exist entirely in the bores, the lower qualities in the bored, among whom he counted himself. The bore, by his starry enthusiasm, his solemn happiness, may, in some sense, have proved himself poetical. The bored has certainly proved himself prosaic.

  We might, no doubt, find it a nuisance to count all the blades of grass or all the leaves of the trees; but this would not be because of our boldness or gaiety, but because of our lack of boldness and gaiety. The bore would go onward, bold and gay, and find the blades of grass as splendid as the swords of an army. The bore is stronger and more joyous than we are; he is a demigod--nay, he is a god. For it is the gods who do not tire of the iteration of things; to them the nightfall is always new, and the last rose as red as the first.

  The sense that everything is poetical is a thing solid and absolute; it is not a mere matter of phraseology or persuasion. It is not merely true, it is ascertainable. Men may be challenged to deny it; men may be challenged to mention anything that is not a matter of poetry. I remember a long time ago a sensible sub-editor coming up to me with a book in his hand, called "Mr. Smith," or "The Smith Family," or some such thing. He said, "Well, you won't get any of your damned mysticism out of this," or words to that effect. I am happy to say that I undeceived him; but the victory was too obvious and easy. In most cases the name is unpoetical, although the fact is poetical. In the case of Smith, the name is so poetical that it must be an arduous and heroic matter for the man to live up to it. The name of Smith is the name of the one trade that even kings respected, it could claim half the glory of that arma virumque which all epics acclaimed. The spirit of the smithy is so close to the spirit of song that it has mixed in a million poems, and every blacksmith is a harmonious blacksmith.

  Even the village children feel that in some dim way the smith is poetic, as the grocer and the cobbler are not poetic, when they feast on the dancing sparks and deafening blows in the cavern of that creative violence. The brute repose of Nature, the passionate cunning of man, the strongest of earthly metals, the wierdest of earthly elements, the unconquerable iron subdued by its only conqueror, the wheel and the ploughshare, the sword and the steam-hammer, the arraying of armies and the whole legend of arms, all these things are written, briefly indeed, but quite legibly, on the visiting-card of Mr. Smith. Yet our novelists call their hero "Aylmer Valence," which means nothing, or "Vernon Raymond," which means nothing, when it is in their power to give him this sacred name of Smith--this name made of iron and flame. It would be very natural if a certain hauteur, a certain carriage of the head, a certain curl of the lip, distinguished every one whose name is Smith. Perhaps it does; I trust so. Whoever else are parvenus, the Smiths are not parvenus. From the darkest dawn of history this clan has gone forth to battle; its trophies are on every hand; its name is everywhere; it is older than the nations, and its sign is the Hammer of Thor. But as I also remarked, it is not quite the usual case. It is common enough that common things should be poetical; it is not so common that common names should be poetical. In most cases it is the name that is the obstacle. A great many people talk as if this claim of ours, that all things are poetical, were a mere literary ingenuity, a play on words. Precisely the contrary is true. It is the idea that some things are not poetical which is literary, which is a mere product of words. The word "signal-box" is unpoetical. But the thing signal-box is not unpoetical; it is a place where men, in an agony of vigilance, light blood-red and sea-green fires to keep other men from death. That is the plain, genuine description of what it is; the prose only comes in with what it is called. The word "pillar-box" is unpoetical. But the thing pillar-box is not unpoetical; it is the place to which friends and lovers commit their messages, conscious that when they have done so they are sacred, and not to be touched, not only by others, but even (religious touch!) by themselves. That red turret is one of the last of the temples. Posting a letter and getting married are among the few things left that are entirely romantic; for to be entirely romantic a thing must be irrevocable. We think a pillar-box prosaic, because there is no rhyme to it. We think a pillar-box unpoetical, because we have never seen it in a poem. But the bold fact is entirely on the side of poetry. A signal-box is only called a signal-box; it is a house of life and death. A pillar-box is only called a pillar-box; it is a sanctuary of human words. If you think the name of "Smith" prosaic, it is not because you are practical and sensible; it is because you are too much affected with literary refinements. The name shouts poetry at you. If you think of it otherwise, it is because you are steeped and sodden with verbal reminiscences, because you remember everything in Punch or Comic Cuts about Mr. Smith being drunk or Mr. Smith being henpecked. All these things were given to you poetical. It is only by a long and elaborate process of literary effort that you have made them prosaic.

