For no such scene could conceivably have happened under Louis XVI.
THE SEPARATIST AND SACRED THINGS
In the very laudable and fascinating extensions of our interest in Asiatic arts or faiths, there are two incidental injustices which we tend nowadays to do to our own records and our own religion. The first is a tendency to talk as if certain things were not only present in the higher Orientals, but were peculiar to them. Thus our magazines will fall into a habit of wondering praise of Bushido, the Japanese chivalry, as if no Western knights had ever vowed noble vows, or as if no Eastern knights had ever broken them. Or again, our drawing-rooms will be full of the praises of Indian renunciation and Indian unworldliness, as if no Christians had been saints, or as if all Buddhists had been. But if the first injustice is to think of human virtues as peculiarly Eastern, the other injustice is a failure to appreciate what really is peculiarly Eastern. It is too much taken for granted that the Eastern sort of idealism is certainly superior and convincing; whereas in truth it is only separate and peculiar. All that is richest, deepest, and subtlest in the East is rooted in Pantheism; but all that is richest, deepest, and subtlest in us is concerned with denying passionately that Pantheism is either the highest or the purest religion.
Thus, in turning over some excellent books recently written on the spirit of Indian or Chinese art and decoration, I found it quietly and curiously assumed that the artist must be at his best if he flows with the full stream of Nature; and identifies himself with all things; so that the stars are his sleepless eyes and the forests his far-flung arms. Now in this way of talking both the two injustices will be found. In so far as what is claimed is a strong sense of the divine in all things, the Eastern artists have no more monopoly of it than they have of hunger and thirst.
I have no doubt that the painters and poets of the Far East do exhibit this; but I rebel at being asked to admit that we must go to the Far East to find it. Traces of such sentiments can be found, I fancy, even in other painters and poets. I do not question that the poet Wo Wo (that ornament of the eighth dynasty) may have written the words: "Even the most undignified vegetable is for this person capable of producing meditations not to be exhibited by much weeping." But, I do not therefore admit that a Western gentleman named Wordsworth (who made a somewhat similar remark) had plagiarised from Wo Wo, or was a mere Occidental fable and travesty of that celebrated figure. I do not deny that Tinishona wrote that exquisite example of the short Japanese poem entitled "Honourable Chrysanthemum in Honourable Hole in Wall." But I do not therefore admit that Tennyson's little verse about the flower in the cranny was not original and even sincere.
It is recorded (for all I know) of the philanthropic Emperor Bo, that when engaged in cutting his garden lawn with a mower made of alabaster and chrysoberyl, he chanced to cut down a small flower; whereupon, being much affected, he commanded his wise men immediately to take down upon tablets of ivory the lines beginning: "Small and unobtrusive blossom with ruby extremities." But this incident, touching as it is, does not shake my belief in the incident of Robert Burns and the daisy; and I am left with an impression that poets are pretty much the same everywhere in their poetry—and in their prose.
I have tried to convey my sympathy and admiration for Eastern art and its admirers, and if I have not conveyed them I must give it up and go on to more general considerations. I therefore proceed to say—with the utmost respect, that it is Cheek, a rarefied and etherealised form of Cheek, for this school to speak in this way about the mother that bore them, the great civilisation of the West. The West also has its magic landscapes, only through our incurable materialism they look like landscapes as well as like magic. The West also has its symbolic figures, only they look like men as well as symbols. It will be answered (and most justly) that Oriental art ought to be free to follow its own instinct and tradition; that its artists are concerned to suggest one thing and our artists another; that both should be admired in their difference. Profoundly true; but what is the difference? It is certainly not as the Orientalisers assert, that we must go to the Far East for a sympathetic and transcendental interpretation of Nature. We have paid a long enough toll of mystics and even of madmen to be quit of that disability.
Yet there is a difference, and it is just what I suggested. The Eastern mysticism is an ecstasy of unity; the Christian mysticism is an ecstasy of creation, that is of separation and mutual surprise. The latter says, like St. Francis, "My brother fire and my sister water"; the former says, "Myself fire and myself water." Whether you call the Eastern attitude an extension of oneself into everything or a contraction of oneself into nothing is a matter of metaphysical definition. The effect is the same, an effect which lives and throbs throughout all the exquisite arts of the East. This effect is the Sing called rhythm, a pulsation of pattern, or of ritual, or of colours, or of cosmic theory, but always suggesting the unification of the individual with the world. But there is quite another kind of sympathy the sympathy with a thing because it is different. No one will say that Rembrandt did not sympathise with an old woman; but no one will say that Rembrandt painted like an old woman. No one will say that Reynolds did not appreciate children; but no one will say he did it childishly. The supreme instance of this divine division is sex, and that explains (what I could never understand in my youth) why Christendom called the soul the bride of God. For real love is an intense realisation of the "separateness" of all our souls. The most heroic and human love-poetry of the world is never mere passion; precisely because mere passion really is a melting back into Nature, a meeting of the waters. And water is plunging and powerful; but it is only powerful downhill. The high and human love-poetry is all about division rather than identity; and in the great love-poems even the man as he embraces the woman sees her, in the same instant, afar off; a virgin and a stranger.
For the first injustice, of which we have spoken, still recurs; and if we grant that the East has a right to its difference, it is not realised in what we differ. That nursery tale from nowhere about St. George and the Dragon really expresses best the relation between the West and the East. There were many other differences, calculated to arrest even the superficial eye, between a saint and a dragon. But the essential difference was simply this: that the Dragon did want to eat St. George; whereas St. George would have felt a strong distaste for eating the Dragon. In most of the stories he killed the Dragon. In many of the stories he not only spared, but baptised it. But in neither case did the Christian have any appetite for cold dragon. The Dragon, however, really has an appetite for cold Christian—and especially for cold Christianity. This blind intention to absorb, to change the shape of everything and digest it in the darkness of a dragon's stomach; this is what is really meant by the Pantheism and Cosmic Unity of the East. The Cosmos as such is cannibal; as old Time ate his children. The Eastern saints were saints because they wanted to be swallowed up. The Western saint, like St. George, was sainted by the Western Church precisely because he refused to be swallowed. The same process of thought that has prevented nationalities disappearing in Christendom has prevented the complete appearance of Pantheism. All Christian men instinctively resist the idea of being absorbed into an Empire; an Austrian, a Spanish, a British, or a Turkish Empire. But there is one empire, much larger and much more tyrannical, which free men will resist with even stronger passion. The free man violently resists being absorbed into the empire which is called the Universe. He demands Home Rule for his nationality, but still more Home Rule for his home. Most of all he demands Home Rule for himself. He claims the right to be saved, in spite of Moslem fatalism. He claims the right to be damned in spite of theosophical optimism. He refuses to be the Cosmos; because he refuses to forget it.
The night before Christmas Eve I heard a burst of musical voices so close that they might as well have been inside the house instead of just outside; so I asked them inside, hoping that they might then seem farther away. Then I realised that they were the Christmas Mummers, who come every year in country parts to enact the rather rigid fragments of the old Christmas play of St. George, the Turkish Knight, and the Very Venal Doctor. I will not describe it; it is indescribable; but I will describe my parallel sentiments as it passed.
One could see something of that half-failure that haunts our artistic revivals of mediaeval dances, carols, or Bethlehem Plays. There are elements in all that has come to us from the more morally simple society of the Middle Ages: elements which moderns, even when they are mediaevalists, find it hard to understand and harder to imitate. The first is the primary idea of Mummery itself. If you will observe a child just able to walk, you will see that his first idea is not to dress up as anybody—but to dress up. Afterwards, of course, the idea of being the King or Uncle William will leap to his lips. But it is generally suggested by the hat he has already let fall over his nose, from far deeper motives. Tommy does not assume the hat primarily because it is Uncle William's hat, but because it is not Tommy's hat. It is a ritual investiture; and is akin to those Gorgon masks that stiffened the dances of Greece or those towering mitres that came from the mysteries of Persia. For the essence of such ritual is a profound paradox: the concealment of the personality combined with the exaggeration of the person. The man performing a rite seeks to be at once invisible and conspicuous. It is part of that divine madness which all other creatures wonder at in Man, that he alone parades this pomp of obliteration and anonymity. Man is not, perhaps, the only creature who dresses himself, but he is the only creature who disguises himself. Beasts and birds do indeed take the colours of their environment; but that is not in order to be watched, but in order not to be watched; it is not the formalism of rejoicing, but the formlessness of fear. It is not so with men, whose nature is the unnatural. Ancient Britons did not stain themselves blue because they lived in blue forests; nor did Georgian beaux and belles powder their hair to match an Arctic landscape; the Britons were not dressing up as kingfishers nor the beaux pretending to be polar bears. Nay, even when modern ladies paint their faces a bright mauve, it is doubted by some naturalists whether they do it with the idea of escaping notice. So merry-makers (or Mummers) adopt their costume to heighten and exaggerate their own bodily presence and identity; not to sink it, primarily speaking, in another identity. It is not Acting—that comparatively low profession-comparatively I mean. It is Mummery; and, as Mr. Kensit would truly say, all elaborate religious ritual is Mummery. That is, it is the noble conception of making Man something other and more than himself when he stands at the limit of human things. It is only careful faddists and feeble German philosophers who want to wear no clothes; and be "natural" in their Dionysian revels. Natural men, really vigorous and exultant men, want to wear more and more clothes when they are revelling. They want worlds of waistcoats and forests of trousers and pagodas of tall hats toppling up to the stars.
