The Everlasting Man and the St. Francis seem to me the highest expression of Gilbert's mysticism. I have hesitated to use the word for it is not one to be used lightly but I can find no other. Like most Catholics I have been wont to believe that to be a mystic a man must first be an ascetic and Gilbert was not an ascetic in the ordinary sense. But is there not for the thinker an asceticism of the mind, very searching, very purifying? In his youth he had told Bentley that creative writing was the hardest of hard labour. That sense of the pressure of thought that made Newman call creative writing "getting rid of pain by pain"; the profound depression that often follows; the exhaustion that seems like a bottomless pit. St. Theresa said the hardest penance was easier than mental prayer: was not much of Gilbert's thought a contemplation?
Faith, thanksgiving, love, surely these far above bodily asceticism can so clear a man's eyesight that he may fittingly be called a mystic since he sees God everywhere. "The less a man thinks of himself, the more he thinks of his good luck and of all the gifts of God." Only a poet who was more than a poet could see so clearly of what like St. Francis was.
When we say that a poet praises the whole creation, we commonly mean only that he praises the whole cosmos. But this sort of poet does really praise creation, in the sense of the act of creation. He praises the passage or transition from nonentity to entity; there falls here also the shadow of that archetypal image of the bridge, which has given to the priest his archaic and mysterious name. The mystic who passes through the moment when there is nothing but God does in some sense behold the beginningless beginnings in which there was really nothing else. He not only appreciates everything but the nothing of which everything was made. In a fashion he endures and answers even the earthquake irony of the Book of Job; in some sense he is there when the foundations of the world are laid, with the mornings stars singing together and the sons of God shouting for joy.*
[* St. Francis of Assisi, pp. 112-13.]
But there was in all those years another element besides the giving of thanks and the joy of creation: an abiding grief for the sorrows of the sons of men and especially those of his own land. In this mood the Cobbett was written.
Nine years separate the publication of William Cobbett from that of the History of England. Written at the time when Englishmen were fighting so magnificently, that book had radiated G.K.'s own mood of hope, but to read Rural Rides, to meditate on Cobbett's England, and then turn to the England of the hour was not cheerful. For Cobbett "did not draw precise diagrams of things as they were. He only had frantic and fantastic nightmares of things as they are."* And these nightmares haunted Cobbett's biographer.
[* Cobbett, p. 22.]
What he saw was not an Eden that cannot exist, but rather an Inferno that can exist, and even that does exist. What he saw was the perishing of the whole English power of self-support, the growth of cities that drain and dry up the countryside, the growth of dense dependent populations incapable of finding their own food, the toppling triumph of machines over men, the sprawling omnipotence of financiers over patriots, the herding of humanity in nomadic masses whose very homes are homeless, the terrible necessity of peace and the terrible probability of war, all the loading up of our little island like a sinking ship; the wealth that may mean famine and the culture that may mean despair; the bread of Midas and the sword of Damocles. In a word, he saw what we see, but he saw it when it was not there. And some cannot see it—even when it is there.*
[* Ibid., pp. 14, 15.]
Two men had written of the Reformation as the ultimate origin of these evils at a time when it was still the fashion to treat it as the dawn of all good. Lingard, himself a Catholic, had written cautiously, with careful documentation and moderate tone. Cobbett, a Protestant, had written hastily and furiously, but both men had drawn in essentials the same picture. Chesterton suspected that Cobbett was treated with contempt, Lingard with respect, largely because of the difference in the tone of the two men. Lingard spoke restrainedly but Cobbett's voice was raised in a loud cry: