If you retain the servile superstition that the Press, as run by the capitalists, is popular (in any sense except that in which dirty water in a desert is popular), consider the case of the solemn articles in praise of the men who own newspapers--men of the type of Cadbury or Harmsworth, men of the type of the small club of millionaires. Did you ever hear a plain man in a tramcar or train talking about Carnegie's bright genial smile or Rothschild's simple, easy hospitality? Did you ever hear an ordinary citizen ask what was the opinion of Sir Joseph Lyons about the hopes and fears of this, our native land? These few small-minded men publish, papers to praise themselves. You could no more get an intelligent poor man to praise a millionaire's soul, except for hire, than you could get him to sell a millionaire's soap, except for hire. And I repeat that, though there are other aspects of the matter of the new plutocratic raid, one of the most important is mere journalistic jealousy. The Yellow Press is bad journalism: and wishes to stop the appearance of good journalism.
There is no average member of the public who would not prefer to have Lloyd George discussed as what he is, a Welshman of genius and ideals, strangely fascinated by bad fashion and bad finance, rather than discussed as what neither he nor anyone else ever was, a perfect democrat or an utterly detestable demagogue. There is no reader of a daily paper who would not feel more concern--and more respect--for Sir Rufus Isaacs as a man who has been a stockbroker, than as a man who happens to be Attorney-General. There is no man in the street who is not more interested in Lloyd George's investments than in his Land Campaign. There is no man in the street who could not understand (and like) Rufus Isaacs as a Jew better than he can possibly like him as a British statesman. There is no sane journalist alive who would say that the official account of Marconis would be better "copy" than the true account that such papers as this have dragged out. We have committed one crime against the newspaper proprietor which he will never forgive. We point out that his papers are dull. And we propose to print some papers that are interesting.
THE POETRY OF THE REVOLUTION
Everyone but a consistent and contented capitalist, who must be something pretty near to a Satanist, must rejoice at the spirit and success of the Battle of the Buses. But one thing about it which happens to please me particularly was that it was fought, in one aspect at least, on a point such as the plutocratic fool calls unpractical. It was fought about a symbol, a badge, a thing attended with no kind of practical results, like the flags for which men allow themselves to fall down dead, or the shrines for which men will walk some hundreds of miles from their homes. When a man has an eye for business, all that goes on on this earth in that style is simply invisible to him. But let us be charitable to the eye for business; the eye has been pretty well blacked this time.
But I wish to insist here that it is exactly what is called the unpractical part of the thing that is really the practical. The chief difference between men and the animals is that all men are artists; though the overwhelming majority of us are bad artists. As the old fable truly says, lions do not make statues; even the cunning of the fox can go no further than the accomplishment of leaving an exact model of the vulpine paw: and even that is an accomplishment which he wishes he hadn't got. There are Chryselephantine statues, but no purely elephantine ones. And, though we speak in a general way of an elephant trumpeting, it is only by human blandishments that he can be induced to play the drum. But man, savage or civilised, simple or complex always desires to see his own soul outside himself; in some material embodiment. He always wishes to point to a table in a temple, or a cloth on a stick, or a word on a scroll, or a badge on a coat, and say: "This is the best part of me. If need be, it shall be the rest of me that shall perish." This is the method which seems so unbusinesslike to the men with an eye to business. This is also the method by which battles are won.
