Complete works of g k ch.., p.966

  Complete Works of G K Chesterton, p.966

Complete Works of G K Chesterton
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  “It is true that the most recent mathematical and physical theories necessitate a revision of this commonly held opinion, for no longer does the teaching of Ptolemy appear ‘wholly false,’ nor that of Copernicus ‘alone true,’ as Galileo thought. Rather does it appear that both the systems have fundamentally an equal claim to recognition, and that the superiority of the Copernican system rests solely on the greater simplicity of the astronomical calculations effected with its help. Cardinal Bellarmine had, however, already recognized this when he warned Galileo’s pupils to regard the Copernican doctrine only as hypothetical and not as the sole truth.”

  In other words, the scientific rationalist, invoking the very latest scientific views, says something that I for one should never have dreamed of saying: that Galileo was as wrong as he was right; or at least that he was no more right than he was wrong, and no more right than his opponents were right. This seems to me a very amazing remark to appear in a book by an ordinary modern sceptic. Anyhow, it is a remark that will not be found in any book by me, or any of those who are regarded as religious reactionaries.

  Let nobody go away and say that I made the remark. Let nobody wail aloud that I say the Solar System is a Solar Myth. I never interfered with the Solar System. I never disorganized the sun and moon; I never in my life gave the planets or the fixed stars the least cause for uneasiness. Copernicus and Newton are good enough for me. I only say the sun must be a very strange star, and must stand in a very strange relation to a very strange planet or satellite, if any sane sceptic can really say that it is just as true that the sun goes round the earth as that the earth goes round the sun. The real truth, which he has in mind, is probably some very subtle mathematical relation, to which both of those contrary images are merely relative. The only effect on me, at the moment, is a merely imaginative, or even a merely artistic effect. It makes the sun much more extraordinary; and it was extraordinary enough before. I have not the faintest intention of meddling with these problems in the higher world of mathematics. I only say that the immediate effect of them on the fancy is almost to bring back the sun into the world of mythology. In that sense, the sun is much more of a Sun Myth; it is at least a Sun Mystery. Phoebus Apollo, worshipped with such superb prayer and sacrifice, is still at least like that other pagan god whom St. Paul saluted as the Unknown God. And because I love everything that adds at least to the wonder of the world, and because I hate familiarity as I hate contempt, I am glad that the strange god in the garden grows stranger every day. For we need mystery to console and encourage us. And, like Voltaire, and other pious and devout characters, I quite agree that we must cultivate the garden.

  XLIV

  On Thoughtless Remarks

  IT is doubtless disrespectful to the reader, nor indeed does it tend greatly to the aggrandizement or dignity of the writer, to say that my occupation in life is catching flies. And when I recently referred to a certain type of Feminist as a wasp, I received remonstrances from one who doubtless considered her to have all the highest and most royal attributes of a queen bee. Nevertheless, this unfortunate metaphor frequently returns to my mind, and I am conscious of a truth that I could not easily express without it. What I mean is this: that one of the chief nuisances of our time is a swarm of little things, in the form of little thoughts, or little sayings largely divorced from thoughts, which pervade the whole atmosphere in a manner only comparable to that of the most minute insects: insignificant and almost invisible but innumerable and almost omnipresent. I am not thinking of real thought; even of false or destructive thought. I am not referring to the real bodies of moral and philosophical opinion, based on principles I think wrong, or producing results I think mischievous. The views of this kind, with which I have sometimes dealt, differ very much in their power or promise or capacity for doing harm. I disagree with Communism as I disagree with Calvinism; but nobody would say this is the hour of Calvinism, and I admit, in a sense, it is the hour of Communism. There is a very strong intellectual temptation to the Bolshevist simplification because of the unquestionable collapse of the old commercial complexity. On the other hand, other theories I have quarrelled with in my time are less and less prominent in the modern quarrel. Many men of science have abandoned Darwinism. All men of science have abandoned Materialism. But Materialism and Darwinism were none the less thorough systems supported by thinking men, with arguments to be answered as well as assumptions to be questioned. The kind of thing of which I am speaking now is something at once atmospheric and microscopic, like a cloud of midges, and not like the serious scientific theories and philosophies of the nineteenth century, which may rather be compared, according to taste, to lions, elephants, tigers, vultures, vipers, or scorpions.

