Fancies Versus Fads

by G. K. Chesterton

Whether or no there are Soviets, there are undoubtedly Strikes; and I do not underrate the difficulty or danger of the hour. There is at least a case for blaming men for striking right and left, illogically and without a system; there is a case for blaming them for striking steadily and logically in accordance with a false system; there is a case for saying that “direct action” implies such a false system. But there is no case whatever for blaming them for having depreciated the waste paper of the Westminster ballot-box; for that was depreciated long before the war, and long before the word “Soviet” came to soothe and satisfy the mind of Mrs. Drummond. It is absurd to blame the poor miners for discrediting the members of Parliament, who could always be trusted to discredit themselves. It was not the wild destructive Soviet which decided that Parliament should not know who paid the bills of its own political parties; it was Parliament itself. It was not a mad Bolshevist addressing a mob who said that the men of the parliamentary group have to treat charges of corruption among themselves differently from those outside; it was the greatest living parliamentarian in a great parliamentary debate. Miners had no more to be with it than missionaries in the Cannibal Islands; it was not because men could not get coal that they wanted to get coronets; and the empty coal-scuttle did not fill the party chest. But in any case the policy of people like Mrs. Drummond seems to require explanation. I can only fall back on the suggestion I have already made; that she and her friends insisted on taking shares in a rotten concern. They were quite sincere; so far as anybody can be quite sincere who flatly refuses to listen to reason. They have no right to complain if those who had to listen to their lawlessness will not listen to their legalism.

As a fact such a lady is rather contemptuous than complaining. She says the miners do not want Nationalization; which may or may not be true. But she explains the demand by the old disdainful allusion to agitators; or Labour leaders who “have to beat the big drum or lose their jobs.” Nobody of course could possibly connect Mrs. Flora Drummond with the idea of a big drum; any more than with a big horse or a uniform or a self-created military rank. But this particular school of Feminists must not be too fastidious in the present case. The miners are poor and rudely instructed men; and cannot be expected to have that touch of quiet persuasiveness and softening courtesy, by which the Militant Suffragettes did so much to defend the historic dignity of their sex. They have to fall back on something only too like a big drum, having no skill in the silvery flutings of the W.S.P.U., or that tender lute which Miss Pankhurst touched at twilight. But under all the disadvantages of the coarser sex, the advocates of Nationalization have not yet used all the methods that precedent might suggest to them. Mr. Smillie has not cut up any Raphaels or Rembrandts at the National Gallery; nor even set fire to any of the theatres he may happen to pass when he is out for a walk. Mr. Bonar Law, on returning home at evening, does not find Mr. Sidney Webb, a solitary figure chained to his railings. One of the Suffragettes distinguished herself by getting inside a grand piano; but it is seldom that we open our own private piano and find a large coal-miner inside the instrument. The coal-miner may be better at the big drum than the grand piano; but he remains on the outside of both; and his drum is really smaller than some. The big drum, however, is rather a convenient metaphor for something obvious and loud and hollow; and the true moral in the matter is that recent English history was a procession led far too much by the big drum; and the agitation about mere Parliamentary votes was one of the most recent and most remarkable examples of it.

What will be the future of the present industrial crisis I will not prophesy; but I do know that every element in the past, which has led to this impasse in the present, has been thus glorified as a mere novelty by such a noisy minority. It was just because sanguine and shallow people found it easier to act than to write, and easier to write than to think, that every one of the changes came which now complicate our position. The very industrialism which makes us dependent on coal, and therefore on coal-miners and coal-owners, was forced on us by fussy efficient fools, for whom anything fresh seemed to be free. Neither miners nor mine-owners could have put out the fire by which Shakespeare told his Winter’s Tale. The unequal ownership, which has justly alienated the workers, was hurried happily through because the owners were new, and it did not matter that they were few. The blind hypocrisy with which our press and publicists hardened their hearts in the great strikes before the war, was made possible by loud evasions about political progress and especially by the big drum of Votes for Women. I have begun this essay on a controversial note, with the echo of an old controversy; and yet I do not mean to be merely provocative. The Suffragettes are only doing what we all do; and I have only put them first as an example of accumulated abuses for which we are all responsible. I do not mean to blame the Suffragettes as they blame the Socialists; but only to point to an impasse of impenitence for which we are all to blame.

