The Defendant Part 1

The Defendant.

by G.K. Chesterton.

_IN DEFENCE OF A NEW EDITION

The reissue of a series of essays so ephemeral and even superfluous may seem at the first glance to require some excuse; probably the best excuse is that they will have been completely forgotten, and therefore may be read again with entirely new sensations. I am not sure, however, that this claim is so modest as it sounds, for I fancy that Shakespeare and Balzac, if moved to prayers, might not ask to be remembered, but to be forgotten, and forgotten thus; for if they were forgotten they would be everlastingly re-discovered and re-read. It is a monotonous memory which keeps us in the main from seeing things as splendid as they are.

The ancients were not wrong when they made Lethe the boundary of a better land; perhaps the only flaw in their system is that a man who had bathed in the river of forgetfulness would be as likely as not to climb back upon the bank of the earth and fancy himself in Elysium.

If, therefore, I am certain that most sensible people have forgotten the existence of this book--I do not speak in modesty or in pride--I wish only to state a simple and somewhat beautiful fact. In one respect the pa.s.sing of the period during which a book can be considered current has afflicted me with some melancholy, for I had intended to write anonymously in some daily paper a thorough and crushing exposure of the work inspired mostly by a certain artistic impatience of the too indulgent tone of the critiques and the manner in which a vast number of my most monstrous fallacies have pa.s.sed unchallenged. I will not repeat that powerful article here, for it cannot be necessary to do anything more than warn the reader against the perfectly indefensible line of argument adopted at the end of p. 28. I am also conscious that the t.i.tle of the book is, strictly speaking, inaccurate. It is a legal metaphor, and, speaking legally, a defendant is not an enthusiast for the character of King John or the domestic virtues of the prairie-dog. He is one who defends himself, a thing which the present writer, however poisoned his mind may be with paradox, certainly never dreamed of attempting.

Criticism upon the book considered as literature, if it can be so considered, I should, of course, never dream of discussing--firstly, because it is ridiculous to do so; and, secondly, because there was, in my opinion, much justice in such criticism.

But there is one matter on which an author is generally considered as having a right to explain himself, since it has nothing to do with capacity or intelligence, and that is the question of his morals.

I am proud to say that a furious, uncompromising, and very effective attack was made upon what was alleged to be the utter immorality of this book by my excellent friend Mr. C.F.G. Masterman, in the 'Speaker.' The tendency of that criticism was to the effect that I was discouraging improvement and disguising scandals by my offensive optimism. Quoting the pa.s.sage in which I said that 'diamonds were to be found in the dust-bin,' he said: 'There is no difficulty in finding good in what humanity rejects. The difficulty is to find it in what humanity accepts.

The diamond is easy enough to find in the dust-bin. The difficulty is to find it in the drawing-room.' I must admit, for my part, without the slightest shame, that I have found a great many very excellent things in drawing-rooms. For example, I found Mr. Masterman in a drawing-room. But I merely mention this purely ethical attack in order to state, in as few sentences as possible, my difference from the theory of optimism and progress therein enunciated. At first sight it would seem that the pessimist encourages improvement. But in reality it is a singular truth that the era in which pessimism has been cried from the house-tops is also that in which almost all reform has stagnated and fallen into decay. The reason of this is not difficult to discover. No man ever did, and no man ever can, create or desire to make a bad thing good or an ugly thing beautiful. There must be some germ of good to be loved, some fragment of beauty to be admired. The mother washes and decks out the dirty or careless child, but no one can ask her to wash and deck out a goblin with a heart like h.e.l.l. No one can kill the fatted calf for Mephistopheles. The cause which is blocking all progress today is the subtle scepticism which whispers in a million ears that things are not good enough to be worth improving. If the world is good we are revolutionaries, if the world is evil we must be conservatives. These essays, futile as they are considered as serious literature, are yet ethically sincere, since they seek to remind men that things must be loved first and improved afterwards.

G. K. C_.

THE DEFENDANT

INTRODUCTION

In certain endless uplands, uplands like great flats gone dizzy, slopes that seem to contradict the idea that there is even such a thing as a level, and make us all realize that we live on a planet with a sloping roof, you will come from time to time upon whole valleys filled with loose rocks and boulders, so big as to be like mountains broken loose.

The whole might be an experimental creation shattered and cast away. It is often difficult to believe that such cosmic refuse can have come together except by human means. The mildest and most c.o.c.kney imagination conceives the place to be the scene of some war of giants. To me it is always a.s.sociated with one idea, recurrent and at last instinctive. The scene was the scene of the stoning of some prehistoric prophet, a prophet as much more gigantic than after-prophets as the boulders are more gigantic than the pebbles. He spoke some words--words that seemed shameful and tremendous--and the world, in terror, buried him under a wilderness of stones. The place is the monument of an ancient fear.