  The matter in question is the prevalence of a sort of casual and even conversational scepticism, making even the idle thoughts of an idle fellow busy in the interests of doubt and despair. I mean that a man, without thinking at all, will throw off some flippant phrase which is always (by a strange fatality) a sort of feeble revolt against all traditional truth. It may be anything, an aside on the stage or a joke on the political platform; it may be a mere flourish at the start of a magazine story or a mere word dropped into an inconvenient silence; something said for the sake of saying something. The whole point of it is that it is, in this sense, pointless. The philosophy is not expressed when people are talking about philosophy, but when they are talking about anything else. I have just this moment started reading an ordinary modern story, quite well written considered as a story; and it begins by saying that there is not much difference between stupidity and courage, and, in fact, that courage is really only a form of stupidity.

  That is exactly typical of the thing I mean. It is merely a casual remark; it is only very casually meant to be a clever remark; it is actually rather a silly remark; but the point is that a fatality of fashion causes a myriad such remarks to be made, always on the side of cowardice and never on the side of courage. In point of fact, of course, it would be easy to demonstrate its falsehood. History is full of examples of intellectual men who have been courageous, even of highly subtle and penetrating intellectuals who have accepted death courageously. It even contains any number of cases of thoughtful men who have thought a great deal about the act of accepting death; who have thought about it for a long time, and with complete composure, and then deliberately accepted it. Socrates is an obvious example. Sir Thomas More is a still more obvious example. Boëthius and many other philosophers; St. Paul and many other saints; all kinds of mystics, missionaries, religious founders and social reformers have proved the point over and over again. But I am interested here, not so much in the point, as in the pointless remark. What is that itch of intellectual irritation which makes a modern man, even in a moment of indolence, say the cynical thing even when it is obviously false; or kick against the heroic thing, even when it is self-evidently true? Why do we find today this vast and vague mass of trivialities, which have nothing in common except that they are all in reaction against the very best of human traditions? Why has this cheap and really worthless sort of scepticism got into such universal circulation? In other words, I am not now thinking of the Gold Standard of the highest truth, or the Bimetallism of the higher scepticism, which discusses whether there can be a rivalry in truth; or any of the more or less precious metals which may bear the image and superscription of this or that moral authority. I am puzzled by the circulation of all these millions of brass farthings, hardly more valuable than bad pennies; I am wondering where they all come from, and why they can be produced in such handfuls; and whether there is not something wrong with the mint of the mind. I am wondering what has debased the currency of current thought and speech, and why every normal ideal of man is now pelted with handfuls of such valueless pebbles, and assailed everywhere, not by free thought, but by frank thoughtlessness.

  There seems to be no normal motive for a human being feeling a hostility to the human virtue of courage. He may disapprove of this or that excuse or occasion for calling it forth, but surely not of the thing itself. If the writer had said that the bravery of brave men is used by the stupidity of stupid men, he would have said something perfectly tenable, and, indeed, frequently true. When he says that a brave man must be a stupid man, he wantonly says something that can instantly be disproved and dismissed as impudent and idiotic. Why does he say it, except to relieve his feelings; and in that case what are his feelings? We only know that they have never yet been the normal feelings of men, yet they seem just now to be the almost involuntary feelings of a vast number of men. That is the problem that I find practically pestering us on every side today; and that is what I mean by comparing that buzz of dull flippancy to the swarming of gnats or flies. It is all concerned with the same paradox, with what may be called the omnipresence of the insignificant. A fly is a small thing, but flies can be a very big thing. In some tropical countries, I am told, they can appear like great clouds on the remote horizon or vast thunder-storms filling the whole sky. The plague of locusts which afflicts many lands is something much more destructive than the passage of a pack of wolves or the ruin wrought by a stampede of wild bulls or wild elephants. So the seemingly insignificant individual irritation produced by these insignificant individual perversities may be, in its cumulative effect, more corrupting to a whole culture than the great heresies that have been hardened and hammered into a certain intellectual solidity. The spirit of anarchy does not work only by monsters. Even the sages and visionaries of the East have seen a spiritual significance in the fact that even almost invisible insects can be a plague or carry a pestilence; and the ancient name of Beelzebub has the meaning of the Lord of Flies.

