Complete Works of G K Chesterton, page 646
After this affair of the scourging, he wielded his pen like a scourge until he died. This terrible pamphleteer was one of those men who exist to prove the distinction between a biography and a life. From his biographies you will learn that he was a Radical who had once been a Tory. From his life, if there were one, you would learn that he was always a Radical because he was always a Tory. Few men changed less; it was round him that the politicians like Pitt chopped and changed, like fakirs dancing round a sacred rock. His secret is buried with him; it is that he really cared about the English people. He was conservative because he cared for their past, and liberal because he cared for their future. But he was much more than this. He had two forms of moral manhood very rare in our time: he was ready to uproot ancient successes, and he was ready to defy oncoming doom. Burke said that few are the partisans of a tyranny that has departed: he might have added that fewer still are the critics of a tyranny that has remained. Burke certainly was not one of them. While lashing himself into a lunacy against the French Revolution, which only very incidentally destroyed the property of the rich, he never criticised (to do him justice, perhaps never saw) the English Revolution, which began with the sack of convents, and ended with the fencing in of enclosures; a revolution which sweepingly and systematically destroyed the property of the poor. While rhetorically putting the Englishman in a castle, politically he would not allow him on a common. Cobbett, a much more historical thinker, saw the beginning of Capitalism in the Tudor pillage and deplored it; he saw the triumph of Capitalism in the industrial cities and defied it. The paradox he was maintaining really amounted to the assertion that Westminster Abbey is rather more national than Welbeck Abbey. The same paradox would have led him to maintain that a Warwickshire man had more reason to be proud of Stratford-on-Avon than of Birmingham. He would no more have thought of looking for England in Birmingham than of looking for Ireland in Belfast.
The prestige of Cobbett’s excellent literary style has survived the persecution of his equally excellent opinions. But that style also is underrated through the loss of the real English tradition. More cautious schools have missed the fact that the very genius of the English tongue tends not only to vigour, but specially to violence. The Englishman of the leading articles is calm, moderate, and restrained; but then the Englishman of the leading articles is a Prussian. The mere English consonants are full of Cobbett. Dr. Johnson was our great man of letters when he said “stinks,” not when he said “putrefaction.” Take some common phrase like “raining cats and dogs,” and note not only the extravagance of imagery (though that is very Shakespearean), but a jagged energy in the very spelling. Say “chats” and “chiens” and it is not the same. Perhaps the old national genius has survived the urban enslavement most spiritedly in our comic songs, admired by all men of travel and continental culture, by Mr. George Moore as by Mr. Belloc. One (to which I am much attached) had a chorus —
”O wind from the South
Blow mud in the mouth
Of Jane, Jane, Jane.”
Note, again, not only the tremendous vision of clinging soils carried skywards in the tornado, but also the suitability of the mere sounds. Say “bone” and “bouche” for mud and mouth and it is not the same. Cobbett was a wind from the South; and if he occasionally seemed to stop his enemies’ mouths with mud, it was the real soil of South England.
And as his seemingly mad language is very literary, so his seemingly mad meaning is very historical. Modern people do not understand him because they do not understand the difference between exaggerating a truth and exaggerating a lie. He did exaggerate, but what he knew, not what he did not know. He only appears paradoxical because he upheld tradition against fashion. A paradox is a fantastic thing that is said once: a fashion is a more fantastic thing that is said a sufficient number of times. I could give numberless examples in Cobbett’s case, but I will give only one. Anyone who finds himself full in the central path of Cobbett’s fury sometimes has something like a physical shock. No one who has read “The History of the Reformation” will ever forget the passage (I forget the precise words) in which he says the mere thought of such a person as Cranmer makes the brain reel, and, for an instant, doubt the goodness of God; but that peace and faith flow back into the soul when we remember that he was burned alive. Now this is extravagant. It takes the breath away; and it was meant to. But what I wish to point out is that a much more extravagant view of Cranmer was, in Cobbett’s day, the accepted view of Cranmer; not as a momentary image, but as an immovable historical monument. Thousands of parsons and penmen dutifully set down Cranmer among the saints and martyrs; and there are many respectable people who would do so still. This is not an exaggerated truth, but an established lie. Cranmer was not such a monstrosity of meanness as Cobbett implies; but he was mean. But there is no question of his being less saintly than the parsonages believed; he was not a saint at all; and not very attractive even as a sinner. He was no more a martyr for being burned than Crippen for being hanged.
