But about this there is one striking thing to be noticed. If men behaved in that way in our time, we should, as we have said, regard them as symbols of the ‘decadence.’ But the men who did these things were not decadent; they belonged generally to the most robust classes of what is generally regarded as a robust age. Again, it will be urged that if men essentially sane performed such insanities, it was under the capricious direction of a superstitious religious system. This, again, will not hold water; for in the purely terrestrial and even sensual departments of life, such as love and lust, the medieval princes show the same mad promises and performances, the same misshapen imagination and the same monstrous self-sacrifice. Here we have a contradiction, to explain which it is necessary to think of the whole nature of vows from the beginning. And if we consider seriously and correctly the nature of vows, we shall, unless I am much mistaken, come to the conclusion that it is perfectly sane, and even sensible, to swear to chain mountains together, and that, if insanity is involved at all, it is a little insane not to do so.
The man who makes a vow makes an appointment with himself at some distant time or place. The danger of it is that himself should not keep the appointment. And in modern times this terror of one’s self, of the weakness and mutability of one’s self, has perilously increased, and is the real basis of the objection to vows of any kind. A modern man refrains from swearing to count the leaves on every third tree in Holland Walk, not because it is silly to do so (he does many sillier things), but because he has a profound conviction that before he had got to the three hundred and seventy-ninth leaf on the first tree he would be excessively tired of the subject and want to go home to tea. In other words, we fear that by that time he will be, in the common but hideously significant phrase, another man. Now, it is this horrible fairy tale of a man constantly changing into other men that is the soul of the decadence. That John Paterson should, with apparent calm, look forward to being a certain General Barker on Monday, Dr. Macgregor on Tuesday, Sir Walter Carstairs on Wednesday, and Sam Slugg on Thursday, may seem a nightmare; but to that nightmare we give the name of modern culture. One great decadent, who is now dead, published a poem some time ago, in which he powerfully summed up the whole spirit of the movement by declaring that he could stand in the prison yard and entirely comprehend the feelings of a man about to be hanged:
‘For he that lives more lives than one
More deaths than one must die.’
And the end of all this is that maddening horror of unreality which descends upon the decadents, and compared with which physical pain itself would have the freshness of a youthful thing. The one hell which imagination must conceive as most hellish is to be eternally acting a play without even the narrowest and dirtiest greenroom in which to be human. And this is the condition of the decadent, of the æsthete, of the free-lover. To be everlastingly passing through dangers which we know cannot scathe us, to be taking oaths which we know cannot bind us, to be defying enemies who we know cannot conquer us—this is the grinning tyranny of decadence which is called freedom.
Let us turn, on the other hand, to the maker of vows. The man who made a vow, however wild, gave a healthy and natural expression to the greatness of a great moment. He vowed, for example, to chain two mountains together, perhaps a symbol of some great relief, or love, or aspiration. Short as the moment of his resolve might be, it was, like all great moments, a moment of immortality, and the desire to say of it exegi monumentum ære perennius was the only sentiment that would satisfy his mind. The modern æsthetic man would, of course, easily see the emotional opportunity; he would vow to chain two mountains together. But, then, he would quite as cheerfully vow to chain the earth to the moon. And the withering consciousness that he did not mean what he said, that he was, in truth, saying nothing of any great import, would take from him exactly that sense of daring actuality which is the excitement of a vow. For what could be more maddening than an existence in which our mother or aunt received the information that we were going to assassinate the King or build a temple on Ben Nevis with the genial composure of custom?
The revolt against vows has been carried in our day even to the extent of a revolt against the typical vow of marriage. It is most amusing to listen to the opponents of marriage on this subject. They appear to imagine that the ideal of constancy was a yoke mysteriously imposed on mankind by the devil, instead of being, as it is, a yoke consistently imposed by all lovers on themselves. They have invented a phrase, a phrase that is a black and white contradiction in two words—‘free-love’—as if a lover ever had been, or ever could be, free. It is the nature of love to bind itself, and the institution of marriage merely paid the average man the compliment of taking him at his word. Modern sages offer to the lover, with an ill-flavoured grin, the largest liberties and the fullest irresponsibility; but they do not respect him as the old Church respected him; they do not write his oath upon the heavens, as the record of his highest moment. They give him every liberty except the liberty to sell his liberty, which is the only one that he wants.
In Mr. Bernard Shaw’s brilliant play ‘The Philanderer,’ we have a vivid picture of this state of things. Charteris is a man perpetually endeavouring to be a free-lover, which is like endeavouring to be a married bachelor or a white negro. He is wandering in a hungry search for a certain exhilaration which he can only have when he has the courage to cease from wandering. Men knew better than this in old times—in the time, for example, of Shakespeare’s heroes. When Shakespeare’s men are really celibate they praise the undoubted advantages of celibacy, liberty, irresponsibility, a chance of continual change. But they were not such fools as to continue to talk of liberty when they were in such a condition that they could be made happy or miserable by the moving of someone else’s eyebrow. Suckling classes love with debt in his praise of freedom.
‘And he that’s fairly out of both
Of all the world is blest.
He lives as in the golden age,
When all things made were common;
He takes his pipe, he takes his glass,
He fears no man or woman.’
This is a perfectly possible, rational and manly position. But what have lovers to do with ridiculous affectations of fearing no man or woman? They know that in the turning of a hand the whole cosmic engine to the remotest star may become an instrument of music or an instrument of torture. They hear a song older than Suckling’s, that has survived a hundred philosophies. ‘Who is this that looketh out of the window, fair as the sun, clear as the moon, terrible as an army with banners?'
As we have said, it is exactly this back-door, this sense of having a retreat behind us, that is, to our minds, the sterilizing spirit in modern pleasure. Everywhere there is the persistent and insane attempt to obtain pleasure without paying for it. Thus, in politics the modern Jingoes practically say, ‘Let us have the pleasures of conquerors without the pains of soldiers: let us sit on sofas and be a hardy race.’ Thus, in religion and morals, the decadent mystics say: ‘Let us have the fragrance of sacred purity without the sorrows of self-restraint; let us sing hymns alternately to the Virgin and Priapus.’ Thus in love the free-lovers say: ‘Let us have the splendour of offering ourselves without the peril of committing ourselves; let us see whether one cannot commit suicide an unlimited number of times.’
Emphatically it will not work. There are thrilling moments, doubtless, for the spectator, the amateur, and the æsthete; but there is one thrill that is known only to the soldier who fights for his own flag, to the ascetic who starves himself for his own illumination, to the lover who makes finally his own choice. And it is this transfiguring self-discipline that makes the vow a truly sane thing. It must have satisfied even the giant hunger of the soul of a lover or a poet to know that in consequence of some one instant of decision that strange chain would hang for centuries in the Alps among the silences of stars and snows. All around us is the city of small sins, abounding in backways and retreats, but surely, sooner or later, the towering flame will rise from the harbour announcing that the reign of the cowards is over and a man is burning his ships
~G.K. Chesterton: The Defendant
|Portrait of Giovanni Arnolfini and his Wife, by Jan van Eyck. |
Oil on oak, 1434; National Gallery, London.