I am more and more convinced that what is wanted nowadays is not optimism or pessimism, but a sort of reform that might more truly be called repentance. The reform of a state ought to be a thing more like the reform of a thief, which involves the admission that he has been a thief. We ought not to be merely inventing consolations, or even merely prophesying disasters; we ought, first and foremost, to be confessing our own very bad mistakes. It is easy enough to say that the world is getting better, by some mysterious thing called progress—which seems to mean providence without purpose. But it is almost as easy to say the world is getting worse, if we assume that it is only the younger generation that has just begun to make it worse. It is easy enough to say that the country is going to the dogs, if we are careful to identify the dogs with the puppies. What we need is not the assertion that other people are going to the dogs, but the confession that we ourselves have only just come back from the swine. We also are the younger generation, in the sense of being the Prodigal Son. As somebody said, there is such a thing as the Prodigal Father. We could purchase hope at the dreadful price of humility. But all thinkers and writers, of all political parties and philosophical sects, seem to shrink from this notion of admitting they are on the wrong road and getting back on to the right one. They are always trying to pretend, by hook or crook, that they are all on the same somewhat meandering road, and that they were right in going east yesterday, though they are right in going west to-day. They will try to make out that every school of thought was an advance on the last school of thought, and that no apology is due to anybody. For instance, we might really have a moderate, cautious, and even conservative reform of the evils affecting Labour, if we would only confess that Capitalism itself was a blunder which it is very difficult to undo. As it is, men seem to be divided into those that think it an achievement so admirable that it cannot be improved upon, and those who think it an achievement so encouraging that it can be improved upon. The former will leave it in chaos, and the latter will probably improve it into slavery. Neither will admit what is the truth—that we have got to get back to a better distribution of property, as it was before we fell into the blunder of allowing property to be clotted into monstrous monopolies. For that involves admitting that we have made a mistake; and that we none of us have the moral courage to do.

I suggest very seriously that it will do good to our credit for courage and right reason if we drop this way of doing things. The conversions that have converted the world were not effected by this sort of evolutionary curve. St. Paul did not pretend that he had changed slowly and imperceptibly from a Pharisee to a Christian. Victor Hugo did not maintain that he had been very right to be a Royalist, and only a little more right to be a Republican. If we have come to the conclusion that we have been wrong, let us say so, and congratulate ourselves on being now right; not insinuate that in some relative fashion we were just as right when we were wrong. For in this respect the progressive is the worst sort of conservative. He insists on conserving, in the most obstinate and obscurantist fashion, all the courses that have been marked out for progress in the past. He does literally, in the rather unlucky metaphor of Tennyson, “let the great world spin for ever down the ringing grooves of change.” For anyone who changes in that fashion has only got into a groove. There is no obligation on anybody to invent evolutionary excuses for all these experiments. There is no need to be so much ashamed of our blunders as all that. It is human to err; and the only final and deadly error, among all our errors, is denying that we have ever erred.

Milton and Merry England

MR. FREEMAN, in contributing to the “London Mercury” some of those critical analyses which we all admire, remarked about myself (along with compliments only too generous and strictures almost entirely just) that there was very little autobiography in my writings. I hope the reader will not have reason to curse him for this kindly provocation, watching me assume the graceful poses of Marie Bashkirtseff. But I feel tempted to plead it in extenuation or excuse for this article, which can hardly avoid being egotistical. For though it concerns one of those problems of literature, of philosophy and of history that certainly interest me more than my own psychology, it is one on which I can hardly explain myself without seeming to expose myself.

