Western man for centuries now has lost the key to his own meaning. He has been striving for a long time to break out of the ruins of a City half destroyed at his own hands. Political Liberalism of the old-fashioned Marxian variety grew out of a psychological desire to get away from where man actually found himself. Post-World War II existentialist despair, considered as a socio-historical reality, is a philosophical justification for this urge to break all existing cultural and historical limits. What must be done, at all costs, is to exorcise our common historical heritage, our faith, our corporate memories. A fresh beginning can be the only beginning. This is a presupposition that is operative everywhere, most concretely in the arts, most consciously in philosophy, and most dangerously in religion.
Such is the estrangement modern man has carved for himself. In social and economic life the masses are estranged from their spiritual and cultural past. Politically, techniques forged by Western man himself have alienated him from his ancient freedom. The home, the nation, the Church, the West, the past, roots, origins—these are always wrong, always wicked: only the wilderness of the future promises salvation. The poet has retreated to that uniquely modern place invented in the early nineteenth century—the state of mind called Bohemia. His destiny seems assured when he has pruned away everything reminiscent of the objective order, and when he finds himself alone with his broken soul. Philosophically, the age has had urged on it the clever monstrosity that since consciousness renders to me what is Other than Myself, then my personality is defined by a negation. Theologically, the Barbarian God of the peat bogs has come back with “neo-orthodoxy,” and man is told that he is so utterly other than God that he is in no sense the image of his Creator. The human fabric has been so cut to ribbons that man has been reduced to a nothing that can parade his utter absurdity only by putting on a mask. The clown has come into his own.
Now it is part of the enduring significance of Hilaire Belloc that he saw all of this long ago. He saw it as the enemy of all that Christendom had ever built and loved and believed. He saw it as a unique concentration of evils that separately, one after another, had attacked the Christian City since its inception. He nailed the thing to the wall when he called it the spirit of Barbarism: the spirit that cannot build for itself because it rejects all limit, the essence of finite perfection; the spirit that makes its way in the intellectual world and in that necessary parasite, the world of fashion, by negating all that has gone on before; a spirit that thrives on opposition and rebellion, and that can cheaply dismiss as nothing the common effort of three thousand years.
The Barbarian hopes—and that is the very mark of him—that he can have his cake and eat it too. He will consume what civilization has slowly produced after generations of selection and effort, but he will not be at the pains to replace such goods, nor indeed has he a comprehension of the virtue that has brought them into being. Discipline seems to him irrational, on which account he is ever marvelling that civilization should have offended him with priests and soldiers.
... In a word, the Barbarian is discoverable everywhere in this, that he cannot make; that he can befog and destroy, but that he cannot sustain; and of every Barbarian in the decline or peril of every civilization exactly that has been true.[34]
Belloc is one of the few writers in the English world of the last fifty years who wanted to remain himself, and who desired to stand exactly where he was: a Christian man standing in a tradition whose religion is Catholic and whose origins are in the Roman Order. Because of this, Belloc will never be considered an Intellectual. He should not be so considered. He detested the term. The contemporary Intellectual of the Western World has come out of the same past as Belloc, but he rejects that past as he rejects its religion. That is why the past fifty to seventy-five years of intellectual life have been fevered with experiment—in literature, in philosophy, in politics, in all the arts, and in morals. If some new truth has emerged from it all, and if some beauty has been etched in the darkness, does it not seem as nothing to what has been given up?
Christopher Dawson stated once that the modern soul is at bottom anti-ontological. It hates being. Hilaire Belloc has said that the modern soul hates proportion and limitation. They are both affirming the same truth, because the condition of all being save God is limitation. Integrated Christian humanism accepts the finite goodness that constitutes the nature of man. Out of this affirmation the soul can build of itself a work of art; without this affirmation, man gives himself over to the darkness in the suicide of self-alienation.
We sit by and watch the Barbarian, we tolerate him; in the long stretches of peace we are not afraid.
We are tickled by his irreverence, his comic inversion of our old certitudes and our fixed creeds refreshes us; we laugh. But as we laugh we are watched by large and awful faces from beyond: and on these faces there is no smile.[35]
These faces are masks of that one Evil that has ever enticed man into the wilderness. Belloc the soldier saw it riding out of the Eastern wastes, trampling under the vineyards and desecrating the shrines of Christian men, giving over the soil to the sands and the mind to an awful simplicity. He saw it rising within the great Universities of Europe, rubbing out the certitudes and the songs of Catholic Men.