If we followed the same mood of fancy, it would he more difficult to imagine what awful hint or wild picture of the universe called forth that primal persecution, what secret of sensational thought lies buried under the brutal stones. For in our time the blasphemies are threadbare.

Pessimism is now patently, as it always was essentially, more commonplace than piety. Profanity is now more than an affectation--it is a convention. The curse against G.o.d is Exercise I. in the primer of minor poetry. It was not, a.s.suredly, for such babyish solemnities that our imaginary prophet was stoned in the morning of the world. If we weigh the matter in the faultless scales of imagination, if we see what is the real trend of humanity, we shall feel it most probable that he was stoned for saying that the gra.s.s was green and that the birds sang in spring; for the mission of all the prophets from the beginning has not been so much the pointing out of heavens or h.e.l.ls as primarily the pointing out of the earth.

Religion has had to provide that longest and strangest telescope--the telescope through which we could see the star upon which we dwelt. For the mind and eyes of the average man this world is as lost as Eden and as sunken as Atlantis. There runs a strange law through the length of human history--that men are continually tending to undervalue their environment, to undervalue their happiness, to undervalue themselves.

The great sin of mankind, the sin typified by the fall of Adam, is the tendency, not towards pride, but towards this weird and horrible humility.

This is the great fall, the fall by which the fish forgets the sea, the ox forgets the meadow, the clerk forgets the city, every man forgets his environment and, in the fullest and most literal sense, forgets himself.

This is the real fall of Adam, and it is a spiritual fall. It is a strange thing that many truly spiritual men, such as General Gordon, have actually spent some hours in speculating upon the precise location of the Garden of Eden. Most probably we are in Eden still. It is only our eyes that have changed.

The pessimist is commonly spoken of as the man in revolt. He is not.

Firstly, because it requires some cheerfulness to continue in revolt, and secondly, because pessimism appeals to the weaker side of everybody, and the pessimist, therefore, drives as roaring a trade as the publican.

The person who is really in revolt is the optimist, who generally lives and dies in a desperate and suicidal effort to persuade all the other people how good they are. It has been proved a hundred times over that if you really wish to enrage people and make them angry, even unto death, the right way to do it is to tell them that they are all the sons of G.o.d. Jesus Christ was crucified, it may be remembered, not because of anything he said about G.o.d, but on a charge of saying that a man could in three days pull down and rebuild the Temple. Every one of the great revolutionists, from Isaiah to Sh.e.l.ley, have been optimists. They have been indignant, not about the badness of existence, but about the slowness of men in realizing its goodness. The prophet who is stoned is not a brawler or a marplot. He is simply a rejected lover. He suffers from an unrequited attachment to things in general.

It becomes increasingly apparent, therefore, that the world is in a permanent danger of being misjudged. That this is no fanciful or mystical idea may be tested by simple examples. The two absolutely basic words 'good' and 'bad,' descriptive of two primal and inexplicable sensations, are not, and never have been, used properly. Things that are bad are not called good by any people who experience them; but things that are good are called bad by the universal verdict of humanity.

Let me explain a little: Certain things are bad so far as they go, such as pain, and no one, not even a lunatic, calls a tooth-ache good in itself; but a knife which cuts clumsily and with difficulty is called a bad knife, which it certainly is not. It is only not so good as other knives to which men have grown accustomed. A knife is never bad except on such rare occasions as that in which it is neatly and scientifically planted in the middle of one's back. The coa.r.s.est and bluntest knife which ever broke a pencil into pieces instead of sharpening it is a good thing in so far as it is a knife. It would have appeared a miracle in the Stone Age. What we call a bad knife is a good knife not good enough for us; what we call a bad hat is a good hat not good enough for us; what we call bad cookery is good cookery not good enough for us; what we call a bad civilization is a good civilization not good enough for us.

We choose to call the great ma.s.s of the history of mankind bad, not because it is bad, but because we are better. This is palpably an unfair principle. Ivory may not be so white as snow, but the whole Arctic continent does not make ivory black.

Now it has appeared to me unfair that humanity should be engaged perpetually in calling all those things bad which have been good enough to make other things better, in everlastingly kicking down the ladder by which it has climbed. It has appeared to me that progress should be something else besides a continual parricide; therefore I have investigated the dust-heaps of humanity, and found a treasure in all of them. I have found that humanity is not incidentally engaged, but eternally and systematically engaged, in throwing gold into the gutter and diamonds into the sea. I have found that every man is disposed to call the green leaf of the tree a little less green than it is, and the snow of Christmas a little less white than it is; therefore I have imagined that the main business of a man, however humble, is defence. I have conceived that a defendant is chiefly required when worldlings despise the world--that a counsel for the defence would not have been out of place in that terrible day when the sun was darkened over Calvary and Man was rejected of men.

