9/4/16

Questions of Divorce


I HAVE just picked up a little book that is not only brightly and suggestively written, but is somewhat unique, in this sense ─ that it enunciates the modern and advanced view of Woman in such language as a sane person can stand. It is written by Miss Florence Farr, is called Modern Woman: her Intentions, and is published by Mr. Frank Palmer. This style of book I confess to commonly finding foolish and vain. The New Woman's monologue wearies, not because it is unwomanly, but because it is inhuman. It exhibits the most exhausting of combinations: the union of fanaticism of speech with frigidity of soul ─ the things that made Robespierre seem a monster. The worst example I remember was once trumpeted in a Review: a lady doctor, who has ever afterwards haunted me as a sort of nightmare of spiritual imbecility. I forget her exact words, but they were to the effect that sex and motherhood should be treated neither with ribaldry nor reverence: "It is too serious a subject for ribaldry, and I myself cannot understand reverence towards anything that is physical." There, in a few words, is the whole twisted and tortured priggishness which poisons the present age. The person who cannot laugh at sex ought to be kicked; and the person who cannot reverence pain ought to be killed. Until that lady doctor gets a little ribaldry and a little reverence into her soul, she has no right to have any opinion at all about the affairs of humanity. I remember there was another lady, trumpeted in the same Review, a French lady who broke off her engagement with the excellent gentleman to whom she was attached on the ground that affection interrupted the flow of her thoughts. It was a thin sort of flow in any case, to judge by the samples; and no doubt it was easily interrupted. 

The author of Modern Woman is bitten a little by the mad dog of modernity, the habit of dwelling disproportionally on the abnormal and the diseased; but she writes rationally and humorously, like a human being; she sees that there are two sides to the case; and she even puts in a fruitful suggestion that, with its subconsciousness and its virtues of the vegetable, the new psychology may turn up on the side of the old womanhood. One may say indeed that in such a book as this our amateur philosophizing of to-day is seen at its fairest; and even at its fairest it exhibits certain qualities of bewilderment and disproportion which are somewhat curious to note. 

I think the oddest thing about the advanced people is that, while they are always talking of things as problems, they have hardly any notion of what a real problem is. A real problem only occurs when there are admittedly disadvantages in all courses that can be pursued. If it is discovered just before a fashionable wedding that the Bishop is locked up in the coal-cellar, that is not a problem. It is obvious to anyone but an extreme anti-clerical or practical joker that the Bishop must be let out of the coal-cellar. But suppose the Bishop has been locked up in the wine-cellar, and from the obscure noises, sounds as of song and dance, etc., it is guessed that he has indiscreetly tested the vintages round him; then, indeed, we may properly say that there has arisen a problem; for, upon the one hand, it is awkward to keep the wedding waiting, while, upon the other, any hasty opening of the door might mean an episcopal rush and scenes of the most unforeseen description. 

An incident like this (which must constantly happen in our gay and varied social life) is a true problem because there are in it incompatible advantages. Now if woman is simply the domestic slave that many of these writers represent, if man has bound her by brute force, if he has simply knocked her down and sat on her ─ then there is no problem about the matter. She has been locked in the kitchen, like the Bishop in the coal-cellar; and they both of them ought to be let out. If there is any problem of sex, it must be because the ease is not so simple as that; because there is something to be said for the man as well as for the woman; and because there are evils in unlocking the kitchen door, in addition to the obvious good of it. Now, I will take two instances from Miss Farr's own book of problems that are really problems, and which she entirely misses because she will not admit that they are problematical. 

The writer asks the substantial question squarely enough: "Is indissoluble marriage good for mankind?" and she answers it squarely enough: "For the great mass of mankind, yes." To those like myself, who move in the old-world dream of Democracy, that admission ends the whole question. There may be exceptional people who would be happier without Civil Government; sensitive souls who really feel unwell when they see a policeman. But we have surely the fight to impose the State on everybody if it suits nearly everybody; and if so, we have the right to impose the Family on everybody if it suits nearly everybody. But the queer and cogent point is this; that Miss Farr does not see the real difficulty about allowing exceptions ─ the real difficulty that has made most legislators reluctant to allow them. I do not say there should be no exceptions, but I do say that the author has not seen the painful problem of permitting any. 

The difficulty is simply this: that if it comes to claiming exceptional treatment, the very people who will claim it will be those who least deserve it. The people who are quite convinced they are superior are the very inferior people; the men who really think themselves extraordinary are the most ordinary rotters on earth. If you say, "Nobody must steal the Crown of England," then probably it will not be stolen. After that, probably the next best thing would be to say, "Anybody may steal the Crown of England," for then the Crown might find its way to some honest and modest fellow. But if you say, "Those who feel themselves to have Wild and Wondrous Souls, and they only, may steal the Crown of England," then you may be sure there will be a rush for it of all the rag, tag, and bobtail of the universe, all the quack doctors, all the sham artists, all the demireps and drunken egotists, all the nationless adventurers and criminal monomaniacs of the world. 

