Complete Works of G K Chesterton, page 414
We should probably come considerably nearer to the true conception of things if we treated all grown-up persons, of all titles and types, with precisely that dark affection and dazed respect with which we treat the infantile limitations. A child has a difficulty in achieving the miracle of speech, consequently we find his blunders almost as marvellous as his accuracy. If we only adopted the same attitude towards Premiers and Chancellors of the Exchequer, if we genially encouraged their stammering and delightful attempts at human speech, we should be in a far more wise and tolerant temper. A child has a knack of making experiments in life, generally healthy in motive, but often intolerable in a domestic commonwealth. If we only treated all commercial buccaneers and bumptious tyrants on the same terms, if we gently chided their brutalities as rather quaint mistakes in the conduct of life, if we simply told them that they would ‘understand when they were older,’ we should probably be adopting the best and most crushing attitude towards the weaknesses of humanity. In our relations to children we prove that the paradox is entirely true, that it is possible to combine an amnesty that verges on contempt with a worship that verges upon terror. We forgive children with the same kind of blasphemous gentleness with which Omar Khayyam forgave the Omnipotent.
The essential rectitude of our view of children lies in the fact that we feel them and their ways to be supernatural while, for some mysterious reason, we do not feel ourselves or our own ways to be supernatural. The very smallness of children makes it possible to regard them as marvels; we seem to be dealing with a new race, only to be seen through a microscope. I doubt if anyone of any tenderness or imagination can see the hand of a child and not be a little frightened of it. It is awful to think of the essential human energy moving so tiny a thing; it is like imagining that human nature could live in the wing of a butterfly or the leaf of a tree. When we look upon lives so human and yet so small, we feel as if we ourselves were enlarged to an embarrassing bigness of stature. We feel the same kind of obligation to these creatures that a deity might feel if he had created something that he could not understand.
But the humorous look of children is perhaps the most endearing of all the bonds that hold the Cosmos together. Their top-heavy dignity is more touching than any humility; their solemnity gives us more hope for all things than a thousand carnivals of optimism; their large and lustrous eyes seem to hold all the stars in their astonishment; their fascinating absence of nose seems to give to us the most perfect hint of the humour that awaits us in the kingdom of heaven.
A DEFENCE OF DETECTIVE STORIES
In attempting to reach the genuine psychological reason for the popularity of detective stories, it is necessary to rid ourselves of many mere phrases. It is not true, for example, that the populace prefer bad literature to good, and accept detective stories because they are bad literature. The mere absence of artistic subtlety does not make a book popular. Bradshaw’s Railway Guide contains few gleams of psychological comedy, yet it is not read aloud uproariously on winter evenings. If detective stories are read with more exuberance than railway guides, it is certainly because they are more artistic. Many good books have fortunately been popular; many bad books, still more fortunately, have been unpopular. A good detective story would probably be even more popular than a bad one. The trouble in this matter is that many people do not realize that there is such a thing as a good detective story; it is to them like speaking of a good devil. To write a story about a burglary is, in their eyes, a sort of spiritual manner of committing it. To persons of somewhat weak sensibility this is natural enough; it must be confessed that many detective stories are as full of sensational crime as one of Shakespeare’s plays.
There is, however, between a good detective story and a bad detective story as much, or, rather more, difference than there is between a good epic and a bad one. Not only is a detective story a perfectly legitimate form of art, but it has certain definite and real advantages as an agent of the public weal.
The first essential value of the detective story lies in this, that it is the earliest and only form of popular literature in which is expressed some sense of the poetry of modern life. Men lived among mighty mountains and eternal forests for ages before they realized that they were poetical; it may reasonably be inferred that some of our descendants may see the chimney-pots as rich a purple as the mountain-peaks, and find the lamp-posts as old and natural as the trees. Of this realization of a great city itself as something wild and obvious the detective story is certainly the ‘Iliad.’ No one can have failed to notice that in these stories the hero or the investigator crosses London with something of the loneliness and liberty of a prince in a tale of elfland, that in the course of that incalculable journey the casual omnibus assumes the primal colours of a fairy ship. The lights of the city begin to glow like innumerable goblin eyes, since they are the guardians of some secret, however crude, which the writer knows and the reader does not. Every twist of the road is like a finger pointing to it; every fantastic skyline of chimney-pots seems wildly and derisively signalling the meaning of the mystery.