Thus it is with the lingering Mummers at Christmas in the country. If our more refined revivers of Miracle Plays or Morrice Dances tried to reconstruct the old Mummers' Play of St. George and the Turkish Knight (I do not know why they do not) they would think at once of picturesque and appropriate dresses. St. George's panoply would be pictured from the best books of armour and blazonry: the Turkish Knight's arms and ornaments would be traced from the finest Saracenic arabesques. When my garden door opened on Christmas Eve and St. George of England entered, the appearance of that champion was slightly different. His face was energetically blacked all over with soot, above which he wore an aged and very tall top hat; he wore his shirt outside his coat like a surplice, and he flourished a thick umbrella. Now do not, I beg you, talk about "ignorance"; or suppose that the Mummer in question (he is a very pleasant Ratcatcher, with a tenor voice) did this because he knew no better. Try to realise that even a Ratcatcher knows St. George of England was not black, and did not kill the Dragon with an umbrella. The Rat-catcher is not under this delusion; any more than Paul Veronese thought that very good men have luminous rings round their heads; any more than the Pope thinks that Christ washed the feet of the twelve in a Cathedral; any more than the Duke of Norfolk thinks the lions on a tabard are like the lions at the Zoo. These things are denaturalised because they are symbols; because the extraordinary occasion must hide or even disfigure the ordinary people. Black faces were to mediaeval mummeries what carved masks were to Greek plays: it was called being "vizarded." My Rat-catcher is not sufficiently arrogant to suppose for a moment that he looks like St. George. But he is sufficiently humble to be convinced that if he looks as little like himself as he can, he will be on the right road.
This is the soul of Mumming; the ostentatious secrecy of men in disguise. There are, of course, other mediaeval elements in it which are also difficult to explain to the fastidious mediaevalists of to-day. There is, for instance, a certain output of violence into the void. It can best be defined as a raging thirst to knock men down without the faintest desire to hurt them. All the rhymes with the old ring have the trick of turning on everything in which the rhymsters most sincerely believed, merely for the pleasure of blowing off steam in startling yet careless phrases. When Tennyson says that King Arthur "drew all the petty princedoms under him," and "made a realm and ruled," his grave Royalism is quite modern. Many mediaevals, outside the mediaeval republics, believed in monarchy as solemnly as Tennyson. But that older verse
When good King Arthur ruled this land He was a goodly King— He stole three pecks of barley-meal To make a bag-pudding.
is far more Arthurian than anything in The Idylls of the King. There are other elements; especially that sacred thing that can perhaps be called Anachronism. All that to us is Anachronism was to mediaevals merely Eternity. But the main excellence of the Mumming Play lies still, I think, in its uproarious secrecy. If we cannot hide our hearts in healthy darkness, at least we can hide our faces in healthy blacking. If you cannot escape like a philosopher into a forest, at least you can carry the forest with you, like a Jack-in-the-Green. It is well to walk under universal ensigns; and there is an old tale of a tyrant to whom a walking forest was the witness of doom. That, indeed, is the very intensity of the notion: a masked man is ominous; but who shall face a mob of masks?
THE ARISTOCRATIC 'ARRY
The Cheap Tripper, pursued by the curses of the aesthetes and the antiquaries, really is, I suppose, a symptom of the strange and almost unearthly ugliness of our diseased society. The costumes and customs of a hundred peasantries are there to prove that such ugliness does not necessarily follow from mere poverty, or mere democracy, or mere unlettered simplicity of mind.
But though the tripper, artistically considered, is a sign of our decadence, he is not one of its worst signs, but relatively one of its best; one of its most innocent and most sincere. Compared with many of the philosophers and artists who denounce him; he looks like a God fearing fisher or a noble mountaineer. His antics with donkeys and concertinas, crowded charabancs, and exchanged hats, though clumsy, are not so vicious or even so fundamentally vulgar as many of the amusements of the overeducated. People are not more crowded on a char-a-banc than they are at a political "At Home," or even an artistic soiree; and if the female trippers are overdressed, at least they are not overdressed and underdressed at the same time. It is better to ride a donkey than to be a donkey. It is better to deal with the Cockney festival which asks men and women to change hats, rather than with the modern Utopia that wants them to change heads.
But the truth is that such small, but real, element of vulgarity as there is indeed in the tripper, is part of a certain folly and falsity which is characteristic of much modernity, and especially of the very people who persecute the poor tripper most. There is something in the whole society, and even especially in the cultured part of it, that does things in a clumsy and unbeautiful way.
A case occurs to me in the matter of Stonehenge, which I happened to visit yesterday. Now to a person really capable of feeling the poetry of Stonehenge it is almost a secondary matter whether he sees Stonehenge at all. The vast void roll of the empty land towards Salisbury, the gray tablelands like primeval altars, the trailing rain-clouds, the vapour of primeval sacrifices, would all tell him of a very ancient and very lonely Britain. It would not spoil his Druidic mood if he missed Stonehenge. But it does spoil his mood to find Stonehenge—surrounded by a brand-new fence of barbed wire, with a policeman and a little shop selling picture post-cards.
Now if you protest against this, educated people will instantly answer you, "Oh, it was done to prevent the vulgar trippers who chip stones and carve names and spoil the look of Stonehenge." It does not seem to occur to them that barbed wire and a policeman rather spoil the look of Stonehenge. The scratching of a name, particularly when performed with blunt penknife or pencil by a person of imperfect School Board education, can be trusted in a little while to be indistinguishable from the grayest hieroglyphic by the grandest Druid of old. But nobody could get a modern policeman into the same picture with a Druid. This really vital piece of vandalism was done by the educated, not the uneducated; it was done by the influence of the artists or antiquaries who wanted to preserve the antique beauty of Stonehenge. It seems to me curious to preserve your lady's beauty from freckles by blacking her face all over; or to protect the pure whiteness of your wedding garment by dyeing it green.
And if you ask, "But what else could any one have done, what could the most artistic age have done to save the monument?" I reply, "There are hundreds of things that Greeks or Mediaevals might have done; and I have no notion what they would have chosen; but I say that by an instinct in their whole society they would have done something that was decent and serious and suitable to the place. Perhaps some family of knights or warriors would have the hereditary duty of guarding such a place. If so their armour would be appropriate; their tents would be appropriate; not deliberately—they would grow like that. Perhaps some religious order such as normally employ nocturnal watches and the relieving of guard would protect such a place. Perhaps it would be protected by all sorts of rituals, consecrations, or curses, which would seem to you mere raving superstition and silliness. But they do not seem to me one twentieth part so silly, from a purely rationalist point of view, as calmly making a spot hideous in order to keep it beautiful."
The thing that is really vulgar, the thing that is really vile, is to live in a good place Without living by its life. Any one who settles down in a place without becoming part of it is (barring peculiar personal cases, of course) a tripper or wandering cad. For instance, the Jew is a genuine peculiar case. The Wandering Jew is not a wandering cad. He is a highly civilised man in a highly difficult position; the world being divided, and his own nation being divided, about whether he can do anything else except wander.
The best example of the cultured, but common, tripper is the educated Englishman on the Continent. We can no longer explain the quarrel by calling Englishmen rude and foreigners polite. Hundreds of Englishmen are extremely polite, and thousands of foreigners are extremely rude. The truth of the matter is that foreigners do not resent the rude Englishman. What they do resent, what they do most justly resent, is the polite Englishman. He visits Italy for Botticellis or Flanders for Rembrandts, and he treats the great nations that made these things courteously—as he would treat the custodians of any museum. It does not seem to strike him that the Italian is not the custodian of the pictures, but the creator of them. He can afford to look down on such nations—when he can paint such pictures.
That is, in matters of art and travel, the psychology of the cad. If, living in Italy, you admire Italian art while distrusting Italian character, you are a tourist, or cad. If, living in Italy, you admire Italian art while despising Italian religion, you are a tourist, or cad. It does not matter how many years you have lived there. Tourists will often live a long time in hotels without discovering the nationality of the waiters. Englishmen will often live a long time in Italy without discovering the nationality of the Italians. But the test is simple. If you admire what Italians did without admiring Italians—you are a cheap tripper.