That valuable public servant, “The Gentleman with the Duster,” has passed on from Downing Street, from polishing up the Mirrors and polishing off the Ministers, to a larger world of reflections in “The Glass of Fashion.” I call the glass a world of reflections rather than a world of shadows; especially as I myself am one of those tenuous shades. And the matter which interests me here is that the critic in question complains that I have been very unjust to Puritans and Puritanism, and especially to a certain ethical idealism in them, which he declares to have been more essential than the Calvinism of which I “make so much.” He puts the point in a genial but somewhat fantastic fashion by saying that the world owes something to the jokes of Mr. G. K. Chesterton, but more to the moral earnestness of John Milton. This involves rather a dizzy elevation than a salutary depression; and the comparison is rather too overwhelming to be crushing. For I suppose the graceful duster of mirrors himself would hardly feel crushed, if I told him he did not hold the mirror up to Nature quite so successfully as Shakespeare. Nor can I be described as exactly reeling from the shock of being informed that I am a less historic figure than Milton. I know not how to answer, unless it be in the noble words of Sam Weller: “That’s what we call a self-evident proposition, as the cats'-meat-man said to the housemaid when she said he was no gentleman.” But for all that I have a controversial issue with the critic about the moral earnestness of Milton, and I have a confession to make which will seem to many only too much in the personal manner referred to by Mr. Freeman.

My first impulse to write, and almost my first impulse to think, was a revolt of disgust with the Decadents and the æsthetic pessimism of the ’nineties. It is now almost impossible to bring home to anybody, even to myself, how final that fin de siècle seemed to be; not the end of the century but the end of the world. To a boy his first hatred is almost as immortal as his first love. He does not realize that the objects of either can alter; and I did not know that the twilight of the gods was only a mood. I thought that all the wit and wisdom in the world was banded together to slander and depress the world, and in becoming an optimist I had the feelings of an outlaw. Like Prince Florizel of Bohemia, I felt myself to be alone in a luxurious Suicide Club. But even the death seemed to be a living or rather everlasting death. To-day the whole thing is merely dead; it was not sufficiently immortal to be damned. But then the image of Dorian Gray was really an idol, with something of the endless youth of a god. To-day the picture of Dorian Gray has really grown old. Dodo then was not merely an amusing female; she was the eternal feminine. To-day the Dodo is extinct. Then, above all, everyone claiming intelligence insisted on what was called “Art for art’s sake.” To-day even the biographer of Oscar Wilde proposes to abandon “art for art’s sake,” and to substitute “art for life’s sake.” But at the time I was more inclined to substitute “no art, for God’s sake.” I would rather have had no art at all than one which occupies itself in matching shades of peacock and turquoise for a decorative scheme of blue devils. I started to think it out, and the more I thought of it the more certain I grew that the whole thing was a fallacy; that art could not exist apart from, still less in opposition to, life; especially the life of the soul, which is salvation; and that great art never had been so much detached as that from conscience and common sense, or from what my critic would call moral earnestness. Unfortunately, by the time I had exposed it as a fallacy, it had entirely evaporated as a fashion. Since then I have taken universal annihilations more lightly. But I can still be stirred, as man always can be by memories of their first excitements or ambitions, by anything that shows the cloven hoof of that particular blue devil. I am still ready to knock him about, though I no longer think he has a cloven hoof or even a lame leg to stand on. But for all that there is one real argument which I still recognize on his side; and that argument is in a single word. There is still one word which the æsthete can whisper; and the whisper will bring back all my childish fears that the æsthete may be right after all. There is one name that does seem to me a strong argument for the decadent doctrine that “art is unmoral.” When that name is uttered, the world of Wilde and Whistler comes back with all its cold levity and cynical connoisseurship. The butterfly becomes a burden and the green carnation flourishes like the green bay-tree. For the moment I do believe in “art for art’s sake.” And that name is John Milton.