This realization of the poetry of London is not a small thing. A city is, properly speaking, more poetic even than a countryside, for while Nature is a chaos of unconscious forces, a city is a chaos of conscious ones. The crest of the flower or the pattern of the lichen may or may not be significant symbols. But there is no stone in the street and no brick in the wall that is not actually a deliberate symbol — a message from some man, as much as if it were a telegram or a post-card. The narrowest street possesses, in every crook and twist of its intention, the soul of the man who built it, perhaps long in his grave. Every brick has as human a hieroglyph as if it were a graven brick of Babylon; every slate on the roof is as educational a document as if it were a slate covered with addition and subtraction sums. Anything which tends, even under the fantastic form of the minutiae of Sherlock Holmes, to assert this romance of detail in civilization, to emphasize this unfathomably human character in flints and tiles, is a good thing. It is good that the average man should fall into the habit of looking imaginatively at ten men in the street even if it is only on the chance that the eleventh might be a notorious thief. We may dream, perhaps, that it might be possible to have another and higher romance of London, that men’s souls have stranger adventures than their bodies, and that it would be harder and more exciting to hunt their virtues than to hunt their crimes. But since our great authors (with the admirable exception of Stevenson) decline to write of that thrilling mood and moment when the eyes of the great city, like the eyes of a cat, begin to flame in the dark, we must give fair credit to the popular literature which, amid a babble of pedantry and preciosity, declines to regard the present as prosaic or the common as commonplace. Popular art in all ages has been interested in contemporary manners and costume; it dressed the groups around the Crucifixion in the garb of Florentine gentlefolk or Flemish burghers. In the last century it was the custom for distinguished actors to present Macbeth in a powdered wig and ruffles. How far we are ourselves in this age from such conviction of the poetry of our own life and manners may easily be conceived by anyone who chooses to imagine a picture of Alfred the Great toasting the cakes dressed in tourist’s knickerbockers, or a performance of ‘Hamlet’ in which the Prince appeared in a frock-coat, with a crape band round his hat. But this instinct of the age to look back, like Lot’s wife, could not go on for ever. A rude, popular literature of the romantic possibilities of the modern city was bound to arise. It has arisen in the popular detective stories, as rough and refreshing as the ballads of Robin Hood.
There is, however, another good work that is done by detective stories. While it is the constant tendency of the Old Adam to rebel against so universal and automatic a thing as civilization, to preach departure and rebellion, the romance of police activity keeps in some sense before the mind the fact that civilization itself is the most sensational of departures and the most romantic of rebellions. By dealing with the unsleeping sentinels who guard the outposts of society, it tends to remind us that we live in an armed camp, making war with a chaotic world, and that the criminals, the children of chaos, are nothing but the traitors within our gates. When the detective in a police romance stands alone, and somewhat fatuously fearless amid the knives and fists of a thieves’ kitchen, it does certainly serve to make us remember that it is the agent of social justice who is the original and poetic figure, while the burglars and footpads are merely placid old cosmic conservatives, happy in the immemorial respectability of apes and wolves. The romance of the police force is thus the whole romance of man. It is based on the fact that morality is the most dark and daring of conspiracies. It reminds us that the whole noiseless and unnoticeable police management by which we are ruled and protected is only a successful knight-errantry.
A DEFENCE OF PATRIOTISM
The decay of patriotism in England during the last year or two is a serious and distressing matter. Only in consequence of such a decay could the current lust of territory be confounded with the ancient love of country. We may imagine that if there were no such thing as a pair of lovers left in the world, all the vocabulary of love might without rebuke be transferred to the lowest and most automatic desire. If no type of chivalrous and purifying passion remained, there would be no one left to say that lust bore none of the marks of love, that lust was rapacious and love pitiful, that lust was blind and love vigilant, that lust sated itself and love was insatiable. So it is with the ‘love of the city,’ that high and ancient intellectual passion which has been written in red blood on the same table with the primal passions of our being. On all sides we hear to-day of the love of our country, and yet anyone who has literally such a love must be bewildered at the talk, like a man hearing all men say that the moon shines by day and the sun by night. The conviction must come to him at last that these men do not realize what the word ‘love’ means, that they mean by the love of country, not what a mystic might mean by the love of God, but something of what a child might mean by the love of jam. To one who loves his fatherland, for instance, our boasted indifference to the ethics of a national war is mere mysterious gibberism. It is like telling a man that a boy has committed murder, but that he need not mind because it is only his son. Here clearly the word ‘love’ is used unmeaningly. It is the essence of love to be sensitive, it is a part of its doom; and anyone who objects to the one must certainly get rid of the other. This sensitiveness, rising sometimes to an almost morbid sensitiveness, was the mark of all great lovers like Dante and all great patriots like Chatham. ‘My country, right or wrong,’ is a thing that no patriot would think of saying except in a desperate case. It is like saying, ‘My mother, drunk or sober.’ No doubt if a decent man’s mother took to drink he would share her troubles to the last; but to talk as if he would be in a state of gay indifference as to whether his mother took to drink or not is certainly not the language of men who know the great mystery.
What we really need for the frustration and overthrow of a deaf and raucous Jingoism is a renascence of the love of the native land. When that comes, all shrill cries will cease suddenly. For the first of all the marks of love is seriousness: love will not accept sham bulletins or the empty victory of words. It will always esteem the most candid counsellor the best. Love is drawn to truth by the unerring magnetism of agony; it gives no pleasure to the lover to see ten doctors dancing with vociferous optimism round a death-bed.
