Complete Works of G K Chesterton, page 653
The other matter is much more important. Though the reverse of vivacious, Kitchener was very vital; and he had one unique mark of vitality — that he had not stopped growing. “An oak should not be transplanted at sixty,” said the great orator Grattan when he was transferred from the Parliament of Dublin to the Parliament of Westminster. Kitchener was sixty-four when he turned his face westward to the problem of his own country. There clung to him already all the traditional attributes of the oak — its toughness, its angularity, its closeness of grain and ruggedness of outline — when he was uprooted from the Arabian sands and replanted in the remote western island. Yet the oak not only grew green again and put forth new leaves; it was almost as if, as in a legend, it could put forth a new kind of leaves. Kitchener, with all his taciturnity, really began to put forth a new order of ideas. If a change of opinions is unusual in an elderly man, it is almost unknown in an elderly military man. If the hardening of time was felt even by the poetic and emotional Grattan, it would not have been strange if the hardening had been quite hopeless in the rigid and reticent Kitchener. Yet it was not hopeless; and the fact became the spring of much of the national hope. The grizzled martinet from India and Egypt showed a certain power which is in nearly all great men, but of which St. Paul has become the traditional type — the power of being a great convert as well as a great crusader. It is the real power of re-forming an opinion, which is the very opposite of that mere formlessness which we call fickleness. Nor is the comparison to such an example as St. Paul altogether historically disproportionate; for the point upon which this very typical Englishman changed his mind was a point which is now the pivot of the whole future and perhaps of the very existence of Christendom. For many such Englishmen it might almost be called the discovery of Christendom. It can be called with greater precision, and indeed with almost complete precision, the discovery of Russia.
Military bureaucratic systems everywhere have too much tendency to work upon one idea, and there was a time when the military and bureaucratic system of the British in the East worked on the idea of the fear of Russia. It is needless here to explain that sentiment, and useless to explain it away. It was partly a mere tradition from the natural jingoism of the Crimean War; it was partly in itself a tribute to the epic majesty of the Russian march across mysterious Asia to the legendary Chinese Wall. The point here is that it existed; and where there exists such an idea in such military rulers, they very seldom alter their idea. But Kitchener did alter his idea. Not in mere military obedience, but in genuine human reasonableness, he came late in life to see the Russian as the friend and the Prussian as the enemy. In the inevitable division of British ministerial councils about the distribution of British aid and attention he was the one man who stood most enthusiastically, one might say stubbornly, for the supreme importance of munitioning the magnificent Russian defence. He mystified all the English pessimists, in what seemed to them the blackest hour of pessimism, by announcing that Germany had “shot her bolt”; that she had already lost her chance, not by any of the Allied attacks, but by the stupendous skill and valour of that Russian retreat, which was more triumphant than any attack. It is this discovery that marks an epoch; for that great deliverance was not only the victory of Russia, but very specially the victory of the Russians. Never before was there such a war of men against guns — as awful and inspiring to watch as a war of men against demons. Perhaps the duel of a man with a modern gun is more like that between a man and an enormous dragon; nor is there anything on the weaker side save the ultimate and almost metaphysical truth, that a man can make a gun and a gun cannot make a man. It is the man — the Russian soldier and peasant himself — who has emerged like the hero of an epic, and who is now secure for ever from the sophisticated scandal-mongering and the cultured ignorance of the West.
And it is this that lends an epic and almost primeval symbolism to the tragedy of Kitchener’s end. Somehow the very fact that it was incomplete as an action makes it more complete as an allegory. English in his very limitations, English in his late emancipation from them, he was setting forth on an eastward journey different indeed from the many eastward journeys of his life. There are many such noble tragedies of travel in the records of his country; it was so, silently without a trace, that the track of Franklin faded in the polar snows or the track of Gordon in the desert sands. But this was an adventure new for such adventurous men — the finding not of strange foes but of friends yet stranger. Many men of his blood and type — simple, strenuous, somewhat prosaic — had threaded their way through some dark continent to add some treasure or territory to the English name. He was seeking what for us his countrymen has long been a dark continent — but which contains a much more noble treasure. The glory of a great people, long hidden from the English by accidents and by lies, lay before him at his journey’s end. That journey was never ended. It remains like a mighty bridge, the mightier for being broken, pointing across a chasm, and promising a mightier thoroughfare between the east and west. In that waste of seas beyond the last northern islets where his ship went down one might fancy his spirit standing, a figure frustrated yet prophetic and pointing to the East, whence are the light of the world and the reunion of Christian men.