The Symbolism of the Badge
The badge on a Trade Unionist's coat is a piece of poetry in the genuine, lucid, and logical sense in which Milton defined poetry (and he ought to know) when he said that it was simple, sensuous, and passionate. It is simple, because many understand the word "badge," who might not even understand the word "recognition." It is sensuous, because it is visible and tangible; it is incarnate, as all the good Gods have been; and it is passionate in this perfectly practical sense, which the man with an eye to business may some day learn more thoroughly than he likes, that there are men who will allow you to cross a word out in a theoretical document, but who will not allow you to pull a big button off their bodily clothing, merely because you have more money than they have. Now I think it is this sensuousness, this passion, and, above all, this simplicity that are most wanted in this promising revolt of our time. For this simplicity is perhaps the only thing in which the best type of recent revolutionists have failed. It has been our sorrow lately to salute the sunset of one of the very few clean and incorruptible careers in the most corruptible phase of Christendom. The death of Quelch naturally turns one's thoughts to those extreme Marxian theorists, who, whatever we may hold about their philosophy, have certainly held their honour like iron. And yet, even in this instant of instinctive reverence, I cannot feel that they were poetical enough, that is childish enough, to make a revolution. They had all the audacity needed for speaking to the despot; but not the simplicity needed for speaking to the democracy. They were always accused of being too bitter against the capitalist. But it always seemed to me that they were (quite unconsciously, of course) much too kind to him. They had a fatal habit of using long words, even on occasions when he might with propriety have been described in very short words. They called him a Capitalist when almost anybody in Christendom would have called him a cad. And "cad" is a word from the poetic vocabulary indicating rather a general and powerful reaction of the emotions than a status that could be defined in a work of economics. The capitalist, asleep in the sun, let such long words crawl all over him, like so many long, soft, furry caterpillars. Caterpillars cannot sting like wasps. And, in repeating that the old Marxians have been, perhaps, the best and bravest men of our time, I say also that they would have been better and braver still if they had never used a scientific word, and never read anything but fairy tales.
The Beastly Individualist
Suppose I go on to a ship, and the ship sinks almost immediately; but I (like the people in the Bab Ballads), by reason of my clinging to a mast, upon a desert island am eventually cast. Or rather, suppose I am not cast on it, but am kept bobbing about in the water, because the only man on the island is what some call an Individualist, and will not throw me a rope; though coils of rope of the most annoying elaboration and neatness are conspicuous beside him as he stands upon the shore. Now, it seems to me, that if, in my efforts to shout at this fellow-creature across the crashing breakers, I call his position the "insularistic position," and my position "the semi-amphibian position," much valuable time may be lost. I am not an amphibian. I am a drowning man. He is not an insularist, or an individualist. He is a beast. Or rather, he is worse than any beast can be. And if, instead of letting me drown, he makes me promise, while I am drowning, that if I come on shore it shall be as his bodily slave, having no human claims henceforward forever, then, by the whole theory and practice of capitalism, he becomes a capitalist, he also becomes a cad.
Now, the language of poetry is simpler than that of prose; as anyone can see who has read what the old-fashioned protestant used to call confidently "his" Bible. And, being simpler, it is also truer; and, being truer, it is also fiercer. And, for most of the infamies of our time, there is really nothing plain enough, except the plain language of poetry. Take, let us say, the ease of the recent railway disaster, and the acquittal of the capitalists' interest. It is not a scientific problem for us to investigate. It is a crime committed before our eyes; committed, perhaps, by blind men or maniacs, or men hypnotised, or men in some other ways unconscious; but committed in broad daylight, so that the corpse is bleeding on our door-step. Good lives were lost, because good lives do n
ot pay; and bad coals do pay. It seems simply impossible to get any other meaning out of the matter except that. And, if in human history there be anything simple and anything horrible, it seems to have been present in this matter. If, even after some study and understanding of the old religious passions which were the resurrection of Europe, we cannot endure the extreme infamy of witches and heretics literally burned alive--well, the people in this affair were quite as literally burned alive. If, when we have really tried to extend our charity beyond the borders of personal sympathy, to all the complexities of class and creed, we still feel something insolent about the triumphant and acquitted man who is in the wrong, here the men who are in the wrong are triumphant and acquitted. It is no subject for science. It is a subject for poetry. But for poetry of a terrible sort.
_Varied Types_
_By_
G.K. Chesterton
NOTE
These papers, with certain alterations and additions, are reprinted with the kind permission of the Editors of _The Daily News_ and _The Speaker_.
G.K.C.
Kensington.