We have to ask, then, Why is it that this recent movement in England, which has honestly appeared to many a renascence of patriotism, seems to us to have none of the marks of patriotism — at least, of patriotism in its highest form? Why has the adoration of our patriots been given wholly to qualities and circumstances good in themselves, but comparatively material and trivial: — trade, physical force, a skirmish at a remote frontier, a squabble in a remote continent? Colonies are things to be proud of, but for a country to be only proud of its extremities is like a man being only proud of his legs. Why is there not a high central intellectual patriotism, a patriotism of the head and heart of the Empire, and not merely of its fists and its boots? A rude Athenian sailor may very likely have thought that the glory of Athens lay in rowing with the right kind of oars, or having a good supply of garlic; but Pericles did not think that this was the glory of Athens. With us, on the other hand, there is no difference at all between the patriotism preached by Mr. Chamberlain and that preached by Mr. Pat Rafferty, who sings ‘What do you think of the Irish now?’ They are both honest, simple-minded, vulgar eulogies upon trivialities and truisms.
I have, rightly or wrongly, a notion of the chief cause of this pettiness in English patriotism of to-day, and I will attempt to expound it. It may be taken generally that a man loves his own stock and environment, and that he will find something to praise in it; but whether it is the most praiseworthy thing or no will depend upon the man’s enlightenment as to the facts. If the son of Thackeray, let us say, were brought up in ignorance of his father’s fame and genius, it is not improbable that he would be proud of the fact that his father was over six feet high. It seems to me that we, as a nation, are precisely in the position of this hypothetical child of Thackeray’s. We fall back upon gross and frivolous things for our patriotism, for a simple reason. We are the only people in the world who are not taught in childhood our own literature and our own history.
We are, as a nation, in the truly extraordinary condition of not knowing our own merits. We have played a great and splendid part in the history of universal thought and sentiment; we have been among the foremost in that eternal and bloodless battle in which the blows do not slay, but create. In painting and music we are inferior to many other nations; but in literature, science, philosophy, and political eloquence, if history be taken as a whole, we can hold our own with any. But all this vast heritage of intellectual glory is kept from our schoolboys like a heresy; and they are left to live and die in the dull and infantile type of patriotism which they learnt from a box of tin soldiers. There is no harm in the box of tin soldiers; we do not expect children to be equally delighted with a beautiful box of tin philanthropists. But there is great harm in the fact that the subtler and more civilized honour of England is not presented so as to keep pace with the expanding mind. A French boy is taught the glory of Molière as well as that of Turenne; a German boy is taught his own great national philosophy before he learns the philosophy of antiquity. The result is that, though French patriotism is often crazy and boastful, though German patriotism is often isolated and pedantic, they are neither of them merely dull, common, and brutal, as is so often the strange fate of the nation of Bacon and Locke. It is natural enough, and even righteous enough, under the circumstances. An Englishman must love England for something; consequently, he tends to exalt commerce or prize-fighting, just as a German might tend to exalt music, or a Flamand to exalt painting, because he really believes it is the chief merit of his fatherland. It would not be in the least extraordinary if a claim of eating up provinces and pulling down princes were the chief boast of a Zulu. The extraordinary thing is, that it is the chief boast of a people who have Shakespeare, Newton, Burke, and Darwin to boast of.
The peculiar lack of any generosity or delicacy in the current English nationalism appears to have no other possible origin but in this fact of our unique neglect in education of the study of the national literature. An Englishman could not be silly enough to despise other nations if he once knew how much England had done for them. Great men of letters cannot avoid being humane and universal. The absence of the teaching of English literature in our schools is, when we come to think of it, an almost amazing phenomenon. It is even more amazing when we listen to the arguments urged by headmasters and other educational conservatives against the direct teaching of English. It is said, for example, that a vast amount of English grammar and literature is picked up in the course of learning Latin and Greek. This is perfectly true, but the topsy-turviness of the idea never seems to strike them. It is like saying that a baby picks up the art of walking in the course of learning to hop, or that a Frenchman may successfully be taught German by helping a Prussian to learn Ashanti. Surely the obvious foundation of all education is the language in which that education is conveyed; if a boy has only time to learn one thing, he had better learn that.
We have deliberately neglected this great heritage of high national sentiment. We have made our public schools the strongest walls against a whisper of the honour of England. And we have had our punishment in this strange and perverted fact that, while a unifying vision of patriotism can ennoble bands of brutal savages or dingy burghers, and be the best thing in their lives, we, who are — the world being judge — humane, honest, and serious individually, have a patriotism that is the worst thing in ours. What have we done, and where have we wandered, we that have produced sages who could have spoken with Socrates and poets who could walk with Dante, that we should talk as if we have never done anything more intelligent than found colonies and kick niggers? We are the children of light, and it is we that sit in darkness. If we are judged, it will not be for the merely intellectual transgression of failing to appreciate other nations, but for the supreme spiritual transgression of failing to appreciate ourselves.
THE END
ROBERT BROWNING