Cobbett was defeated because the English people was defeated. After the frame-breaking riots, men, as men, were beaten: and machines, as machines, had beaten them. Peterloo was as much the defeat of the English as Waterloo was the defeat of the French. Ireland did not get Home Rule because England did not get it. Cobbett would not forcibly incorporate Ireland, least of all the corpse of Ireland. But before his defeat Cobbett had an enormous following; his “Register” was what the serial novels of Dickens were afterwards to be. Dickens, by the way, inherited the same instinct for abrupt diction, and probably enjoyed writing “gas and gaiters” more than any two other words in his works. But Dickens was narrower than Cobbett, not by any fault of his own, but because in the intervening epoch of the triumph of Scrooge and Gradgrind the link with our Christian past had been lost, save in the single matter of Christmas, which Dickens rescued romantically and by a hair’s-breadth escape. Cobbett was a yeoman; that is, a man free and farming a small estate. By Dickens’s time, yeomen seemed as antiquated as bowmen. Cobbett was mediaeval; that is, he was in almost every way the opposite of what that word means to-day. He was as egalitarian as St. Francis, and as independent as Robin Hood. Like that other yeoman in the ballad, he bore in hand a mighty bow; what some of his enemies would have called a long bow. But though he sometimes overshot the mark of truth, he never shot away from it, like Froude. His account of that sixteenth century in which the mediaeval civilisation ended, is not more and not less picturesque than Froude’s: the difference is in the dull detail of truth. That crisis was not the foundling of a strong Tudor monarchy, for the monarchy almost immediately perished; it was the founding of a strong class holding all the capital and land, for it holds them to this day. Cobbett would have asked nothing better than to bend his mediaeval bow to the cry of “St. George for Merry England,” for though he pointed to the other and uglier side of the Waterloo medal, he was patriotic; and his premonitions were rather against Blucher than Wellington. But if we take that old war-cry as his final word (and he would have accepted it) we must note how every term in it points away from what the modern plutocrats call either progress or empire. It involves the invocation of saints, the most popular and the most forbidden form of mediævalism. The modern Imperialist no more thinks of St. George in England than he thinks of St. John in St. John’s Wood. It is nationalist in the narrowest sense; and no one knows the beauty and simplicity of the Middle Ages who has not seen St. George’s Cross separate, as it was at Creçy or Flodden, and noticed how much finer a flag it is than the Union Jack. And the word “merry” bears witness to an England famous for its music and dancing before the coming of the Puritans, the last traces of which have been stamped out by a social discipline utterly un-English. Not for two years, but for ten decades Cobbett has been in prison; and his enemy, the “efficient” foreigner, has walked about in the sunlight, magnificent, and a model for men. I do not think that even the Prussians ever boasted about “Merry Prussia.”