CHARLOTTE BRONT
Objection is often raised against realistic biography because it reveals so much that is important and even sacred about a man's life. The real objection to it will rather be found in the fact that it reveals about a man the precise points which are unimportant. It reveals and asserts and insists on exactly those things in a man's life of which the man himself is wholly unconscious; his exact class in society, the circumstances of his ancestry, the place of his present location. These are things which do not, properly speaking, ever arise before the human vision. They do not occur to a man's mind; it may be said, with almost equal truth, that they do not occur in a man's life. A man no more thinks about himself as the inhabitant of the third house in a row of Brixton villas than he thinks about himself as a strange animal with two legs. What a man's name was, what his income was, whom he married, where he lived, these are not sanctities; they are irrelevancies.
A very strong case of this is the case of the Bronts. The Bront is in the position of the mad lady in a country village; her eccentricities form an endless source of innocent conversation to that exceedingly mild and bucolic circle, the literary world. The truly glorious gossips of literature, like Mr. Augustine Birrell and Mr. Andrew Lang, never tire of collecting all the glimpses and anecdotes and sermons and side-lights and sticks and straws which will go to make a Bront museum. They are the most personally discussed of all Victorian authors, and the limelight of biography has left few darkened corners in the dark old Yorkshire house. And yet the whole of this biographical investigation, though natural and picturesque, is not wholly suitable to the Bronts. For the Bront genius was above all things deputed to assert the supreme unimportance of externals. Up to that point truth had always been conceived as existing more or less in the novel of manners. Charlotte Bront electrified the world by showing that an infinitely older and more elemental truth could be conveyed by a novel in which no person, good or bad, had any manners at all. Her work represents the first great assertion that the humdrum life of modern civilisation is a disguise as tawdry and deceptive as the costume of a _bal masqu_. She showed that abysses may exist inside a governess and eternities inside a manufacturer; her heroine is the commonplace spinster, with the dress of merino and the soul of flame. It is significant to notice that Charlotte Bront, following consciously or unconsciously the great trend of her genius, was the first to take away from the heroine not only the artificial gold and diamonds of wealth and fashion, but even the natural gold and diamonds of physical beauty and grace. Instinctively she felt that the whole of the exterior must be made ugly that the whole of the interior might be made sublime. She chose the ugliest of women in the ugliest of centuries, and revealed within them all the hells and heavens of Dante.
It may, therefore, I think, be legitimately said that the externals of the Bronts' life, though singularly picturesque in themselves, matter less than the externals of almost any other writers. It is interesting to know whether Jane Austen had any knowledge of the lives of the officers and women of fashion whom she introduced into her masterpieces. It is interesting to know whether Dickens had ever seen a shipwreck or been inside a workhouse. For in these authors much of the conviction is conveyed, not always by adherence to facts, but always by grasp of them. But the whole aim and purport and meaning of the work of the Bronts is that the most futile thing in the whole universe is fact. Such a story as "Jane Eyre" is in itself so monstrous a fable that it ought to be excluded from a book of fairy tales. The characters do not do what they ought to do, nor what they would do, nor it might be said, such is the insanity of the atmosphere, not even what they intend to do. The conduct of Rochester is so primevally and superhumanly caddish that Bret Harte in his admirable travesty scarcely exaggerated it. "Then, resuming his usual manner, he threw his boots at my head and withdrew," does perhaps reach to something resembling caricature. The scene in which Rochester dresses up as an old gipsy has something in it which is really not to be found in any other branch of art, except in the end of the pantomime, where the Emperor turns into a pantaloon. Yet, despite this vast nightmare of illusion and morbidity and ignorance of the world, "Jane Eyre" is perhaps the truest book that was ever written. Its essential truth to life sometimes makes one catch one's breath. For it is not true to manners, which are constantly false, or to facts, which are almost always false; it is true to the only existing thing which is true, emotion, the irreducible minimum, the indestructible germ. It would not matter a single straw if a Bront story were a hundred times more moonstruck and improbable than "Jane Eyre," or a hundred times more moonstruck and improbable than "Wuthering Heights." It would not matter if George Read stood on his head, and Mrs. Read rode on a dragon, if Fairfax Rochester had four eyes and St. John Rivers three legs, the story would still remain the truest story in the world. The typical Bront character is, indeed, a kind of monster. Everything in him except the essential is dislocated. His hands are on his legs and his feet on his arms, his nose is above his eyes, but his heart is in the right place.