So, if you say that marriage is for common people, but divorce for free and noble spirits, all the weak and selfish people will dash for the divorce; while the few free and noble spirits you wish to help will very probably (because they are free and noble) go on wrestling with the marriage. For it is one of the marks of real dignity of character not to wish to separate oneself from the honour and tragedy of the whole tribe. All men are ordinary men; the extraordinary men are those who know it. 

The weakness of the proposition that marriage is good for the common herd, but can be advantageously violated by special "experimenters" and pioneers, is that it takes no account of the problem of the disease of pride. It is easy enough to say that weaker souls had better be guarded, but that we must give freedom to Georges Sand or make exceptions for George Eliot. The practical puzzle is this: that it is precisely the weakest sort of lady novelist who thinks she is Georges Sand; it is precisely the silliest woman who is sure she is George Eliot. It is the small soul that is sure it is an exception; the large soul is only too proud to be the rule. To advertise for exceptional people is to collect all the sulks and sick fancies and futile ambitions of the earth. The good artist is he who can be understood; it is the bad artist who is always "misunderstood." In short, the great man is a man; it is always the tenth-rate man who is the Superman. 

Miss Farr disposes of the difficult question of vows and bonds in love by leaving out altogether the one extraordinary fact of experience on which the whole matter turns. She again solves the problem by assuming that it is not a problem. Concerning oaths of fidelity, etc., she writes: "We cannot trust ourselves to make a real love-knot unless money or custom forces us to 'bear and forbear.' There is always the lurking fear that we shall not be able to keep faith unless we swear upon the Book. This is, of course, not true of young lovers. Every first love is born free of tradition; indeed, not only is first love innocent and valiant, but it sweeps aside all the wise laws it has been taught, and burns away experience in its own light. The revelation is so extraordinary, so unlike anything told by the poets, so absorbing, that it is impossible to believe that the feeling can die out." 

Now this is exactly as if some old naturalist settled the bat's place in nature by saying boldly, "Bats do not fly." It is as if he solved the problem of whales by bluntly declaring that whales live on land. There is a problem of vows, as of bats and whales. What Miss Farr says about it is quite lucid and explanatory; it simply happens to be flatly untrue. It is not the fact that young lovers have no desire to swear on the Book. They are always at it. It is not the fact that every young love is born free of traditions about binding and promising, about bonds and signatures and seals. On the contrary, lovers wallow in the wildest pedantry and precision about these matters. They do the craziest things to make their love legal and irrevocable. They tattoo each other with promises; they cut into rocks and oaks with their names and vows; they bury ridiculous things in ridiculous places to be a witness against them; they bind each other with rings, and inscribe each other in Bibles; if they are raving lunatics (which is not untenable), they are mad solely on this idea of binding and on nothing else. It is quite true that the tradition of their fathers and mothers is in favour of fidelity; but it is emphatically not true that the lovers merely follow it; they invent it anew. It is quite true that the lovers feel their love eternal, and independent of oaths; but it is emphatically not true that they do not desire to take the oaths. They have a ravening thirst to take as many oaths as possible. Now this is the paradox; this is the whole problem. It is not true, as Miss Farr would have it, that young people feel free of vows, being confident of constancy; while old people invent vows, having lost that confidence. That would be much too simple; if that were so there would be no problem at all. The startling but quite solid fact is that young people are especially fierce in making fetters and final ties at the very moment when they think them unnecessary. The time when they want the vow is exactly the time when they do not need it. That is worth thinking about. 

Nearly all the fundamental facts of mankind are to be found in its fables. And there is a singularly sane truth in all the old stories of the monsters ─ such as centaurs, mermaids, sphinxes, and the rest. It will be noted that in each of these the humanity, though imperfect in its extent, is perfect in its quality. The mermaid is half a lady and half a fish; but there is nothing fishy about the lady. A centaur is half a gentleman and half a horse. But there is nothing horsey about the gentleman. The centaur is a manly sort of man ─ up to a certain point. The mermaid is a womanly woman ─ so far as she goes. The human parts of these monsters are handsome, like heroes, or lovely, like nymphs; their bestial appendages do not affect the full perfection of their humanity ─ what there is of it. There is nothing humanly wrong with the centaur, except that he rides a horse without a head. There is nothing humanly wrong with the mermaid; Hood put a good comic motto to his picture of a mermaid: "All's well that ends well." It is, perhaps, quite true; it all depends which end. Those old wild images included a crucial truth. Man is a monster. And he is all the more a monster because one part of him is perfect. It is not true, as the evolutionists say, that man moves perpetually up a slope from imperfection to perfection, changing ceaselessly, so as to be suitable. The immortal part of a man and the deadly part are jarringly distinct, and have always been. And the best proof of this is in such a case as we have considered ─ the case of the oaths of love. 