A DEFENCE OF PENNY DREADFULS

One of the strangest examples of the degree to which ordinary life is undervalued is the example of popular literature, the vast ma.s.s of which we contentedly describe as vulgar. The boy's novelette may be ignorant in a literary sense, which is only like saying that a modern novel is ignorant in the chemical sense, or the economic sense, or the astronomical sense; but it is not vulgar intrinsically--it is the actual centre of a million flaming imaginations.

In former centuries the educated cla.s.s ignored the ruck of vulgar literature. They ignored, and therefore did not, properly speaking, despise it. Simple ignorance and indifference does not inflate the character with pride. A man does not walk down the street giving a haughty twirl to his moustaches at the thought of his superiority to some variety of deep-sea fishes. The old scholars left the whole under-world of popular compositions in a similar darkness.

To-day, however, we have reversed this principle. We do despise vulgar compositions, and we do not ignore them. We are in some danger of becoming petty in our study of pettiness; there is a terrible Circean law in the background that if the soul stoops too ostentatiously to examine anything it never gets up again. There is no cla.s.s of vulgar publications about which there is, to my mind, more utterly ridiculous exaggeration and misconception than the current boys' literature of the lowest stratum. This cla.s.s of composition has presumably always existed, and must exist. It has no more claim to be good literature than the daily conversation of its readers to be fine oratory, or the lodging-houses and tenements they inhabit to be sublime architecture.

But people must have conversation, they must have houses, and they must have stories. The simple need for some kind of ideal world in which fict.i.tious persons play an unhampered part is infinitely deeper and older than the rules of good art, and much more important. Every one of us in childhood has constructed such an invisible _dramatis personae_, but it never occurred to our nurses to correct the composition by careful comparison with Balzac. In the East the professional story-teller goes from village to village with a small carpet; and I wish sincerely that anyone had the moral courage to spread that carpet and sit on it in Ludgate Circus. But it is not probable that all the tales of the carpet-bearer are little gems of original artistic workmanship. Literature and fiction are two entirely different things.

Literature is a luxury; fiction is a necessity. A work of art can hardly be too short, for its climax is its merit. A story can never be too long, for its conclusion is merely to be deplored, like the last halfpenny or the last pipelight. And so, while the increase of the artistic conscience tends in more ambitious works to brevity and impressionism, voluminous industry still marks the producer of the true romantic trash. There was no end to the ballads of Robin Hood; there is no end to the volumes about d.i.c.k Deadshot and the Avenging Nine. These two heroes are deliberately conceived as immortal.

But instead of basing all discussion of the problem upon the common-sense recognition of this fact--that the youth of the lower orders always has had and always must have formless and endless romantic reading of some kind, and then going on to make provision for its wholesomeness--we begin, generally speaking, by fantastic abuse of this reading as a whole and indignant surprise that the errand-boys under discussion do not read 'The Egoist' and 'The Master Builder.' It is the custom, particularly among magistrates, to attribute half the crimes of the Metropolis to cheap novelettes. If some grimy urchin runs away with an apple, the magistrate shrewdly points out that the child's knowledge that apples appease hunger is traceable to some curious literary researches. The boys themselves, when penitent, frequently accuse the novelettes with great bitterness, which is only to be expected from young people possessed of no little native humour. If I had forged a will, and could obtain sympathy by tracing the incident to the influence of Mr. George Moore's novels, I should find the greatest entertainment in the diversion. At any rate, it is firmly fixed in the minds of most people that gutter-boys, unlike everybody else in the community, find their princ.i.p.al motives for conduct in printed books.

Now it is quite clear that this objection, the objection brought by magistrates, has nothing to do with literary merit. Bad story writing is not a crime. Mr. Hall Caine walks the streets openly, and cannot be put in prison for an anticlimax. The objection rests upon the theory that the tone of the ma.s.s of boys' novelettes is criminal and degraded, appealing to low cupidity and low cruelty. This is the magisterial theory, and this is rubbish.