  THE WELL AND THE SHALLOWS

  CONTENTS

  AN APOLOGY FOR BUFFOONS

  MY SIX CONVERSIONS

  THE RETURN TO RELIGION

  THE REACTION OF THE INTELLECTUALS

  LEVITY — OR LEVITATION

  THE CASE FOR HERMITS

  KILLING THE NERVE

  THE CASE OF CLAUDEL

  THE HIGHER NIHILISM

  THE ASCETIC AT LARGE

  THE BACKWARD BOLSHIE

  THE LAST TURN

  THE NEW LUTHER

  BABIES AND DISTRIBUTISM

  THREE FOES OF THE FAMILY

  THE DON AND THE CAVALIER

  THE CHURCH AND AGORAPHOBIA

  BACK IN THE FOG

  THE HISTORIC MOMENT (1)

  MARY AND THE CONVERT

  A CENTURY OF EMANCIPATION

  TRADE TERMS

  FROZEN FREE THOUGHT

  SHOCKING THE MODERNISTS

  A GRAMMAR OF KNIGHTHOOD

  REFLECTIONS ON A ROTTEN APPLE

  SEX AND PROPERTY

  ST. THOMAS MORE

  THE RETURN OF CAESAR

  THE SCRIPTURE READER

  AN EXPLANATION

  WHY PROTESTANTS PROHIBIT (1)

  WHERE IS THE PARADOX?

  INTRODUCTORY NOTE

  I WAS monstrously attracted by a suggestion that these essays should bear the general title of “Joking Apart.” It seemed to me a simple and sensible way of saying that the reader of these pages must not look for many jokes, certainly not merely for jokes, because these are controversial essays, covering all subjects on which a controversialist is challenged, and not particular subjects chosen as they are chosen by an essayist. It is an awful revelation of the world of unreason into which we have wandered, that people more practical than I are convinced that if I say that this is apart from joking, everyone will think it is a joke. To my simple mind it seems very much as if I wanted to call a book, “Away from Jericho,” and everybody assumed that I had accepted a very general recommendation to go to Jericho. Many essays could be written on this strange modern sensibility to mere verbal allusion, or the introduction of certain words, even to repudiate them. But the only point here involved is that these essays are all under the conditions of controversy, which involve the absolute necessity of disgusting those with whom we disagree on any subject, and boring those who are indifferent to that subject. I have had, if I may say so, a very happy and lucky literary life; and have often felt rather the indulgence than the impatience of critics; and it is in a perfectly amiable spirit that I note that it has involved a certain transition or change. Up to a certain point, I was charitably chaffed for saying what I could not possibly mean; and I was then rather more sharply criticised, when it was discovered that I did really mean it. Now anybody driven to the defence of what he does really mean must cover all the strategic field of the fight, and must fight at many points which he would not have chosen in fancy, but only in relation to fact. He cannot hope to deal only with heresies that amuse him; he must, in common fairness, deal seriously with heresies that bore him. He must settle down to stating his real reasons for contradicting real statements, which are not made by him as statements, and not chosen by him as subjects. All this seems to me, with my mild rationalistic mind, excellently summarised in the words, “Joking Apart.”

  Anyhow, this is why I have opened this series with an essay called “An Apology for Buffoons,” because it is in some sense, I will not say a swan-song (that ornithological metaphor would not occur to me in relation to myself), but at least a sort of summary of my more frivolous mode of writing, and all that I still think may be fairly advanced for it. Unfortunately, a man fighting what he honestly believes to be false can hardly preserve the glorious immunity of a buffoon. He is forced to be serious, and even those who despise him most are driven desperately to take him seriously. But there is one other reason for adding this preliminary note, in connection with the preliminary essay. Since I wrote it, I have come to appreciate much more warmly the admirable work of Mr. T. S. Eliot; and I should like to offer an apology to him for some errors that occurred accidentally in the article itself. It was not he, but another critic, with whom I confused him, who made the particular point against alliteration; and the quotation from him was made from memory; and I have not been able to trace it so as to reproduce the exact order of words, the inaccuracy, if any, does not affect the argument; but the article which I had already planned to put in the same magazine, called “Apology to T S Eliot” would have gone far beyond any such verbal point. It would be adding impudence to injury to dedicate a book to an author merely on the claim of having misquoted him; but I should be proud to dedicate this book to T. S. Eliot, and the return of true logic and a luminous tradition to the world.