The great and abiding truth for which the Bront cycle of fiction stands is a certain most important truth about the enduring spirit of youth, the truth of the near kinship between terror and joy. The Bront heroine, dingily dressed, badly educated, hampered by a humiliating inexperience, a kind of ugly innocence, is yet, by the very fact of her solitude and her gaucherie, full of the greatest delight that is possible to a human being, the delight of expectation, the delight of an ardent and flamboyant ignorance. She serves to show how futile it is of humanity to suppose that pleasure can be attained chiefly by putting on evening dress every evening, and having a box at the theatre every first night. It is not the man of pleasure who has pleasure; it is not the man of the world who appreciates the world. The man who has learnt to do all conventional things perfectly has at the same time learnt to do them prosaically. It is the awkward man, whose evening dress does not fit him, whose gloves will not go on, whose compliments will not come off, who is really full of the ancient ecstasies of youth. He is frightened enough of society actually to enjoy his triumphs. He has that element of fear which is one of the eternal ingredients of joy. This spirit is the central spirit of the Bront novel. It is the epic of the exhilaration of the shy man. As such it is of incalculable value in our time, of which the curse is that it does not take joy reverently because it does not take it fearfully. The shabby and inconspicuous governess of Charlotte Bront, with the small outlook and the small creed, had more commerce with the awful and elemental forces which drive the world than a legion of lawless minor poets. She approached the universe with real simplicity, and, consequently, with real fear and delight. She was, so to speak, shy before the multitude of the stars, and in this she had possessed herself of the only force which can prevent enjoyment being as black and barren as routine. The faculty of being shy is the first and the most delicate of the powers of enjoyment. The fear of the Lord
is the beginning of pleasure.
Upon the whole, therefore, I think it may justifiably be said that the dark wild youth of the Bronts in their dark wild Yorkshire home has been somewhat exaggerated as a necessary factor in their work and their conception. The emotions with which they dealt were universal emotions, emotions of the morning of existence, the springtide joy and the springtide terror. Every one of us as a boy or girl has had some midnight dream of nameless obstacle and unutterable menace, in which there was, under whatever imbecile forms, all the deadly stress and panic of "Wuthering Heights." Every one of us has had a day-dream of our own potential destiny not one atom more reasonable than "Jane Eyre." And the truth which the Bronts came to tell us is the truth that many waters cannot quench love, and that suburban respectability cannot touch or damp a secret enthusiasm. Clapham, like every other earthly city, is built upon a volcano. Thousands of people go to and fro in the wilderness of bricks and mortar, earning mean wages, professing a mean religion, wearing a mean attire, thousands of women who have never found any expression for their exaltation or their tragedy but to go on working harder and yet harder at dull and automatic employments, at scolding children or stitching shirts. But out of all these silent ones one suddenly became articulate, and spoke a resonant testimony, and her name was Charlotte Bront. Spreading around us upon every side to-day like a huge and radiating geometrical figure are the endless branches of the great city. There are times when we are almost stricken crazy, as well we may be, by the multiplicity of those appalling perspectives, the frantic arithmetic of that unthinkable population. But this thought of ours is in truth nothing but a fancy. There are no chains of houses; there are no crowds of men. The colossal diagram of streets and houses is an illusion, the opium dream of a speculative builder. Each of these men is supremely solitary and supremely important to himself. Each of these houses stands in the centre of the world. There is no single house of all those millions which has not seemed to someone at some time the heart of all things and the end of travel.
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