UTOPIA OF USURERS AND OTHER ESSAYS
CONTENTS
A SONG OF SWORDS
UTOPIA OF USURERS
I. Art and Advertisement
II. Letters and the New Laureates
III. Unbusinesslike Business
IV. The War on Holidays
V. THE CHURCH OF THE SERVILE STATE
VI. SCIENCE AND THE EUGENISTS
VII. THE EVOLUTION OF THE PRISON
VIII. THE LASH FOR LABOUR
IX. THE MASK OF SOCIALISM
THE ESCAPE
THE NEW RAID
THE NEW NAME
A WORKMAN’S HISTORY OF ENGLAND
THE FRENCH REVOLUTION AND THE IRISH
LIBERALISM: A SAMPLE
THE FATIGUE OF FLEET STREET
THE AMNESTY FOR AGGRESSION
REVIVE THE COURT JESTER
THE ART OF MISSING THE POINT
THE SERVILE STATE AGAIN
THE EMPIRE OF THE IGNORANT
THE SYMBOLISM OF KRUPP
THE TOWER OF BEBEL
A REAL DANGER
THE DREGS OF PURITANISM
THE TYRANNY OF BAD JOURNALISM
THE POETRY OF THE REVOLUTION
A SONG OF SWORDS
“A drove of cattle came into a village called Swords; and was stopped by the rioters.” — Daily Paper.
In the place called Swords on the Irish road
It is told for a new renown
How we held the horns of the cattle, and how
We will hold the horns of the devils now
Ere the lord of hell with the horn on his brow
Is crowned in Dublin town.
Light in the East and light in the West,
And light on the cruel lords,
On the souls that suddenly all men knew,
And the green flag flew and the red flag flew,
And many a wheel of the world stopped, too,
When the cattle were stopped at Swords.
Be they sinners or less than saints
That smite in the street for rage,
We know where the shame shines bright; we know
You that they smite at, you their foe,
Lords of the lawless wage and low,
This is your lawful wage.
You pinched a child to a torture price
That you dared not name in words;
So black a jest was the silver bit
That your own speech shook for the shame of it,
And the coward was plain as a cow they hit
When the cattle have strayed at Swords.
The wheel of the torrent of wives went round
To break men’s brotherhood;
You gave the good Irish blood to grease
The clubs of your country’s enemies;
you saw the brave man beat to the knees:
And you saw that it was good.
The rope of the rich is long and long —
The longest of hangmen’s cords;
But the kings and crowds are holding their breath,
In a giant shadow o’er all beneath
Where God stands holding the scales of Death
Between the cattle and Swords.
Haply the lords that hire and lend
The lowest of all men’s lords,
Who sell their kind like kine at a fair,
Will find no head of their cattle there;
But faces of men where cattle were:
Faces of men — and Swords.
UTOPIA OF USURERS
I. Art and Advertisement
I propose, subject to the patience of the reader, to devote two or three articles to prophecy. Like all healthy-minded prophets, sacred and profane, I can only prophesy when I am in a rage and think things look ugly for everybody. And like all healthy-minded prophets, I prophesy in the hope that my prophecy may not come true. For the prediction made by the true soothsayer is like the warning given by a good doctor. And the doctor has really triumphed when the patient he condemned to death has revived to life. The threat is justified at the very moment when it is falsified. Now I have said again and again (and I shall continue to say again and again on all the most inappropriate occasions) that we must hit Capitalism, and hit it hard, for the plain and definite reason that it is growing stronger. Most of the excuses which serve the capitalists as masks are, of course, the excuses of hypocrites. They lie when they claim philanthropy; they no more feel any particular love of men than Albu felt an affection for Chinamen. They lie when they say they have reached their position through their own organising ability. They generally have to pay men to organise the mine, exactly as they pay men to go down it. They often lie about the present wealth, as they generally lie about their past poverty. But when they say that they are going in for a “constructive social policy,” they do not lie. They really are going in for a constructive social policy. And we must go in for an equally destructive social policy; and destroy, while it is still half-constructed, the accursed thing which they construct.