A man's soul is as full of voices as a forest; there are ten thousand tongues there like all the tongues of the trees: fancies, follies, memories, madnesses, mysterious fears, and more mysterious hopes. All the settlement and sane government of life consists in coming to the conclusion that some of those voices have authority and others not. You may have an impulse to fight your enemy or an impulse to run away from him; a reason to serve your country or a reason to betray it; a good idea for making sweets or a better idea for poisoning them. The only test I know by which to judge one argument or inspiration from another is ultimately this: that all the noble necessities of man talk the language of eternity. When man is doing the three or four things that he was sent on this earth to do, then he speaks like one who shall live for ever. A man dying for his country does not talk as if local preferences could change. Leonidas does not say, "In my present mood, I prefer Sparta to Persia." William Tell does not remark, "The Swiss civilization, so far as I can yet see, is superior to the Austrian." When men are making commonwealths, they talk in terms of the absolute, and so they do when they are making (however unconsciously) those smaller commonwealths which are called families. There are in life certain immortal moments, moments that have authority. Lovers are right to tattoo each other's skins and cut each other's names about the world; they do belong to each other, in a more awful sense than they know.

~G.K. Chesterton: The Uses of Diversity: A Book of Essays


9/1/16

"The humorous look of children"

"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."

~G.K. Chesterton: A Defence of Baby-Worship
Read the complete essay here.

Baby Visitors, by Mihály Munkácsy.
Oil on wood, 1879; Magyar Nemzeti Galéria, Budapest.

8/20/16

The Glory of Grey

I suppose that, taking this summer as a whole, people will not call it an appropriate time for praising the English climate. But for my part I will praise the English climate till I die—even if I die of the English climate. There is no weather so good as English weather. Nay, in a real sense there is no weather at all anywhere but in England. In France you have much sun and some rain; in Italy you have hot winds and cold winds; in Scotland and Ireland you have rain, either thick or thin; in America you have hells of heat and cold, and in the Tropics you have sunstrokes varied by thunderbolts. But all these you have on a broad and brutal scale, and you settle down into contentment or despair. Only in our own romantic country do you have the strictly romantic thing called Weather; beautiful and changing as a woman. The great English landscape painters (neglected now like everything that is English) have this salient distinction: that the Weather is not the atmosphere of their pictures; it is the subject of their pictures. They paint portraits of the Weather. The Weather sat to Constable. The Weather posed for Turner, and a deuce of a pose it was. This cannot truly be said of the greatest of their continental models or rivals. Poussin and Claude painted objects, ancient cities or perfect Arcadian shepherds through a clear medium of the climate. But in the English painters Weather is the hero; with Turner an Adelphi hero, taunting, flashing and fighting, melodramatic but really magnificent. The English climate, a tall and terrible protagonist, robed in rain and thunder and snow and sunlight, fills the whole canvas and the whole foreground. I admit the superiority of many other French things besides French art. But I will not yield an inch on the superiority of English weather and weather-painting. Why, the French have not even got a word for Weather: and you must ask for the weather in French as if you were asking for the time in English.

Then, again, variety of climate should always go with stability of abode. The weather in the desert is monotonous; and as a natural consequence the Arabs wander about, hoping it may be different somewhere. But an Englishman's house is not only his castle; it is his fairy castle. Clouds and colours of every varied dawn and eve are perpetually touching and turning it from clay to gold, or from gold to ivory. There is a line of woodland beyond a corner of my garden which is literally different on every one of the three hundred and sixty-five days. Sometimes it seems as near as a hedge, and sometimes as far as a faint and fiery evening cloud. The same principle (by the way) applies to the difficult problem of wives. Variability is one of the virtues of a woman. It avoids the crude requirement of polygamy. So long as you have one good wife you are sure to have a spiritual harem.

Now, among the heresies that are spoken in this matter is the habit of calling a grey day a "colourless" day. Grey is a colour, and can be a very powerful and pleasing colour. There is also an insulting style of speech about "one grey day just like another" You might as well talk about one green tree just like another. A grey clouded sky is indeed a canopy between us and the sun; so is a green tree, if it comes to that. But the grey umbrellas differ as much as the green in their style and shape, in their tint and tilt. One day may be grey like steel, and another grey like dove's plumage. One may seem grey like the deathly frost, and another grey like the smoke of substantial kitchens. No things could seem further apart than the doubt of grey and the decision of scarlet. Yet grey and red can mingle, as they do in the morning clouds: and also in a sort of warm smoky stone of which they build the little towns in the west country. In those towns even the houses that are wholly grey have a glow in them; as if their secret firesides were such furnaces of hospitality as faintly to transfuse the walls like walls of cloud. And wandering in those westland parts I did once really find a sign-post pointing up a steep crooked path to a town that was called Clouds. I did not climb up to it; I feared that either the town would not be good enough for the name, or I should not be good enough for the town. Anyhow, the little hamlets of the warm grey stone have a geniality which is not achieved by all the artistic scarlet of the suburbs; as if it were better to warm one's hands at the ashes of Glastonbury than at the painted flames of Croydon.