The same, of course, applies much nearer home. I have remarked elsewhere that country shopkeepers are justly offended by London people, who, coming among them, continue to order all their goods from London. It is caddish to wink and squint at the colour of a man's wine, like a wine taster; and then refuse to drink it. It is equally caddish to wink and squint at the colour of a man's orchard, like a landscape painter; and then refuse to buy the apples. It is always an insult to admire a thing and not use it. But the main point is that one has no right to see Stonehenge without Salisbury Plain and Salisbury: One has no right to respect the dead Italians without respecting the live ones. One has no right to visit a Christian society like a diver visiting the deep-sea fishes—fed along a lengthy tube by another atmosphere, and seeing the sights without breathing the air. It is very real bad manners.
THE NEW THEOLOGIAN
It is an old story that names do not fit things; it is an old story that the oldest forest is called the New Forest, and that Irish stew is almost peculiar to England. But these are traditional titles that tend, of their nature, to stiffen; it is the tragedy of to-day that even phrases invented for to-day do not fit it. The forest has remained new while it is nearly a thousand years old; but our fashions have grown old while they were still new.
The extreme example of this is that when modern wrongs are attacked, they are almost always attacked wrongly. People seem to have a positive inspiration for finding the inappropriate phrase to apply to an offender; they are always accusing a man of theft when he has been convicted of murder. They must accuse Sir Edward Carson of outrageous rebellion, when his offence has really been a sleek submission to the powers that be. They must describe Mr. Lloyd George as using his eloquence to rouse the mob, whereas he has really shown considerable cleverness in damping it down. It was probably under the same impulse towards a mysterious misfit of names that people denounced Dr. Inge as "the Gloomy Dean."
Now there is nothing whatever wrong about being a Dean; nor is there anything wrong about being gloomy. The only question is what dark but sincere motives have made you gloomy. What dark but sincere motives have made you a Dean. Now the address of Dr. Inge which gained him this erroneous title was mostly concerned with a defence of the modern capitalists against the modern strikers, from whose protest he appeared to anticipate appalling results. Now if we look at the facts about that gentleman's depression and also about his Deanery, we shall find a very curious state of things.
When Dr. Inge was called "the Gloomy Dean" a great injustice was done him. He had appeared as the champion of our capitalist community against the forces of revolt; and any one who does that exceeds in optimism rather than pessimism. A man who really thinks that strikers have suffered no wrong, or that employers have done no wrong—such a man is not a Gloomy Dean, but a quite wildly and dangerously happy Dean. A man who can feel satisfied with modern industrialism must be a man with a mysterious fountain of high spirits. And the actual occasion is not less curious; because, as far as I can make out, his title to gloom reposes on his having said that our worker's demand high wages, while the placid people of the Far East will quite cheerfully work for less.
This is true enough, of course, and there does not seem to be much difficulty about the matter. Men of the Far East will submit to very low wages for the same reason that they will submit to "the punishment known as Li, or Slicing"; for the same reason that they will praise polygamy and suicide; for the same reason that they subject the wife utterly to the husband or his parents; for the same reason that they serve their temples with prostitutes for priests; for the same reason that they sometimes seem to make no distinction between sexual passion and sexual perversion. They do it, that is, because they are Heathens; men with traditions different from ours about the limits of endurance and the gestures of self-respect. They may be very much better than we are in hundreds of other ways; and I can quite understand a man (though hardly a Dean) really preferring their historic virtues to those of Christendom. A man may perhaps feel more comfortable among his Asiatic coolies than among his European comrades: and as we are to allow the Broadest Thought in the Church, Dr. Inge has as much right to his heresy as anybody else. It is true that, as Dr. Inge says, there are numberless Orientals who will do a great deal of work for very little money; and it is most undoubtedly true that there are several high-placed and prosperous Europeans who like to get work done and pay as little as possible for it.
But I cannot make out why, with his enthusiasm for heathen habits and traditions, the Dean should wish to spread in the East the ideas which he has found so dreadfully unsettling in the West. If some thousands of years of paganism have produced the patience and industry that Dean Inge admires, and if some thousand years of Christianity have produced the sentimentality and sensationalism which he regrets, the obvious deduction is that Dean Inge would be much happier if he were a heathen Chinese. Instead of supporting Christian missions to Korea or Japan, he ought to be at the head of a great mission in London for converting the English to Taoism or Buddhism. There his passion for the moral beauties of paganism would have free and natural play; his style would improve; his mind would begin slowly to clear; and he would be free from all sorts of little irritating scrupulosities which must hamper even the most Conservative Christian in his full praise of sweating and the sack.
In Christendom he will never find rest. The perpetual public criticism and public change which is the note of all our history springs from a certain spirit far too deep to be defined. It is deeper than democracy; nay, it may often appear to be non-democratic; for it may often be the special defence of a minority or an individual. It will often leave the ninety-and-nine in the wilderness and go after that which is lost. It will often risk the State itself to right a single wrong; and do justice though the heavens fall. Its highest expression is not even in the formula of the great gentlemen of the French Revolution who said that all men were free and equal. Its highest expression is rather in the formula of the peasant who said that a man's a man for a' that. If there were but one slave in England, and he did all the work while the rest of us made merry, this spirit that is in us would still cry aloud to God night and day. Whether or no this spirit was produced by, it clearly works with, a creed which postulates a humanised God and a vividly personal immortality. Men must not be busy merely like a swarm, or even happy merely like a herd; for it is not a question of men, but of a man. A man's meals may be poor, but they must not be bestial; there must always be that about the meal which permits of its comparison to the sacrament. A man's bed may be hard, but it must not be abject or unclean: there must always be about the bed something of the decency of the death-bed.
This is the spirit which makes the Christian poor begin their terrible murmur whenever there is a turn of prices or a deadlock of toil that threatens them with vagabondage or pauperisation; and we cannot encourage the Dean with any hope that this spirit can be cast out. Christendom will continue to suffer all the disadvantages of being Christian: it is the Dean who must be gently but firmly altered. He had absent-mindedly strayed into the wrong continent and the wrong creed. I advise him to chuck it.
But the case is more curious still. To connect the Dean with Confucian temples or traditions may have appeared fantastic; but it is not. Dr. Inge is not a stupid old Tory Rector, strict both on Church and State. Such a man might talk nonsense about the Christian Socialists being "court chaplains of King Demos" or about his own superb valour in defying the democracy that rages in the front pews of Anglican churches. We should not expect a mere old-fashioned country clergyman to know that Demos has never been king in England and precious seldom anywhere else; we should not expect him to realise that if King Demos had any chaplains they would be uncommonly poorly paid. But Dr. Inge is not old-fashioned; he considers himself highly progressive and advanced. He is a New Theologian; that is, he is liberal in theology—and nothing else. He is apparently in sober fact, and not as in any fantasy, in sympathy with those who would soften the superior claim of our creed by urging the rival creeds of the East; with those who would absorb the virtues of Buddhism or of Islam. He holds a high seat in that modern Parliament of Religions where all believers respect each other's unbelief.
Now this has a very sharp moral for modern religious reformers. When next you hear the "liberal" Christian say that we should take what is best in Oriental faiths, make quite sure what are the things that people like Dr. Inge call best; what are the things that people like Dr. Inge propose to take. You will not find them imitating the military valour of the Moslem. You will not find them imitating the miraculous ecstasy of the Hindoo. The more you study the "broad" movement of today, the more you will find that these people want something much less like Chinese metaphysics, and something much more like Chinese Labour. You will find the levelling of creeds quite unexpectedly close to the lowering of wages. Dr. Inge is the typical latitudinarian of to-day; and was never more so than when he appeared not as the apostle of the blacks, but as the apostle of the blacklegs. Preached, as it is, almost entirely among the prosperous and polite, our brotherhood with Buddhism or Mohammedanism practically means this—that the poor must be as meek as Buddhists, while the rich may be as ruthless as Mohammedans. That is what they call the reunion of all religions.
THE ROMANTIC IN THE RAIN
The middle classes of modern England are quite fanatically fond of washing; and are often enthusiastic for teetotalism. I cannot therefore comprehend why it is that they exhibit a mysterious dislike of rain. Rain, that inspiring and delightful thing, surely combines the qualities of these two ideals with quite a curious perfection. Our philanthropists are eager to establish public baths everywhere. Rain surely is a public bath; it might almost be called mixed bathing. The appearance of persons coming fresh from this great natural lustration is not perhaps polished or dignified; but for the matter of that, few people are dignified when coming out of a bath. But the scheme of rain in itself is one of an enormous purification. It realises the dream of some insane hygienist: it scrubs the sky. Its giant brooms and mops seem to reach the starry rafters and Starless corners of the cosmos; it is a cosmic spring cleaning.
If the Englishman is really fond of cold baths, he ought not to grumble at the English climate for being a cold bath. In these days we are constantly told that we should leave our little special possessions and join in the enjoyment of common social institutions and a common social machinery. I offer the rain as a thoroughly Socialistic institution. It disregards that degraded delicacy which has hitherto led each gentleman to take his shower-bath in private. It is a better shower-bath, because it is public and communal; and, best of all, because somebody else pulls the string.