The Example of the Arts
Now I propose to take, one after another, certain aspects and departments of modern life, and describe what I think they will be like in this paradise of plutocrats, this Utopia of gold and brass in which the great story of England seems so likely to end. I propose to say what I think our new masters, the mere millionaires, will do with certain human interests and institutions, such as art, science, jurisprudence, or religion — unless we strike soon enough to prevent them. And for the sake of argument I will take in this article the example of the arts.
Most people have seen a picture called “Bubbles,” which is used for the advertisement of a celebrated soap, a small cake of which is introduced into the pictorial design. And anybody with an instinct for design (the caricaturist of the Daily Herald, for instance), will guess that it was not originally a part of the design. He will see that the cake of soap destroys the picture as a picture; as much as if the cake of soap had been used to Scrub off the paint. Small as it is, it breaks and confuses the whole balance of objects in the composition. I offer no judgment here upon Millais’s action in the matter; in fact, I do not know what it was. The important point for me at the moment is that the picture was not painted for the soap, but the soap added to the picture. And the spirit of the corrupting change which has separated us from that Victorian epoch can be best seen in this: that the Victorian atmosphere, with all its faults, did not permit such a style of patronage to pass as a matter of course. Michael Angelo may have been proud to have helped an emperor or a pope; though, indeed, I think he was prouder than they were on his own account. I do not believe Sir John Millais was proud of having helped a soap-boiler. I do not say he thought it wrong; but he was not proud of it. And that marks precisely the change from his time to our own. Our merchants have really adopted the style of merchant princes. They have begun openly to dominate the civilisation of the State, as the emperors and popes openly dominated in Italy. In Millais’s time, broadly speaking, art was supposed to mean good art; advertisement was supposed to mean inferior art. The head of a black man, painted to advertise somebody’s blacking, could be a rough symbol, like an inn sign. The black man had only to be black enough. An artist exhibiting the picture of a negro was expected to know that a black man is not so black as he is painted. He was expected to render a thousand tints of grey and brown and violet: for there is no such thing as a black man just as there is no such thing as a white man. A fairly clear line separated advertisement from art.
The First Effect
I should say the first effect of the triumph of the capitalist (if we allow him to triumph) will be that that line of demarcation will entirely disappear. There will be no art that might not just as well be advertisement. I do not necessarily mean that there will be no good art; much of it might be, much of it already is, very good art. You may put it, if you please, in the form that there has been a vast improvement in advertisements. Certainly there would be nothing surprising if the head of a negro advertising Somebody’s Blacking now adays were finished with as careful and subtle colours as one of the old and superstitious painters would have wasted on the negro king who brought gifts to Christ. But the improvement of advertisements is the degradation of artists. It is their degradation for this clear and vital reason: that the artist will work, not only to please the rich, but only to increase their riches; which is a considerable step lower. After all, it was as a human being that a pope took pleasure in a cartoon of Raphael or a prince took pleasure in a statuette of Cellini. The prince paid for the statuette; but he did not expect the statuette to pay him. It is my impression that no cake of soap can be found anywhere in the cartoons which the Pope ordered of Raphael. And no one who knows the small-minded cynicism of our plutocracy, its secrecy, its gambling spirit, its contempt of conscience, can doubt that the artist-advertiser will often be assisting enterprises over which he will have no moral control, and of which he could feel no moral approval. He will be working to spread quack medicines, queer investments; and will work for Marconi instead of Medici. And to this base ingenuity he will have to bend the proudest and purest of the virtues of the intellect, the power to attract his brethren, and the noble duty of praise. For that picture by Millais is a very allegorical picture. It is almost a prophecy of what uses are awaiting the beauty of the child unborn. The praise will be of a kind that may correctly be called soap; and the enterprises of a kind that may truly be described as Bubbles.