  Now, the first and fairest thing to say about Rudyard Kipling is that he has borne a brilliant part in thus recovering the lost provinces of poetry. He has not been frightened by that brutal materialistic air which clings only to words; he has pierced through to the romantic, imaginative matter of the things themselves. He has perceived the significance and philosophy of steam and of slang. Steam may be, if you like, a dirty by-product of science. Slang may be, if you like, a dirty by-product of language. But at least he has been among the few who saw the divine parentage of these things, and knew that where there is smoke there is fire--that is, that wherever there is the foulest of things, there also is the purest. Above all, he has had something to say, a definite view of things to utter, and that always means that a man is fearless and faces everything. For the moment we have a view of the universe, we possess it.

  Now, the message of Rudyard Kipling, that upon which he has really concentrated, is the only thing worth worrying about in him or in any other man. He has often written bad poetry, like Wordsworth. He has often said silly things, like Plato. He has often given way to mere political hysteria, like Gladstone. But no one can reasonably doubt that he means steadily and sincerely to say something, and the only serious question is, What is that which he has tried to say? Perhaps the best way of stating this fairly will be to begin with that element which has been most insisted by himself and by his opponents--I mean his interest in militarism. But when we are seeking for the real merits of a man it is unwise to go to his enemies, and much more foolish to go to himself.

  Now, Mr. Kipling is certainly wrong in his worship of militarism, but his opponents are, generally speaking, quite as wrong as he. The evil of militarism is not that it shows certain men to be fierce and haughty and excessively warlike. The evil of militarism is that it shows most men to be tame and timid and excessively peaceable. The professional soldier gains more and more power as the general courage of a community declines. Thus the Pretorian guard became more and more important in Rome as Rome became more and more luxurious and feeble. The military man gains the civil power in proportion as the civilian loses the military virtues. And as it was in ancient Rome so it is in contemporary Europe. There never was a time when nations were more militarist. There never was a time when men were less brave. All ages and all epics have sung of arms and the man; but we have effected simultaneously the deterioration of the man and the fantastic perfection of the arms. Militarism demonstrated the decadence of Rome, and it demonstrates the decadence of Prussia.

  And unconsciously Mr. Kipling has proved this, and proved it admirably. For in so far as his work is earnestly understood the military trade does not by any means emerge as the most important or attractive. He has not written so well about soldiers as he has about railway men or bridge builders, or even journalists. The fact is that what attracts Mr. Kipling to militarism is not the idea of courage, but the idea of discipline. There was far more courage to the square mile in the Middle Ages, when no king had a stand
ing army, but every man had a bow or sword. But the fascination of the standing army upon Mr. Kipling is not courage, which scarcely interests him, but discipline, which is, when all is said and done, his primary theme. The modern army is not a miracle of courage; it has not enough opportunities, owing to the cowardice of everybody else. But it is really a miracle of organization, and that is the truly Kiplingite ideal. Kipling's subject is not that valour which properly belongs to war, but that interdependence and efficiency which belongs quite as much to engineers, or sailors, or mules, or railway engines. And thus it is that when he writes of engineers, or sailors, or mules, or steam-engines, he writes at his best. The real poetry, the "true romance" which Mr. Kipling has taught, is the romance of the division of labour and the discipline of all the trades. He sings the arts of peace much more accurately than the arts of war. And his main contention is vital and valuable. Every thing is military in the sense that everything depends upon obedience. There is no perfectly epicurean corner; there is no perfectly irresponsible place. Everywhere men have made the way for us with sweat and submission. We may fling ourselves into a hammock in a fit of divine carelessness. But we are glad that the net-maker did not make the hammock in a fit of divine carelessness. We may jump upon a child's rocking-horse for a joke. But we are glad that the carpenter did not leave the legs of it unglued for a joke. So far from having merely preached that a soldier cleaning his side-arm is to be adored because he is military, Kipling at his best and clearest has preached that the baker baking loaves and the tailor cutting coats is as military as anybody.