As for the fascination of rain for the water drinker, it is a fact the neglect of which I simply cannot comprehend. The enthusiastic water drinker must regard a rainstorm as a sort of universal banquet and debauch of his own favourite beverage. Think of the imaginative intoxication of the wine drinker if the crimson clouds sent down claret or the golden clouds hock. Paint upon primitive darkness some such scenes of apocalypse, towering and gorgeous skyscapes in which champagne falls like fire from heaven or the dark skies grow purple and tawny with the terrible colours of port. All this must the wild abstainer feel, as he rolls in the long soaking grass, kicks his ecstatic heels to heaven, and listens to the roaring rain. It is he, the water drinker, who ought to be the true bacchanal of the forests; for all the forests are drinking water. Moreover, the forests are apparently enjoying it: the trees rave and reel to and fro like drunken giants; they clash boughs as revellers clash cups; they roar undying thirst and howl the health of the world.
All around me as I write is a noise of Nature drinking: and Nature makes a noise when she is drinking, being by no means refined. If I count it Christian mercy to give a cup of cold water to a sufferer, shall I complain of these multitudinous cups of cold water handed round to all living things; a cup of water for every shrub; a cup of water for every weed? I would be ashamed to grumble at it. As Sir Philip Sidney said, their need is greater than mine—especially for water.
There is a wild garment that still carries nobly the name of a wild Highland clan: a elan come from those hills where rain is not so much an incident as an atmosphere. Surely every man of imagination must feel a tempestuous flame of Celtic romance spring up within him whenever he puts on a mackintosh. I could never reconcile myself to carrying all umbrella; it is a pompous Eastern business, carried over the heads of despots in the dry, hot lands. Shut up, an umbrella is an unmanageable walking stick; open, it is an inadequate tent. For my part, I have no taste for pretending to be a walking pavilion; I think nothing of my hat, and precious little of my head. If I am to be protected against wet, it must be by some closer and more careless protection, something that I can forget altogether. It might be a Highland plaid. It might be that yet more Highland thing, a mackintosh.
And there is really something in the mackintosh of the military qualities of the Highlander. The proper cheap mackintosh has a blue and white sheen as of steel or iron; it gleams like armour. I like to think of it as the uniform of that ancient clan in some of its old and misty raids. I like to think of all the Macintoshes, in their mackintoshes, descending on some doomed Lowland village, their wet waterproofs flashing in the sun or moon. For indeed this is one of the real beauties of rainy weather, that while the amount of original and direct light is commonly lessened, the number of things that reflect light is unquestionably increased. There is less sunshine; but there are more shiny things; such beautifully shiny things as pools and puddles and mackintoshes. It is like moving in a world of mirrors.
And indeed this is the last and not the least gracious of the casual works of magic wrought by rain: that while it decreases light, yet it doubles it. If it dims the sky, it brightens the earth. It gives the roads (to the sympathetic eye) something of the beauty of Venice. Shallow lakes of water reiterate every detail of earth and sky; we dwell in a double universe. Sometimes walking upon bare and lustrous pavements, wet under numerous lamps, a man seems a black blot on all that golden looking-glass, and could fancy he was flying in a yellow sky. But wherever trees and towns hang head downwards in a pigmy puddle, the sense of Celestial topsy-turvydom is the same. This bright, wet, dazzling confusion of shape and shadow, of reality and reflection, will appeal strongly to any one with the transcendental instinct about this dreamy and dual life of ours. It will always give a man the strange sense of looking down at the skies.
THE FALSE PHOTOGRAPHER
When, as lately, events have happened that seem (to the fancy, at least) to test if not stagger the force of official government, it is amusing to ask oneself what is the real weakness of civilisation, ours especially, when it contends with the one lawless man. I was reminded of one weakness this morning in turning over an old drawerful of pictures.
This weakness in civilisation is best expressed by saying that it cares more for science than for truth. It prides itself on its "methods" more than its results; it is satisfied with precision, discipline, good communications, rather than with the sense of reality. But there are precise falsehoods as well as precise facts. Discipline may only mean a hundred men making the same mistake at the same minute. And good communications may in practice be very like those evil communications which are said to corrupt good manners. Broadly, we have reached a "scientific age," which wants to know whether the train is in the timetable, but not whether the train is in the station. I take one instance in our police inquiries that I happen to have come across: the case of photography.
Some years ago a poet of considerable genius tragically disappeared, and the authorities or the newspapers circulated a photograph of him, so that he might be identified. The photograph, as I remember it, depicted or suggested a handsome, haughty, and somewhat pallid man with his head thrown back, with long distinguished features, colourless thin hair and slight moustache, and though conveyed merely by the head and shoulders, a definite impression of height. If I had gone by that photograph I should have gone about looking for a long soldierly but listless man, with a profile rather like the Duke of Connaught's.
Only, as it happened, I knew the poet personally; I had seen him a great many times, and he had an appearance that nobody could possibly forget, if seen only once. He had the mark of those dark and passionate Westland Scotch, who before Burns and after have given many such dark eyes and dark emotions to the world. But in him the unmistakable strain, Gaelic or whatever it is, was accentuated almost to oddity; and he looked like some swarthy elf. He was small, with a big head and a crescent of coal-black hair round the back of a vast dome of baldness. Immediately under his eyes his cheekbones had so high a colour that they might have been painted scarlet; three black tufts, two on the upper lip and one under the lower, seemed to touch up the face with the fierce moustaches of Mephistopheles. His eyes had that "dancing madness" in them which Stevenson saw in the Gaelic eyes of Alan Breck; but he sometimes distorted the expression by screwing a monstrous monocle into one of them. A man more unmistakable would have been hard to find. You could have picked him out in any crowd—so long as you had not seen his photograph.
But in this scientific picture of him twenty causes, accidental and conventional, had combined to obliterate him altogether. The limits of photography forbade the strong and almost melodramatic colouring of cheek and eyebrow. The accident of the lighting took nearly all the darkness out of the hair and made him look almost like a fair man. The framing and limitation of the shoulders made him look like a big man; and the devastating bore of being photographed when you want to write poetry made him look like a lazy man. Holding his head back, as people do when they are being photographed (or shot), but as he certainly never held it normally, accidentally concealed the bald dome that dominated his slight figure. Here we have a clockwork picture, begun and finished by a button and a box of chemicals, from which every projecting feature has been more delicately and dexterously omitted than they could have been by the most namby-pamby flatterer, painting in the weakest water-colours, on the smoothest ivory.
I happen to possess a book of Mr. Max Beerbohm's caricatures, one of which depicts the unfortunate poet in question. To say it represents an utterly incredible hobgoblin is to express in faint and inadequate language the license of its sprawling lines. The authorities thought it strictly safe and scientific to circulate the poet's photograph. They would have clapped me in an asylum if I had asked them to circulate Max's caricature. But the caricature would have been far more likely to find the man.
This is a small but exact symbol of the failure of scientific civilisation. It is so satisfied in knowing it has a photograph of a man that it never asks whether it has a likeness of him. Thus declarations, seemingly most detailed, have flashed along the wires of the world ever since I was a boy. We were told that in some row Boer policemen had shot an Englishman, a British subject, an English citizen. A long time afterwards we were quite casually informed that the English citizen was quite black. Well, it makes no difference to the moral question; black men should be shot on the same ethical principles as white men. But it makes one distrust scientific communications which permitted so startling an alteration of the photograph. I am sorry we got hold of a photographic negative in which a black man came out white. Later we were told that an Englishman had fought for the Boers against his own flag, which would have been a disgusting thing to do. Later, it was admitted that he was an Irishman; which is exactly as different as if he had been a Pole. Common sense, with all the facts before it, does see that black is not white, and that a nation that has never submitted has a right to moral independence. But why does it so seldom have all the facts before it? Why are the big aggressive features, such as blackness or the Celtic wrath, always left out in such official communications, as they were left out in the photograph? My friend the poet had hair as black as an African and eyes as fierce as an Irishman; why does our civilisation drop all four of the facts? Its error is to omit the arresting thing—which might really arrest the criminal. It strikes first the chilling note of science, demanding a man "above the middle height, chin shaven, with gray moustache," etc., which might mean Mr. Balfour or Sir Redvers Buller. It does not seize the first fact of impression, as that a man is obviously a sailor or a Jew or a drunkard or a gentleman or a nigger or an albino or a prize-fighter or an imbecile or an American. These are the realities by which the people really recognise each other. They are almost always left out of the inquiry.