So far as I have seen them, in connection with the dirtiest book-stalls in the poorest districts, the facts are simply these: The whole bewildering ma.s.s of vulgar juvenile literature is concerned with adventures, rambling, disconnected and endless. It does not express any pa.s.sion of any sort, for there is no human character of any sort. It runs eternally in certain grooves of local and historical type: the medieval knight, the eighteenth-century duellist, and the modern cowboy, recur with the same stiff simplicity as the conventional human figures in an Oriental pattern. I can quite as easily imagine a human being kindling wild appet.i.tes by the contemplation of his Turkey carpet as by such dehumanized and naked narrative as this.

Among these stories there are a certain number which deal sympathetically with the adventures of robbers, outlaws and pirates, which present in a dignified and romantic light thieves and murderers like d.i.c.k Turpin and Claude Duval. That is to say, they do precisely the same thing as Scott's 'Ivanhoe,' Scott's 'Rob Roy,' Scott's 'Lady of the Lake,' Byron's 'Corsair,' Wordsworth's 'Rob Roy's Grave,'

Stevenson's 'Macaire,' Mr. Max Pemberton's 'Iron Pirate,' and a thousand more works distributed systematically as prizes and Christmas presents.

n.o.body imagines that an admiration of Locksley in 'Ivanhoe' will lead a boy to shoot j.a.panese arrows at the deer in Richmond Park; no one thinks that the incautious opening of Wordsworth at the poem on Rob Roy will set him up for life as a blackmailer. In the case of our own cla.s.s, we recognise that this wild life is contemplated with pleasure by the young, not because it is like their own life, but because it is different from it. It might at least cross our minds that, for whatever other reason the errand-boy reads 'The Red Revenge,' it really is not because he is dripping with the gore of his own friends and relatives.

In this matter, as in all such matters, we lose our bearings entirely by speaking of the 'lower cla.s.ses' when we mean humanity minus ourselves.

This trivial romantic literature is not especially plebeian: it is simply human. The philanthropist can never forget cla.s.ses and callings.

He says, with a modest swagger, 'I have invited twenty-five factory hands to tea.' If he said 'I have invited twenty-five chartered accountants to tea,' everyone would see the humour of so simple a cla.s.sification. But this is what we have done with this lumberland of foolish writing: we have probed, as if it were some monstrous new disease, what is, in fact, nothing but the foolish and valiant heart of man. Ordinary men will always be sentimentalists: for a sentimentalist is simply a man who has feelings and does not trouble to invent a new way of expressing them. These common and current publications have nothing essentially evil about them. They express the sanguine and heroic truisms on which civilization is built; for it is clear that unless civilization is built on truisms, it is not built at all.

Clearly, there could be no safety for a society in which the remark by the Chief Justice that murder was wrong was regarded as an original and dazzling epigram.

If the authors and publishers of 'd.i.c.k Deadshot,' and such remarkable works, were suddenly to make a raid upon the educated cla.s.s, were to take down the names of every man, however distinguished, who was caught at a University Extension Lecture, were to confiscate all our novels and warn us all to correct our lives, we should be seriously annoyed. Yet they have far more right to do so than we; for they, with all their idiotcy, are normal and we are abnormal. It is the modern literature of the educated, not of the uneducated, which is avowedly and aggressively criminal. Books recommending profligacy and pessimism, at which the high-souled errand-boy would shudder, lie upon all our drawing-room tables. If the dirtiest old owner of the dirtiest old bookstall in Whitechapel dared to display works really recommending polygamy or suicide, his stock would be seized by the police. These things are our luxuries. And with a hypocrisy so ludicrous as to be almost unparalleled in history, we rate the gutter-boys for their immorality at the very time that we are discussing (with equivocal German Professors) whether morality is valid at all. At the very instant that we curse the Penny Dreadful for encouraging thefts upon property, we canva.s.s the proposition that all property is theft. At the very instant we accuse it (quite unjustly) of lubricity and indecency, we are cheerfully reading philosophies which glory in lubricity and indecency. At the very instant that we charge it with encouraging the young to destroy life, we are placidly discussing whether life is worth preserving.

But it is we who are the morbid exceptions; it is we who are the criminal cla.s.s. This should be our great comfort. The vast ma.s.s of humanity, with their vast ma.s.s of idle books and idle words, have never doubted and never will doubt that courage is splendid, that fidelity is n.o.ble, that distressed ladies should be rescued, and vanquished enemies spared. There are a large number of cultivated persons who doubt these maxims of daily life, just as there are a large number of persons who believe they are the Prince of Wales; and I am told that both cla.s.ses of people are entertaining conversationalists. But the average man or boy writes daily in these great gaudy diaries of his soul, which we call Penny Dreadfuls, a plainer and better gospel than any of those iridescent ethical paradoxes that the fashionable change as often as their bonnets. It may be a very limited aim in morality to shoot a 'many-faced and fickle traitor,' but at least it is a better aim than to be a many-faced and fickle traitor, which is a simple summary of a good many modern systems from Mr. d'Annunzio's downwards. So long as the coa.r.s.e and thin texture of mere current popular romance is not touched by a paltry culture it will never be vitally immoral. It is always on the side of life. The poor--the slaves who really stoop under the burden of life--have often been mad, scatter-brained and cruel, but never hopeless. That is a cla.s.s privilege, like cigars. Their drivelling literature will always be a 'blood and thunder' literature, as simple as the thunder of heaven and the blood of men.