  AN APOLOGY FOR BUFFOONS

  THERE was a time when I appeared in the Mercury, covered with blushes, to acknowledge a friendly criticism which asked if my journalism held enough of autobiography; and I attempted with great embarrassment to give thanks for the criticism — and the compliment. My blush has faded; my sense of decency has departed; and I appear now with the shameless purpose of being, not merely autobiographical, but grotesquely egotistical. In a spirit of brazen contradiction, I even propose to be egotistical in disproving the charge of egotism. Nay, in a yet wilder illogicality, I claim to be egotistical in the interests of other people. It is a contradiction in terms; but as the higher mathematics, the higher morality, the higher religion and the rest now entirely consist of contradictions in terms, I go on with a ghastly calm. And I do it because I cannot think of any other way of drawing attention to a real problem of literature, and especially of popular literature (if I may dare to dream of that contradiction also) except this particular line of argument, which inevitably involves the mention of my own case — let us hope along with more amusing ones.

  It is commonly alleged of writers that they resent mild criticisms as infamous personal imputations, taking them as seriously as slanders. Without affectation, I fancy my own case to be rather different and even opposite. Most of the adverse criticisms written about me strike me as quite true. Where I am in invincible ignorance, I suppose, is in a proper sense of the importance of the things thus rightly reproved. For instance, a very sympathetic reviewer said that I used too much alliteration; and quoted Mr. T. S. Eliot (see apology in Introduction) as saying that such a style maddened him to the point of unendurance; and a similar criticism of my English was made, I think, by another American writer, Mr. Cuthbert Wright. Now I think, on fair consideration, that it is perfectly true that I do use a great deal too much alliteration. The only question on which these gentlemen and I would probably differ is a question of degree; a question of the exact importance or necessity of avoiding alliteration. For I do strongly maintain that it is a question of avoiding alliteration — and even that phrase does not avoid it! If an English writer does not avoid it, he is perpetually dragged into it when speaking rapidly or writing a great deal, by the whole trend and current of the English speech; perhaps that is why the Anglo-Saxon poetry even down to Piers Plowman (which I enjoy hugely) was all alliteration. Anyhow, the tendency in popular and unconscious speech is quite obvious, in phrases and proverbs and rhymes and catchwords and a thousand things. Time and tide, wind and water, fire and flood, waste not, want not, bag and baggage, spick and span, black and blue, deaf and dumb, the devil and the deep sea, when the wine is in the wit is out, in for a penny, in for a pound, a pig in a poke, a bee in a bonnet, a bat in a belfry, and so on through a myriad fantastic changes of popular imagery. What elaborate art, what sleepless cunning even, must these more refined writers employ to dodge this rush of coincidences; and run between the drops of this deluge! It must be a terrible strain on the presence of mind to be always ready with a synonym. I can imagine Mr. T. S. Eliot just stopping himself in time, and saying with a refined cough, “Waste not, require not.” I like to think of Mr. Cuthbert Wright, in some headlong moment of American hustle, still having the self-control to cry, “Time and Fluctuation wait for no man!” I can imagine his delicate accent when speaking of a pig in a receptacle or of bats in the campanile. It is a little difficult perhaps to image the latter critic apparently confining himself to the isolated statement, “Mr. Smith is spick,” while his mind hovered in momentary hesitation about how to vary the corresponding truth that Mr. Smith is span. But it is quite easy to conceive an advanced modern artist of this school, looking for some sharp and graphic variation in the old colour scheme of black and blue. Indeed, we might almost invent a sort of colour test, like that which somebody suggested about red grass and green sky as a test of different schools of painting. We might suggest that Decadents beat people black and yellow, Futurists beat them black and orange, Neo-Victorians beat them black and magenta; but all recoil from the vulgar alliteration of beating them black and blue. Nor indeed is the reference to these new and varied styles irrelevant. Some of the more bizarre modern methods seem to me to make it rather difficult to have any fixed criticism at all, either of their style or mine. Take, for instance, the case of Mr. T. S. Eliot himself. I recently saw a poem of his praised very highly and doubtless very rightly; though to some extent (it seemed) because it was a poem of profound “disillusionment and melancholy.” But the passage specially quoted for commendation ran, if I remember right:

 
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