There is one deep defect in our extension of cosmopolitan and Imperial cultures. That is, that in most human things if you spread your butter far you spread it thin. But there is an odder fact yet: rooted in something dark and irrational in human nature. That is, that when you find your butter thin, you begin to spread it. And it is just when you find your ideas wearing thin in your own mind that you begin to spread them among your fellow-creatures. It is a paradox; but not my paradox. There are numerous cases in history; but I think the strongest case is this. That we have Imperialism in all our clubs at the very time when we have Orientalism in all our drawing-rooms.
I mean that the colonial ideal of such men as Cecil Rhodes did not arise out of any fresh creative idea of the Western genius, it was a fad, and like most fads an imitation. For what was wrong with Rhodes was not that, like Cromwell or Hildebrand, he made huge mistakes, nor even that he committed great crimes. It was that he committed these crimes and errors in order to spread certain ideas. And when one asked for the ideas they could not be found. Cromwell stood for Calvinism, Hildebrand for Catholicism: but Rhodes had no principles whatever to give to the world. He had only a hasty but elaborate machinery for spreading the principles that he hadn't got. What he called his ideals were the dregs of a Darwinism which had already grown not only stagnant, but poisonous. That the fittest must survive, and that any one like himself must be the fittest; that the weakest must go to the wall, and that any one he could not understand must be the weakest; that was the philosophy which he lumberingly believed through life, like many another agnostic old bachelor of the Victorian era. All his views on religion (reverently quoted in the Review of Reviews) were simply the stalest ideas of his time. It was not his fault, poor fellow, that he called a high hill somewhere in South Africa "his church." It was not his fault, I mean, that he could not see that a church all to oneself is not a church at all. It is a madman's cell. It was not his fault that he "figured out that God meant as much of the planet to be Anglo-Saxon as possible." Many evolutionists much wiser had "figured out" things even more babyish. He was an honest and humble recipient of the plodding popular science of his time; he spread no ideas that any cockney clerk in Streatham could not have spread for him. But it was exactly because he had no ideas to spread that he invoked slaughter, violated justice, and ruined republics to spread them.
But the case is even stronger and stranger. Fashionable Imperialism not only has no ideas of its own to extend; but such ideas as it has are actually borrowed from the brown and black peoples to whom it seeks to extend them. The Crusading kings and knights might be represented as seeking to spread Western ideas in the East. But all that our Imperialist aristocrats could do would be to spread Eastern ideas in the East. For that very governing class which urges Occidental Imperialism has been deeply discoloured with Oriental mysticism and Cosmology.
The same society lady who expects the Hindoos to accept her view of politics has herself accepted their view of religion. She wants first to steal their earth, and then to share their heaven. The same Imperial cynic who wishes the Turks to submit to English science has himself submitted to Turkish philosophy, to a wholly Turkish view of despotism and destiny.
There is an obvious and amusing proof of this in a recent life of Rhodes. The writer admits with proper Imperial gloom the fact that Africa is still chiefly inhabited by Africans. He suggests Rhodes in the South confronting savages and Kitchener in the North facing Turks, Arabs, and Soudanese, and then he quotes this remark of Cecil Rhodes: "It is inevitable fate that all this should be changed; and I should like to be the agent of fate." That was Cecil Rhodes's one small genuine idea; and it is an Oriental idea.
Here we have evident all the ultimate idiocy of the present Imperial position. Rhodes and Kitchener are to conquer Moslem bedouins and barbarians, in order to teach them to believe only in inevitable fate. We are to wreck provinces and pour blood like Niagara, all in order to teach a Turk to say "Kismet"; which he has said since his cradle. We are to deny Christian justice and destroy international equality, all in order to teach an Arab to believe he is "an agent of fate," when he has never believed anything else. If Cecil Rhodes's vision could come true (which fortunately is increasingly improbable), such countries as Persia or Arabia would simply be filled with ugly and vulgar fatalists in billycocks, instead of with graceful and dignified fatalists in turbans. The best Western idea, the idea of spiritual liberty and danger, of a doubtful and romantic future in which all things may happen—this essential Western idea Cecil Rhodes could not spread, because (as he says himself) he did not believe in it.
It was an Oriental who gave to Queen Victoria the crown of an Empress in addition to that of a Queen. He did not understand that the title of King is higher than that of Emperor. For in the East titles are meant to be vast and wild; to be extravagant poems: the Brother of the Sun and Moon, the Caliph who lives for ever. But a King of England (at least in the days of real kings) did not bear a merely poetical title; but rather a religious one. He belonged to his people and not merely they to him. He was not merely a conqueror, but a father—yes, even when he was a bad father. But this sort of solid sanctity always goes with local affections and limits: and the Cecil Rhodes Imperialism set up not the King, but the Sultan; with all the typically Eastern ideas of the magic of money, of luxury without uproar; of prostrate provinces and a chosen race. Indeed Cecil Rhodes illustrated almost every quality essential to the Sultan, from the love of diamonds to the scorn of woman.
THE ARCHITECT OF SPEARS
The other day, in the town of Lincoln, I suffered an optical illusion which accidentally revealed to me the strange greatness of the Gothic architecture. Its secret is not, I think, satisfactorily explained in most of the discussions on the subject. It is said that the Gothic eclipses the classical by a certain richness and complexity, at once lively and mysterious. This is true; but Oriental decoration is equally rich and complex, yet it awakens a widely different sentiment. No man ever got out of a Turkey carpet the emotions that he got from a cathedral tower. Over all the exquisite ornament of Arabia and India there is the presence of something stiff and heartless, of something tortured and silent. Dwarfed trees and crooked serpents, heavy flowers and hunchbacked birds accentuate by the very splendour and contrast of their colour the servility and monotony of their shapes. It is like the vision of a sneering sage, who sees the whole universe as a pattern. Certainly no one ever felt like this about Gothic, even if he happens to dislike it. Or, again, some will say that it is the liberty of the Middle Ages in the use of the comic or even the coarse that makes the Gothic more interesting than the Greek. There is more truth in this; indeed, there is real truth in it. Few of the old Christian cathedrals would have passed the Censor of Plays. We talk of the inimitable grandeur of the old cathedrals; but indeed it is rather their gaiety that we do not dare to imitate. We should be rather surprised if a chorister suddenly began singing "Bill Bailey" in church. Yet that would be only doing in music what the mediaevals did in sculpture. They put into a Miserere seat the very scenes that we put into a music hall song: comic domestic scenes similar to the spilling of the beer and the hanging out of the washing. But though the gaiety of Gothic is one of its features, it also is not the secret of its unique effect. We see a domestic topsy-turvydom in many Japanese sketches. But delightful as these are, with their fairy tree-tops, paper houses, and toddling, infantile inhabitants, the pleasure they give is of a kind quite different from the joy and energy of the gargoyles. Some have even been so shallow and illiterate as to maintain that our pleasure in medieval building is a mere pleasure in what is barbaric, in what is rough, shapeless, or crumbling like the rocks. This can be dismissed after the same fashion; South Sea idols, with painted eyes and radiating bristles, are a delight to the eye; but they do not affect it in at all the same way as Westminster Abbey. Some again (going to another and almost equally foolish extreme) ignore the coarse and comic in mediaevalism; and praise the pointed arch only for its utter purity and simplicity, as of a saint with his hands joined in prayer. Here, again, the uniqueness is missed. There are Renaissance things (such as the ethereal silvery drawings of Raphael), there are even pagan things (such as the Praying Boy) which express as fresh and austere a piety. None of these explanations explain. And I never saw what was the real point about Gothic till I came into the town of Lincoln, and saw it behind a row of furniture-vans.
I did not know they were furniture-vans; at the first glance and in the smoky distance I thought they were a row of cottages. A low stone wall cut off the wheels, and the vans were somewhat of the same colour as the yellowish clay or stone of the buildings around them. I had come across that interminable Eastern plain which is like the open sea, and all the more so because the one small hill and tower of Lincoln stands up in it like a light-house. I had climbed the sharp, crooked streets up to this ecclesiastical citadel; just in front of me was a flourishing and richly coloured kitchen garden; beyond that was the low stone wall; beyond that the row of vans that looked like houses; and beyond and above that, straight and swift and dark, light as a flight of birds, and terrible as the Tower of Babel, Lincoln Cathedral seemed to rise out of human sight.
As I looked at it I asked myself the questions that I have asked here; what was the soul in all those stones? They were varied, but it was not variety; they were solemn, but it was not solemnity; they were farcical, but it was not farce. What is it in them that thrills and soothes a man of our blood and history, that is not there in an Egyptian pyramid or an Indian temple or a Chinese pagoda? All of a sudden the vans I had mistaken for cottages began to move away to the left. In the start this gave to my eye and mind I really fancied that the Cathedral was moving towards the right. The two huge towers seemed to start striding across the plain like the two legs of some giant whose body was covered with the clouds. Then I saw what it was.