VI — Hamlet and the Danes
In the one classic and perfect literary product that ever came out of Germany — I do not mean “Faust,” but Grimm’s Fairy Tales — there is a gorgeous story about a boy who went through a number of experiences without learning how to shudder. In one of them, I remember, he was sitting by the fireside and a pair of live legs fell down the chimney and walked about the room by themselves. Afterwards the rest fell down and joined up; but this was almost an anti-climax. Now that is very charming, and full of the best German domesticity. It suggests truly what wild adventures the traveller can find by stopping at home. But it also illustrates in various ways how that great German influence on England, which is the matter of these essays, began in good things and gradually turned to bad. It began as a literary influence, in the lurid tales of Hoffmann, the tale of “Sintram,” and so on; the revisualising of the dark background of forest behind our European cities. That old German darkness was immeasurably livelier than the new German light. The devils of Germany were much better than the angels. Look at the Teutonic pictures of “The Three Huntsmen” and observe that while the wicked huntsman is effective in his own way, the good huntsman is weak in every way, a sort of sexless woman with a face like a teaspoon. But there is more in these first forest tales, these homely horrors. In the earlier stages they have exactly this salt of salvation, that the boy does not shudder. They are made fearful that he may be fearless, not that he may fear. As long as that limit is kept, the barbaric dreamland is decent; and though individuals like Coleridge and De Quincey mixed it with worse things (such as opium), they kept that romantic rudiment upon the whole. But the one disadvantage of a forest is that one may lose one’s way in it. And the one danger is not that we may meet devils, but that we may worship them. In other words, the danger is one always associated, by the instinct of folk-lore, with forests; it is enchantment, or the fixed loss of oneself in some unnatural captivity or spiritual servitude. And in the evolution of Germanism, from Hoffmann to Hauptmann, we do see this growing tendency to take horror seriously, which is diabolism. The German begins to have an eerie abstract sympathy with the force and fear he describes, as distinct from their objective. The German is no longer sympathising with the boy against the goblin, but rather with the goblin against the boy. There goes with it, as always goes with idolatry, a dehumanised seriousness; the men of the forest are already building upon a mountain the empty throne of the Superman. Now it is just at this point that I for one, and most men who love truth as well as tales, begin to lose interest. I am all for “going out into the world to seek my fortune,” but I do not want to find it — and find it is only being chained for ever among the frozen figures of the Sieges Allees. I do not want to be an idolator, still less an idol. I am all for going to fairyland, but I am also all for coming back. That is, I will admire, but I will not be magnetised, either by mysticism or militarism. I am all for German fantasy, but I will resist German earnestness till I die. I am all for Grimm’s Fairy Tales; but if there is such a thing as Grimm’s Law, I would break it, if I knew what it was. I like the Prussian’s legs (in their beautiful boots) to fall down the chimney and walk about my room. But when he procures a head and begins to talk, I feel a little bored. The Germans cannot really be deep because they will not consent to be superficial. They are bewitched by art, and stare at it, and cannot see round it. They will not believe that art is a light and slight thing — a feather, even if it be from an angelic wing. Only the slime is at the bottom of a pool; the sky is on the surface. We see this in that very typical process, the Germanising of Shakespeare. I do not complain of the Germans forgetting that Shakespeare was an Englishman. I complain of their forgetting that Shakespeare was a man; that he had moods, that he made mistakes, and, above all, that he knew his art was an art and not an attribute of deity. That is what is the matter with the Germans; they cannot “ring fancy’s knell”; their knells have no gaiety. The phrase of Hamlet about “holding the mirror up to nature” is always quoted by such earnest critics as meaning that art is nothing if not realistic. But it really means (or at least its author really thought) that art is nothing if not artificial. Realists, like other barbarians, really believe the mirror; and therefore break the mirror. Also they leave out the phrase “as ‘twere,” which must be read into every remark of Shakespeare, and especially every remark of Hamlet. What I mean by believing the mirror, and breaking it, can be recorded in one case I remember; in which a realistic critic quoted German authorities to prove that Hamlet had a particular psycho-pathological abnormality, which is admittedly nowhere mentioned in the play. The critic was bewitched; he was thinking of Hamlet as a real man, with a background behind him three dimensions deep — which does not exist in a looking-glass. “The best in this kind are but shadows.” No German commentator has ever made an adequate note on that. Nevertheless, Shakespeare was an Englishman; he was nowhere more English than in his blunders; but he was nowhere more successful than in the description of very English types of character. And if anything is to be said about Hamlet, beyond what Shakespeare has said about him, I should say that Hamlet was an Englishman too. He was as much an Englishman as he was a gentleman, and he had the very grave weaknesses of both characters. The chief English fault, especially in the nineteenth century, has been lack of decision, not only lack of decision in action, but lack of the equally essential decision in thought — which some call dogma. And in the politics of the last century, this English Hamlet, as we shall see, played a great part, or rather refused to play it.