Again, the enemies of grey (those astute, daring and evil-minded men) are fond of bringing forward the argument that colours suffer in grey weather, and that strong sunlight is necessary to all the hues of heaven and earth. Here again there are two words to be said; and it is essential to distinguish. It is true that sun is needed to burnish and bring into bloom the tertiary and dubious colours; the colour of peat, pea-soup, Impressionist sketches, brown velvet coats, olives, grey and blue slates, the complexions of vegetarians, the tints of volcanic rock, chocolate, cocoa, mud, soot, slime, old boots; the delicate shades of these do need the sunlight to bring out the faint beauty that often clings to them. But if you have a healthy negro taste in colour, if you choke your garden with poppies and geraniums, if you paint your house sky-blue and scarlet, if you wear, let us say, a golden top-hat and a crimson frock-coat, you will not only be visible on the greyest day, but you will notice that your costume and environment produce a certain singular effect. You will find, I mean, that rich colours actually look more luminous on a grey day, because they are seen against a sombre background and seem to be burning with a lustre of their own. Against a dark sky all flowers look like fireworks. There is something strange about them, at once vivid and secret, like flowers traced in fire in the phantasmal garden of a witch. A bright blue sky is necessarily the high light of the picture; and its brightness kills all the bright blue flowers. But on a grey day the larkspur looks like fallen heaven; the red daisies are really the red lost eyes of day; and the sunflower is the vice-regent of the sun.

Lastly, there is this value about the colour that men call colourless; that it suggests in some way the mixed and troubled average of existence, especially in its quality of strife and expectation and promise. Grey is a colour that always seems on the eve of changing to some other colour; of brightening into blue or blanching into white or bursting into green and gold. So we may be perpetually reminded of the indefinite hope that is in doubt itself; and when there is grey weather in our hills or grey hairs in our heads, perhaps they may still remind us of the morning.

~G.K. Chesterton: Alarms and Discursions


The Hay-Wain (detail), by John Constable.
Oil on canvas, 1821; National Gallery, London.

8/19/16

"The heretic"

“The heretic (who is also the fanatic) is not a man who loves the truth too much; no man can love truth too much. The heretic is a man who loves his truth more than truth itself. He prefers the half-truth that he has found to the whole truth which humanity has found. He does not like to see his own precious little paradox merely bound up with twenty truisms into the bundle of the wisdom of the world.”

~G.K. Chesterton: The Common Man.

8/18/16

Reason & Religion

CERTAINLY the pagan does not disbelieve like an atheist, any more than he believes like a Christian. He feels the presence of powers about which he guesses and invents. St. Paul said that the Greeks had one altar to an unknown god. But in truth all their gods were unknown gods. And the real break in history did come when St. Paul declared to them whom they had
ignorantly worshipped.

The substance of all such paganism may be summarised thus. It is an attempt to reach the divine reality through the imagination alone; in its own field reason does not restrain it at all. It is vital to view of all history that reason is something separate from religion even in the most rational of these civilisations. It is only as an afterthought, when such cults are decadent or on the defensive, that a few Neo-Platonists or a few Brahmins are found trying to rationalise them, and even then only by trying to allegorise them. But in reality the rivers of mythology and philosophy run parallel and do not mingle till they meet in the sea of Christendom. Simple secularists still talk as if the Church had introduced a sort of schism between reason and religion. The truth is that the Church was actually the first thing that ever tried to combine reason and religion. There had never before been any such union of the priests and the philosophers.

~G.K. Chesterton: The Everlasting Man, Part I, Chap. V.─ Man and Mythologies.


Admont Library in Admont, Austria. Located in the foothills of the Alps,
this is the largest monastery library in the world



8/13/16

"Representative government"

“IT is idle to talk against representative government or for it. All government is representative government until it begins to decay. Unfortunately (as is also evident) all government begins to decay the instant it begins to govern.”

~G.K. Chesterton: A Miscellany of Men.

8/8/16

"Liberty has produced scepticism"

“Liberty has produced scepticism, and scepticism has destroyed liberty. The lovers of liberty thought they were leaving it unlimited, when they were only leaving it undefined. They thought they were only leaving it undefined, when they were really leaving it undefended.”

~G.K. Chesterton: Eugenics and Other Evils.

The Collected Works of G. K. Chesterton, Vol. 4. 
A must read for our times!
Amazon