The truth about Gothic is, first, that it is alive, and second, that it is on the march. It is the Church Militant; it is the only fighting architecture. All its spires are spears at rest; and all its stones are stones asleep in a catapult. In that instant of illusion, I could hear the arches clash like swords as they crossed each other. The mighty and numberless columns seemed to go swinging by like the huge feet of imperial elephants. The graven foliage wreathed and blew like banners going into battle; the silence was deafening with all the mingled noises of a military march; the great bell shook down, as the organ shook up its thunder. The thirsty-throated gargoyles shouted like trumpets from all the roofs and pinnacles as they passed; and from the lectern in the core of the cathedral the eagle of the awful evangelist clashed his wings of brass.
And amid all the noises I seemed to hear the voice of a man shouting in the midst like one ordering regiments hither and thither in the fight; the voice of the great half-military master-builder; the architect of spears. I could almost fancy he wore armour while he made that church; and I knew indeed that, under a scriptural figure, he had borne in either hand the trowel and the sword.
I could imagine for the moment that the whole of that house of life had marched out of the sacred East, alive and interlocked, like an army. Some Eastern nomad had found it solid and silent in the red circle of the desert. He had slept by it as by a world-forgotten pyramid; and been woke at midnight by the wings of stone and brass, the tramping of the tall pillars, the trumpets of the waterspouts. On such a night every snake or sea-beast must have turned and twisted in every crypt or corner of the architecture. And the fiercely coloured saints marching eternally in the flamboyant windows would have carried their glorioles like torches across dark lands and distant seas; till the whole mountain of music and darkness and lights descended roaring on the lonely Lincoln hill. So for some hundred and sixty seconds I saw the battle-beauty of the Gothic; then the last furniture-van shifted itself away; and I saw only a church tower in a quiet English town, round which the English birds were floating.
THE MAN ON TOP
There is a fact at the root of all realities to-day which cannot be stated too simply. It is that the powers of this world are now not trusted simply because they are not trustworthy. This can be quite clearly seen and said without any reference to our several passions or partisanships. It does not follow that we think such a distrust a wise sentiment to express; it does not even follow that we think it a good sentiment to entertain. But such is the sentiment, simply because such is the fact. The distinction can be quite easily defined in an example. I do not think that private workers owe an indefinite loyalty to their employer. But I do think that patriotic soldiers owe a more or less indefinite loyalty to their leader in battle. But even if they ought to trust their captain, the fact remains that they often do not trust him; and the fact remains that he often is not fit to be trusted.
Most of the employers and many of the Socialists seem to have got a very muddled ethic about the basis of such loyalty; and perpetually try to put employers and officers upon the same disciplinary plane. I should have thought myself that the difference was alphabetical enough. It has nothing to do with the idealising of war or the materialising of trade; it is a distinction in the primary purpose. There might be much more elegance and poetry in a shop under William Morris than in a regiment under Lord Kitchener. But the difference is not in the persons or the atmosphere, but in the aim. The British Army does not exist in order to pay Lord Kitchener. William Morris's shop, however artistic and philanthropic, did exist to pay William Morris. If it did not pay the shopkeeper it failed as a shop; but Lord Kitchener does not fail if he is underpaid, but only if he is defeated. The object of the Army is the safety of the nation from one particular class of perils; therefore, since all citizens owe loyalty to the nation, all citizens who are soldiers owe loyalty to the Army. But nobody has any obligation to make some particular rich man richer. A man is bound, of course, to consider the indirect results of his action in a strike; but he is bound to consider that in a swing, or a giddy-go-round, or a smoking concert; in his wildest holiday or his most private conversation. But direct responsibility like that of a soldier he has none. He need not aim solely and directly at the good of the shop; for the simple reason that the shop is not aiming solely and directly at the good of the nation. The shopman is, under decent restraints, let us hope, trying to get what he can out of the nation; the shop assistant may, under the same decent restraints, get what he can out of the shopkeeper. All this distinction is very obvious. At least I should have thought so.
But the primary point which I mean is this. That even if we do take the military view of mercantile service, even if we do call the rebellious shop assistant "disloyal"—that leaves exactly where it was the question of whether he is, in point of fact, in a good or bad shop. Granted that all Mr. Poole's employees are bound to follow for ever the cloven pennon of the Perfect Pair of Trousers, it is all the more true that the pennon may, in point of fact, become imperfect. Granted that all Barney Barnato's workers ought to have followed him to death or glory, it is still a Perfectly legitimate question to ask which he was likely to lead them to. Granted that Dr. Sawyer's boy ought to die for his master's medicines, we may still hold an inquest to find out if he died of them. While we forbid the soldier to shoot the general, we may still wish the general were shot.
The fundamental fact of our time is the failure of the successful man. Somehow we have so arranged the rules of the game that the winners are worthless for other purposes; they can secure nothing except the prize. The very rich are neither aristocrats nor self-made men; they are accidents—or rather calamities. All revolutionary language is a generation behind the times in talking of their futility. A revolutionist would say (with perfect truth) that coal-owners know next to nothing about coal-mining. But we are past that point. Coal-owners know next to nothing about coal-owning. They do not develop and defend the nature of their own monopoly with any consistent and courageous policy, however wicked, as did the old aristocrats with the monopoly of land. They have not the virtues nor even the vices of tyrants; they have only their powers. It is the same with all the powerful of to-day; it is the same, for instance, with the high-placed and high-paid official. Not only is the judge not judicial, but the arbiter is not even arbitrary. The arbiter decides, not by some gust of justice or injustice in his soul like the old despot dooming men under a tree, but by the permanent climate of the class to which he happens to belong. The ancient wig of the judge is often indistinguishable from the old wig of the flunkey.
To judge about success or failure one must see things very simply; one must see them in masses, as the artist, half closing his eyes against details, sees light and shade. That is the only way in which a just judgment can be formed as to whether any departure or development, such as Islam or the American Republic, has been a benefit upon the whole. Seen close, such great erections always abound in ingenious detail and impressive solidity; it is only by seeing them afar off that one can tell if the Tower leans.
Now if we thus take in the whole tilt or posture of our modern state, we shall simply see this fact: that those classes who have on the whole governed, have on the whole failed. If you go to a factory you will see some very wonderful wheels going round; you will be told that the employer often comes there early in the morning; that he has great organising power; that if he works over the colossal accumulation of wealth he also works over its wise distribution. All this may be true of many employers, and it is practically said of all.
But if we shade our eyes from all this dazzle of detail; if we simply ask what has been the main feature, the upshot, the final fruit of the capitalist system, there is no doubt about the answer. The special and solid result of the reign of the employers has been—unemployment. Unemployment not only increasing, but becoming at last the very pivot upon which the whole process turns.
Or, again, if you visit the villages that depend on one of the great squires, you will hear praises, often just, of the landlord's good sense or good nature; you will hear of whole systems of pensions or of care for the sick, like those of a small and separate nation; you will see much cleanliness, order, and business habits in the offices and accounts of the estate. But if you ask again what has been the upshot, what has been the actual result of the reign of landlords, again the answer is plain. At the end of the reign of landlords men will not live on the land. The practical effect of having landlords is not having tenants. The practical effect of having employers is that men are not employed. The unrest of the populace is therefore more than a murmur against tyranny; it is against a sort of treason. It is the suspicion that even at the top of the tree, even in the seats of the mighty, our very success is unsuccessful.
THE OTHER KIND OF MAN
There are some who are conciliated by Conciliation Boards. There are some who, when they hear of Royal Commissions, breathe again—or snore again. There are those who look forward to Compulsory Arbitration Courts as to the islands of the blest. These men do not understand the day that they look upon or the sights that their eyes have seen.
The almost sacramental idea of representation, by which the few may incarnate the many, arose in the Middle Ages, and has done great things for justice and liberty. It has had its real hours of triumph, as when the States General met to renew France's youth like the eagle's; or when all the virtues of the Republic fought and ruled in the figure of Washington. It is not having one of its hours of triumph now. The real democratic unrest at this moment is not an extension of the representative process, but rather a revolt against it. It is no good giving those now in revolt more boards and committees and compulsory regulations. It is against these very things that they are revolting. Men are not only rising against their oppressors, but against their representatives or, as they would say, their misrepresentatives. The inner and actual spirit of workaday England is coming out not in applause, but in anger, as a god who should come out of his tabernacle to rebuke and confound his priests.