There were, then, two elements in the German influence; a sort of pretty playing with terror and a solemn recognition of terrorism. The first pointed to elfland, and the second to — shall we say, Prussia. And by that unconscious symbolism with which all this story develops, it was soon to be dramatically tested, by a definite political query, whether what we really respected was the Teutonic fantasy or the Teutonic fear.
The Germanisation of England, its transition and turning-point, was well typified by the genius of Carlyle. The original charm of Germany had been the charm of the child. The Teutons were never so great as when they were childish; in their religious art and popular imagery the Christ-Child is really a child, though the Christ is hardly a man. The self-conscious fuss of their pedagogy is half-redeemed by the unconscious grace which called a school not a seed-plot of citizens, but merely a garden of children. All the first and best forest-spirit is infancy, its wonder, its wilfulness, even its still innocent fear. Carlyle marks exactly the moment when the German child becomes the spoilt child. The wonder turns to mere mysticism; and mere mysticism always turns to mere immoralism. The wilfulness is no longer liked, but is actually obeyed. The fear becomes a philosophy. Panic hardens into pessimism; or else, what is often equally depressing, optimism.
Carlyle, the most influential English writer of that time, marks all this by the mental interval between his “French Revolution” and his “Frederick the Great.” In both he was Germanic. Carlyle was really as sentimental as Goethe; and Goethe was really as sentimental as Werther. Carlyle understood everything about the French Revolution, except that it was a French revolution. He could not conceive that cold anger that comes from a love of insulted truth. It seemed to him absurd that a man should die, or do murder, for the First Proposition of Euclid; should relish an egalitarian state like an equilateral triangle; or should defend the Pons Asinorum as Codes defended the Tiber bridge. But anyone who does not understand that does not understand the French Revolution — nor, for that matter, the American Revolution. “We hold these truths to be self-evident”: it was the fanaticism of truism. But though Carlyle had no real respect for liberty, he had a real reverence for anarchy. He admired elemental energy. The violence which repelled most men from the Revolution was the one thing that attracted him to it. While a Whig like Macaulay respected the Girondists but deplored the Mountain, a Tory like Carlyle rather liked the Mountain and quite unduly despised the Girondists. This appetite for formless force belongs, of course, to the forests, to Germany. But when Carlyle got there, there fell upon him a sort of spell which is his tragedy and the English tragedy, and, in no small degree, the German tragedy too. The real romance of the Teutons was largely a romance of the Southern Teutons, with their castles, which are almost literally castles in the air, and their river which is walled with vineyards and rhymes so naturally to wine. But as Carlyle’s was rootedly a romance of conquest, he had to prove that the thing which conquered in Germany was really more poetical than anything else in Germany. Now the thing that conquered in Germany was about the most prosaic thing of which the world ever grew weary. There is a great deal more poetry in Brixton than in Berlin. Stella said that Swift could write charmingly about a broom-stick; and poor Carlyle had to write romantically about a ramrod. Compare him with Heine, who had also a detached taste in the mystical grotesques of Germany, but who saw what was their enemy: and offered to nail up the Prussian eagle like an old crow as a target for the archers of the Rhine. Its prosaic essence is not proved by the fact that it did not produce poets: it is proved by the more deadly fact that it did. The actual written poetry of Frederick the Great, for instance, was not even German or barbaric, but simply feeble — and French. Thus Carlyle became continually gloomier as his fit of the blues deepened into Prussian blues; nor can there be any wonder. His philosophy had brought out the result that the Prussian was the first of Germans, and, therefore, the first of men. No wonder he looked at the rest of us with little hope.