A DEFENCE OF RASH VOWS

If a prosperous modern man, with a high hat and a frock-coat, were to solemnly pledge himself before all his clerks and friends to count the leaves on every third tree in Holland Walk, to hop up to the City on one leg every Thursday, to repeat the whole of Mill's 'Liberty' seventy-six times, to collect 300 dandelions in fields belonging to anyone of the name of Brown, to remain for thirty-one hours holding his left ear in his right hand, to sing the names of all his aunts in order of age on the top of an omnibus, or make any such unusual undertaking, we should immediately conclude that the man was mad, or, as it is sometimes expressed, was 'an artist in life.' Yet these vows are not more extraordinary than the vows which in the Middle Ages and in similar periods were made, not by fanatics merely, but by the greatest figures in civic and national civilization--by kings, judges, poets, and priests. One man swore to chain two mountains together, and the great chain hung there, it was said, for ages as a monument of that mystical folly. Another swore that he would find his way to Jerusalem with a patch over his eyes, and died looking for it. It is not easy to see that these two exploits, judged from a strictly rational standpoint, are any saner than the acts above suggested. A mountain is commonly a stationary and reliable object which it is not necessary to chain up at night like a dog. And it is not easy at first sight to see that a man pays a very high compliment to the Holy City by setting out for it under conditions which render it to the last degree improbable that he will ever get there.

But about this there is one striking thing to be noticed. If men behaved in that way in our time, we should, as we have said, regard them as symbols of the 'decadence.' But the men who did these things were not decadent; they belonged generally to the most robust cla.s.ses of what is generally regarded as a robust age. Again, it will be urged that if men essentially sane performed such insanities, it was under the capricious direction of a superst.i.tious religious system. This, again, will not hold water; for in the purely terrestrial and even sensual departments of life, such as love and l.u.s.t, the medieval princes show the same mad promises and performances, the same misshapen imagination and the same monstrous self-sacrifice. Here we have a contradiction, to explain which it is necessary to think of the whole nature of vows from the beginning.

And if we consider seriously and correctly the nature of vows, we shall, unless I am much mistaken, come to the conclusion that it is perfectly sane, and even sensible, to swear to chain mountains together, and that, if insanity is involved at all, it is a little insane not to do so.

The man who makes a vow makes an appointment with himself at some distant time or place. The danger of it is that himself should not keep the appointment. And in modern times this terror of one's self, of the weakness and mutability of one's self, has perilously increased, and is the real basis of the objection to vows of any kind. A modern man refrains from swearing to count the leaves on every third tree in Holland Walk, not because it is silly to do so (he does many sillier things), but because he has a profound conviction that before he had got to the three hundred and seventy-ninth leaf on the first tree he would be excessively tired of the subject and want to go home to tea. In other words, we fear that by that time he will be, in the common but hideously significant phrase, _another man_. Now, it is this horrible fairy tale of a man constantly changing into other men that is the soul of the Decadence. That John Paterson should, with apparent calm, look forward to being a certain General Barker on Monday, Dr. Macgregor on Tuesday, Sir Walter Carstairs on Wednesday, and Sam Slugg on Thursday, may seem a nightmare; but to that nightmare we give the name of modern culture. One great decadent, who is now dead, published a poem some time ago, in which he powerfully summed up the whole spirit of the movement by declaring that he could stand in the prison yard and entirely comprehend the feelings of a man about to be hanged:

'For he that lives more lives than one More deaths than one must die.'

And the end of all this is that maddening horror of unreality which descends upon the decadents, and compared with which physical pain itself would have the freshness of a youthful thing. The one h.e.l.l which imagination must conceive as most h.e.l.lish is to be eternally acting a play without even the narrowest and dirtiest greenroom in which to be human. And this is the condition of the decadent, of the aesthete, of the free-lover. To be everlastingly pa.s.sing through dangers which we know cannot scathe us, to be taking oaths which we know cannot bind us, to be defying enemies who we know cannot conquer us--this is the grinning tyranny of decadence which is called freedom.