There is a certain kind of man whom we see many times in a day, but whom we do not, in general, bother very much about. He is the kind of man of whom his wife says that a better husband when he's sober you couldn't have. She sometimes adds that he never is sober; but this is in anger and exaggeration. Really he drinks much less and works much more than the modern legend supposes. But it is quite true that he has not the horror of bodily outbreak, natural to the classes that contain ladies; and it is quite true that he never has that alert and inventive sort of industry natural to the classes from which men can climb into great wealth. He has grown, partly by necessity, but partly also by temper, accustomed to have dirty clothes and dirty hands normally and without discomfort. He regards cleanliness as a kind of separate and special costume; to be put on for great festivals. He has several really curious characteristics, which would attract the eyes of sociologists, if they had any eyes. For instance, his vocabulary is coarse and abusive, in marked contrast to his actual spirit, which is generally patient and civil. He has an odd way of using certain words of really horrible meaning, but using them quite innocently and without the most distant taint of the evils to which they allude. He is rather sentimental; and, like most sentimental people, not devoid of snobbishness. At the same time, he believes the ordinary manly commonplaces of freedom and fraternity as he believes most of the decent traditions of Christian men: he finds it very difficult to act according to them, but this difficulty is not confined to him. He has a strong and individual sense of humour, and not much power of corporate or militant action. He is not a Socialist. Finally, he bears no more resemblance to a Labour Member than he does to a City Alderman or a Die-Hard Duke. This is the Common Labourer of England; and it is he who is on the march at last.
See this man in your mind as you see him in the street, realise that it is his open mind we wish to influence or his empty stomach we wish to cure, and then consider seriously (if you can) the five men, including two of his own alleged oppressors, who were summoned as a Royal Commission to consider his claims when he or his sort went out on strike upon the railways. I knew nothing against, indeed I knew nothing about, any of the gentlemen then summoned, beyond a bare introduction to Mr. Henderson, whom I liked, but whose identity I was in no danger of confusing with that of a railway-porter. I do not think that any old gentleman, however absent-minded, would be likely on arriving at Euston, let us say, to hand his Gladstone-bag to Mr. Henderson or to attempt to reward that politician with twopence. Of the others I can only judge by the facts about their status as set forth in the public Press. The Chairman, Sir David Harrell, appeared to be an ex-official distinguished in (of all things in the world) the Irish Constabulary. I have no earthly reason to doubt that the Chairman meant to be fair; but I am not talking about what men mean to be, but about what they are. The police in Ireland are practically an army of occupation; a man serving in them or directing them is practically a soldier; and, of course, he must do his duty as such. But it seems truly extraordinary to select as one likely to sympathise with the democracy of England a man whose whole business in life it has been to govern against its will the democracy of Ireland. What should we say if Russian strikers were offered the sympathetic arbitration of the head of the Russian Police in Finland or Poland? And if we do not know that the whole civilised world sees Ireland with Poland as a typical oppressed nation, it is time we did. The Chairman, whatever his personal virtues, must be by instinct and habit akin to the capitalists in the dispute. Two more of the Commissioners actually were the capitalists in the dispute. Then came Mr. Henderson (pushing his trolley and cheerily crying, "By your leave."), and then another less known gentleman who had "corresponded" with the Board of Trade, and had thus gained some strange claim to represent the very poor.
Now people like this might quite possibly produce a rational enough report, and in this or that respect even improve things. Men of that kind are tolerably kind, tolerably patriotic, and tolerably business-like. But if any one supposes that men of that kind can conceivably quiet any real 'quarrel with the Man of the Other Kind, the man whom I first described, it is frantic. The common worker is angry exactly because he has found out that all these boards consist of the same well-dressed Kind of Man, whether they are called Governmental or Capitalist. If any one hopes that he will reconcile the poor, I say, as I said at the beginning, that such a one has not looked on the light of day or dwelt in the land of the living.
But I do not criticise such a Commission except for one most practical and urgent purpose. It will be answered to me that the first Kind of Man of whom I spoke could not really be on boards and committees, as modern England is managed. His dirt, though necessary and honourable, would be offensive: his speech, though rich and figurative, would be almost incomprehensible. Let us grant, for the moment, that this is so. This Kind of Man, with his sooty hair or sanguinary adjectives, cannot be represented at our committees of arbitration. Therefore, the other Kind of Man, fairly prosperous, fairly plausible, at home at least with the middle class, capable at least of reaching and touching the upper class, he must remain the only Kind of Man for such councils.
Very well. If then, you give at any future time any kind of compulsory powers to such councils to prevent strikes, you will be driving the first Kind of Man to work for a particular master as much as if you drove him with a whip.
THE MEDIAEVAL VILLAIN
I see that there have been more attempts at the whitewashing of King John.
But the gentleman who wrote has a further interest in the matter; for he believes that King John was innocent, not only on this point, but as a whole. He thinks King John has been very badly treated; though I am not sure whether he would attribute to that Plantagenet a saintly merit or merely a humdrum respectability.
I sympathise with the whitewashing of King John, merely because it is a protest against our waxwork style of history. Everybody is in a particular attitude, with particular moral attributes; Rufus is always hunting and Coeur-de-Lion always crusading; Henry VIII always marrying, and Charles I always having his head cut off; Alfred rapidly and in rotation making his people's clocks and spoiling their cakes; and King John pulling out Jews' teeth with the celerity and industry of an American dentist. Anything is good that shakes all this stiff simplification, and makes us remember that these men were once alive; that is, mixed, free, flippant, and inconsistent. It gives the mind a healthy kick to know that Alfred had fits, that Charles I prevented enclosures, that Rufus was really interested in architecture, that Henry VIII was really interested in theology.
And as these scraps of reality can startle us into more solid imagination of events, so can even errors and exaggerations if they are on the right side. It does some good to call Alfred a prig, Charles I a Puritan, and John a jolly good fellow; if this makes us feel that they were people whom we might have liked or disliked. I do not myself think that John was a nice gentleman; but for all that the popular picture of him is all wrong. Whether he had any generous qualities or not, he had what commonly makes them possible, dare-devil courage, for instance, and hotheaded decision. But, above all, he had a morality which he broke, but which we misunderstand.
The mediaeval mind turned centrally upon the pivot of Free Will. In their social system the mediaevals were too much PARTI-PER-PALE, as their heralds would say, too rigidly cut up by fences and quarterings of guild or degree. But in their moral philosophy they always thought of man as standing free and doubtful at the cross-roads in a forest. While they clad and bound the body and (to some extent) the mind too stiffly and quaintly for our taste, they had a much stronger sense than we have of the freedom of the soul. For them the soul always hung poised like an eagle in the heavens of liberty. Many of the things that strike a modern as most fantastic came from their keen sense of the power of choice.
For instance, the greatest of the Schoolmen devotes folios to the minute description of what the world would have been like if Adam had refused the apple; what kings, laws, babies, animals, planets would have been in an unfallen world. So intensely does he feel that Adam might have decided the other way that he sees a complete and complex vision of another world, a world that now can never be.
This sense of the stream of life in a man that may turn either way can be felt through all their popular ethics in legend, chronicle, and ballad. It is a feeling which has been weakened among us by two heavy intellectual forces. The Calvinism of the seventeenth century and the physical science of the nineteenth, whatever other truths they may have taught, have darkened this liberty with a sense of doom. We think of bad men as something like black men, a separate and incurable kind of people. The Byronic spirit was really a sort of operatic Calvinism. It brought the villain upon the stage; the lost soul; the modern version of King John. But the contemporaries of King John did not feel like that about him, even when they detested him. They instinctively felt him to be a man of mixed passions like themselves, who was allowing his evil passions to have much too good a time of it. They might have spoken of him as a man in considerable danger of going to hell; but they would have not talked of him as if he had come from there. In the ballads of Percy or Robin Hood it frequently happens that the King comes upon the scene, and his ultimate decision makes the climax of the tale. But we do not feel, as we do in the Byronic or modern romance, that there is a definite stage direction "Enter Tyrant." Nor do we behold a deus ex machina who is certain to do all that is mild and just. The King in the ballad is in a state of virile indecision. Sometimes he will pass from a towering passion to the most sweeping magnanimity and friendliness; sometimes he will begin an act of vengeance and be turned from it by a jest. Yet this august levity is not moral indifference; it is moral freedom. It is the strong sense in the writer that the King, being the type of man with power, will probably sometimes use it badly and sometimes well. In this sense John is certainly misrepresented, for he is pictured as something that none of his own friends or enemies saw. In that sense he was certainly not so black as he is painted, for he lived in a world where every one was piebald.
King John would be represented in a modern play or novel as a kind of degenerate; a shifty-eyed moral maniac with a twist in his soul's backbone and green blood in his veins. The mediaevals were quite capable of boiling him in melted lead, but they would have been quite incapable of despairing of his soul in the modern fashion. A striking a fortiori case is that of the strange mediaeval legend of Robert the Devil. Robert was represented as a monstrous birth sent to an embittered woman actually in answer to prayers to Satan, and his earlier actions are simply those of the infernal fire let loose upon earth. Yet though he can be called almost literally a child of hell, yet the climax of the story is his repentance at Rome and his great reparation. That is the paradox of mediaeval morals: as it must appear to the moderns. We must try to conceive a race of men who hated John, and sought his blood, and believed every abomination about him, who would have been quite capable of assassinating or torturing him in the extremity of their anger. And yet we must admit that they would not really have been fundamentally surprised if he had shaved his head in humiliation, given all his goods to the poor, embraced the lepers in a lazar-house, and been canonised as a saint in heaven. So strongly did they hold that the pivot of Will should turn freely, which now is rusted, and sticks.