II. Letters and the New Laureates
In these articles I only take two or three examples of the first and fundamental fact of our time. I mean the fact that the capitalists of our community are becoming quite openly the kings of it. In my last (and first) article, I took the case of Art and advertisement. I pointed out that Art must be growing worse — merely because advertisement is growing better. In those days Millais condescended to Pears’ soap. In these days I really think it would be Pears who condescended to Millais. But here I turn to an art I know more about, that of journalism. Only in my ease the art verges on artlessness.
The great difficulty with the English lies in the absence of something one may call democratic imagination. We find it easy to realise an individual, but very hard to realise that the great masses consist of individuals. Our system has been aristocratic: in the special sense of there being only a few actors on the stage. And the back scene is kept quite dark, though it is really a throng of faces. Home Rule tended to be not so much the Irish as the Grand Old Man. The Boer War tended not to be so much South Africa as simply “Joe.” And it is the amusing but distressing fact that every class of political leadership, as it comes to the front in its turn, catches the rays of this isolating lime-light; and becomes a small aristocracy. Certainly no one has the aristocratic complaint so badly as the Labour Party. At the recent Congress, the real difference between Larkin and the English Labour leaders was not so much in anything right or wrong in what he said, as in something elemental and even mystical in the way he suggested a mob. But it must be plain, even to those who agree with the more official policy, that for Mr. Havelock Wilson the principal question was Mr. Havelock Wilson; and that Mr. Sexton was mainly considering the dignity and fine feelings of Mr. Sexton. You may say they were as sensitive as aristocrats, or as sulky as babies; the point is that the feeling was personal. But Larkin, like Danton, not only talks like ten thousand men talking, but he also has some of the carelessness of the colossus of Arcis; “Que mon nom soit fletri, que la France soit libre.”
A Dance of Degradation
It is needless to say that this respecting of persons has led all the other parties a dance of degradation. We ruin South Africa because it would be a slight on Lord Gladstone to save South Africa. We have a bad army, because it would be a snub to Lord Haldane to have a good army. And no Tory is allowed to say “Marconi” for fear Mr. George should say “Kynoch.” But this curious personal element, with its appalling lack of patriotism, has appeared in a new and curious form in another department of life; the department of literature, especially periodical literature. And the form it takes is the next example I shall give of the way in which the capitalists are now appearing, more and more openly, as the masters and princes of the community.
I will take a Victorian instance to mark the change; as I did in the case of the advertisement of “Bubbles.” It was said in my childhood, by the more apoplectic and elderly sort of Tory, that W. E. Gladstone was only a Free Trader because he had a partnership in Gilbey’s foreign wines. This was, no doubt, nonsense; but it had a dim symbolic, or mainly prophetic, truth in it. It was true, to some extent even then, and it has been increasingly true since, that the statesman was often an ally of the salesman; and represented not only a nation of shopkeepers, but one particular shop. But in Gladstone’s time, even if this was true, it was never the whole truth; and no one would have endured it being the admitted truth. The politician was not solely an eloquent and persuasive bagman travelling for certain business men; he was bound to mix even his corruption with some intelligible ideals and rules of policy. And the proof of it is this: that at least it was the statesman who bulked large in the public eye; and his financial backer was entirely in the background. Old gentlemen might choke over their port, with the moral certainty that the Prime Minister had shares in a wine merchant’s. But the old gentleman would have died on the spot if the wine merchant had really been made as important as the Prime Minister. If it had been Sir Walter Gilbey whom Disraeli denounced, or Punch caricatured; if Sir Walter Gilbey’s favourite collars (with the design of which I am unacquainted) had grown as large as the wings of an archangel; if Sir Walter Gilbey had been credited with successfully eliminating the British Oak with his little hatchet; if, near the Temple and the Courts of Justice, our sight was struck by a majestic statue of a wine merchant; or if the earnest Conservative lady who threw a gingerbread-nut at the Premier had directed it towards the wine merchant instead, the shock to Victorian England would have been very great indeed.