For we, whatever our political opinions, certainly never think of our public men like that. If we hold the opinion that Mr. Lloyd George is a noble tribune of the populace and protector of the poor, we do not admit that he can ever have paltered with the truth or bargained with the powerful. If we hold the equally idiotic opinion that he is a red and rabid Socialist, maddening mobs into mutiny and theft, then we expect him to go on maddening them—and us. We do not expect him, let us say, suddenly to go into a monastery. We have lost the idea of repentance; especially in public things; that is why we cannot really get rid of our great national abuses of economic tyranny and aristocratic avarice. Progress in the modern sense is a very dismal drudge; and mostly consists of being moved on by the police. We move on because we are not allowed to move back. But the really ragged prophets, the real revolutionists who held high language in the palaces of kings, they did not confine themselves to saying, "Onward, Christian soldiers," still less, "Onward, Futurist soldiers"; what they said to high emperors and to whole empires was, "Turn ye, turn ye, why will ye die?"
THE DIVINE DETECTIVE
Every person of sound education enjoys detective stories, and there are even several points on which they have a hearty superiority to most modern books. A detective story generally describes six living men discussing how it is that a man is dead. A modern philosophic story generally describes six dead men discussing how any man can possibly be alive. But those who have enjoyed the roman policier must have noted one thing, that when the murderer is caught he is hardly ever hanged. "That," says Sherlock Holmes, "is the advantage of being a private detective"; after he has caught he can set free. The Christian Church can best be defined as an enormous private detective, correcting that official detective—the State. This, indeed, is one of the injustices done to historic Christianity; injustices which arise from looking at complex exceptions and not at the large and simple fact. We are constantly being told that theologians used racks and thumbscrews, and so they did. Theologians used racks and thumbscrews just as they used thimbles and three-legged stools, because everybody else used them. Christianity no more created the mediaeval tortures than it did the Chinese tortures; it inherited them from any empire as heathen as the Chinese.
The Church did, in an evil hour, consent to imitate the commonwealth and employ cruelty. But if we open our eyes and take in the whole picture, if we look at the general shape and colour of the thing, the real difference between the Church and the State is huge and plain. The State, in all lands and ages, has created a machinery of punishment, more bloody and brutal in some places than others, but bloody and brutal everywhere. The Church is the only institution that ever attempted to create a machinery of pardon. The Church is the only thing that ever attempted by system to pursue and discover crimes, not in order to avenge, but in order to forgive them. The stake and rack were merely the weaknesses of the religion; its snobberies, its surrenders to the world. Its speciality—or, if you like, its oddity—was this merciless mercy; the unrelenting sleuthhound who seeks to save and not slay.
I can best illustrate what I mean by referring to two popular plays on somewhat parallel topics, which have been successful here and in America. The Passing of the Third Floor Back is a humane and reverent experiment, dealing with the influence of one unknown but divine figure as he passes through a group of Squalid characters. I have no desire to make cheap fun of the extremely abrupt conversions of all these people; that is a point of art, not of morals; and, after all, many conversions have been abrupt. This saviour's method of making people good is to tell them how good they are already; and in the case of suicidal outcasts, whose moral backs are broken, and who are soaked with sincere self-contempt, I can imagine that this might be quite the right way. I should not deliver this message to authors or members of Parliament, because they would so heartily agree with it.
Still, it is not altogether here that I differ from the moral of Mr. Jerome's play. I differ vitally from his story because it is not a detective story. There is in it none of this great Christian idea of tearing their evil out of men; it lacks the realism of the saints. Redemption should bring truth as well as peace; and truth is a fine thing, though the materialists did go mad about it. Things must be faced, even in order to be forgiven; the great objection to "letting sleeping dogs lie" is that they lie in more senses than one. But in Mr. Jerome's Passing of the Third Floor Back the redeemer is not a divine detective, pitiless in his resolve to know and pardon. Rather he is a sort of divine dupe, who does not pardon at all, because he does not see anything that is going on. It may, or may not, be true to say, "Tout comprendre est tout pardonner." But it is much more evidently true to say, "Rien comprendre est rien Pardonner," and the "Third Floor Back" does not seem to comprehend anything. He might, after all, be a quite selfish sentimentalist, who found it comforting to think well of his neighbours. There is nothing very heroic in loving after you have been deceived. The heroic business is to love after you have been undeceived.
When I saw this play it was natural to compare it with another play which I had not seen, but which I have read in its printed version. I mean Mr. Rann Kennedy's Servant in the House, the success of which sprawls over so many of the American newspapers. This also is concerned with a dim, yet evidently divine, figure changing the destinies of a whole group of persons. It is a better play structurally than the other; in fact, it is a very fine play indeed; but there is nothing aesthetic or fastidious about it. It is as much or more than the other sensational, democratic, and (I use the word in a sound and good sense) Salvationist.
But the difference lies precisely in this—that the Christ of Mr. Kennedy's play insists on really knowing all the souls that he loves; he declines to conquer by a kind of supernatural stupidity. He pardons evil, but he will not ignore it. In other words, he is a Christian, and not a Christian Scientist. The distinction doubtless is partly explained by the problems severally selected. Mr. Jerome practically supposes Christ to be trying to save disreputable people; and that, of course, is naturally a simple business. Mr. Kennedy supposes Him to be trying to save the reputable people, which is a much larger affair. The chief characters in The Servant in the House are a popular and strenuous vicar, universally respected, and his fashionable and forcible wife. It would have been no good to tell these people they had some good in them—for that was what they were telling themselves all day long. They had to be reminded that they had some bad in them—instinctive idolatries and silent treasons which they always tried to forget. It is in connection with these crimes of wealth and culture that we face the real problem of positive evil. The whole of Mr. Blatchford's controversy about sin was vitiated throughout by one's consciousness that whenever he wrote the word "sinner" he thought of a man in rags. But here, again, we can find truth merely by referring to vulgar literature—its unfailing fountain. Whoever read a detective story about poor people? The poor have crimes; but the poor have no secrets. And it is because the proud have secrets that they need to be detected before they are forgiven.
THE ELF OF JAPAN
There are things in this world of which I can say seriously that I love them but I do not like them. The point is not merely verbal, but psychologically quite valid. Cats are the first things that occur to me as examples of the principle. Cats are so beautiful that a creature from another star might fall in love with them, and so incalculable that he might kill them. Some of my friends take quite a high moral line about cats. Some, like Mr. Titterton, I think, admire a cat for its moral independence and readiness to scratch anybody "if he does not behave himself." Others, like Mr. Belloe, regard the cat as cruel and secret, a fit friend for witches; one who will devour everything, except, indeed, poisoned food, "so utterly lacking is it in Christian simplicity and humility." For my part, I have neither of these feelings. I admire cats as I admire catkins; those little fluffy things that hang on trees. They are both pretty and both furry, and both declare the glory of God. And this abstract exultation in all living things is truly to be called Love; for it is a higher feeling than mere affectional convenience; it is a vision. It is heroic, and even saintly, in this: that it asks for nothing in return. I love all the eats in the street as St. Francis of Assisi loved all the birds in the wood or all the fishes in the sea; not so much, of course, but then I am not a saint. But he did not wish to bridle a bird and ride on its back, as one bridles and rides on a horse. He did not wish to put a collar round a fish's neck, marked with the name "Francis," and the address "Assisi"—as one does with a dog. He did not wish them to belong to him or himself to belong to them; in fact, it would be a very awkward experience to belong to a lot of fishes. But a man does belong to his dog, in another but an equally real sense with that in which the dog belongs to him. The two bonds of obedience and responsibility vary very much with the dogs and the men; but they are both bonds. In other words, a man does not merely love a dog; as he might (in a mystical moment) love any sparrow that perched on his windowsill or any rabbit that ran across his path. A man likes a dog; and that is a serious matter.
To me, unfortunately perhaps (for I speak merely of individual taste), a cat is a wild animal. A cat is Nature personified. Like Nature, it is so mysterious that one cannot quite repose even in its beauty. But like Nature again, it is so beautiful that one cannot believe that it is really cruel. Perhaps it isn't; and there again it is like Nature. Men of old time worshipped cats as they worshipped crocodiles; and those magnificent old mystics knew what they were about. The moment in which one really loves cats is the same as that in which one (moderately and within reason) loves crocodiles. It is that divine instant when a man feels himself—no, not absorbed into the unity of all things (a loathsome fancy)—but delighting in the difference of all things. At the moment when a man really knows he is a man he will feel, however faintly, a kind of fairy-tale pleasure in the fact that a crocodile is a crocodile. All the more will he exult in the things that are more evidently beautiful than crocodiles, such as flowers and birds and eats—which are more beautiful than either. But it does not follow that he will wish to pick all the flowers or to cage all the birds or to own all the cats.