Fancies Versus Fads. G. K. ChestertonЧитать онлайн книгу.
child is simply a platitude; and an inevitable part of his own rather platitudinous philosophy. It is we and not he who can behold the whole vista and vanishing perspective of his own opinions; and work out what he really means. It is only those who have ordinary views who have extraordinary visions.
There is indeed nothing very extraordinary about these visions, except the extraordinary people who have provoked some of them. They are only a very sketchy sort of sketches of some of the strange things that may be found in the modern world. But however inadequate be the example, it is none the less true that this is the sound principle behind much better examples; and that, in those great things as in these small ones, sanity was the condition of satire. It is because Gulliver is a man of moderate stature that he can stray into the land of the giants and the land of the pygmies. It is Swift and not the professors of Laputa who sees the real romance of getting sunbeams out of cucumbers. It would be less than exact to call Swift a sunbeam in the house; but if he did not himself get much sunshine out of cucumbers, at least he let daylight into professors. It was not the mad Swift but the sane Swift who made that story so wild. The truth is more self-evident in men who were more sane. It is the good sense of Rabelais that makes him seem to grin like a gargoyle; and it is in a sense because Dickens was a Philistine that he saw the land so full of strange gods. These idle journalistic jottings have nothing in common with such standards of real literature, except the principle involved; but the principle is the right one.
But while these are frivolous essays, pretending only to touch on topics and theories they cannot exhaustively examine, I have added some that may not seem to fit so easily even into so slight a scheme. Nevertheless, they are in some sense connected with it. I have opened with an essay on rhyme, because it is a type of the sort of tradition which the anti-traditionalists now attack; and I have ended with one called “Milton and Merry England,” because I feel that many may misunderstand my case against the new Puritans, if they have no notion of how I should attempt to meet the more accepted case in favour of the old Puritans. Both these articles appeared originally in the “London Mercury,” and I desire to express my thanks to Mr. J. C. Squire for his kind permission to reprint them. But, in the latter case, I had the further feeling that I wished to express somewhere the historical sentiment that underlies the whole; the conviction that there did and does exist a more normal and national England, which we once inhabited and to which we may yet return; and which is not a Utopia but a home. I have therefore thought it worth while to write this line of introduction to show that such a scrap-book is not entirely scrappy; and that even to touch such things lightly we need something like a test. It is necessary to have in hand a truth to judge modern philosophies rapidly; and it is necessary to judge them very rapidly to judge them before they disappear.
G. K. C.
FANCIES VERSUS FADS
The Romance of Rhyme
The poet in the comic opera, it will be remembered (I hope), claimed for his æsthetic authority that “Hey diddle diddle will rank as an idyll, if I pronounce it chaste.” In face of a satire which still survives the fashion it satirized, it may require some moral courage seriously to pronounce it chaste, or to suggest that the nursery rhyme in question has really some of the qualities of an idyll. Of its chastity, in the vulgar sense, there need be little dispute, despite the scandal of the elopement of the dish with the spoon, which would seem as free from grossness as the loves of the triangles. And though the incident of the cow may have something of the moonstruck ecstasy of Endymion, that also has a silvery coldness about it worthy of the wilder aspects of Diana. The truth more seriously tenable is that this nursery rhyme is a complete and compact model of the nursery short story. The cow jumping over the moon fulfils to perfection the two essentials of such a story for children. It makes an effect that is fantastic out of objects that are familiar; and it makes a picture that is at once incredible and unmistakable. But it is yet more tenable, and here more to the point, that this nursery rhyme is emphatically a rhyme. Both the lilt and the jingle are just right for their purpose, and are worth whole libraries of elaborate literary verse for children. And the best proof of its vitality is that the satirist himself has unconsciously echoed the jingle even in making the joke. The metre of that nineteenth-century satire is the metre of the nursery rhyme. “Hey diddle diddle, the cat and the fiddle” and “Hey diddle diddle will rank as an idyll” are obviously both dancing to the same ancient tune; and that by no means the tune the old cow died of, but the more exhilarating air to which she jumped over the moon.
The whole history of the thing called rhyme can be found between those two things: the simple pleasure of rhyming “diddle” to “fiddle,” and the more sophisticated pleasure of rhyming “diddle” to “idyll.” Now the fatal mistake about poetry, and more than half of the fatal mistake about humanity, consists in forgetting that we should have the first kind of pleasure as well as the second. It might be said that we should have the first pleasure as the basis of the second; or yet more truly, the first pleasure inside the second. The fatal metaphor of progress, which means leaving things behind us, has utterly obscured the real idea of growth, which means leaving things inside us. The heart of the tree remains the same, however many rings are added to it; and a man cannot leave his heart behind by running hard with his legs. In the core of all culture are the things that may be said, in every sense, to be learned by heart. In the innermost part of all poetry is the nursery rhyme, the nonsense that is too happy even to care about being nonsensical. It may lead on to the more elaborate nonsense of the Gilbertian line, or even the far less poetic nonsense of some of the Browningesque rhymes. But the true enjoyment of poetry is always in having the simple pleasure as well as the subtle pleasure. Indeed it is on this primary point that so many of our artistic and other reforms seem to go wrong. What is the matter with the modern world is that it is trying to get simplicity in everything except the soul. Where the soul really has simplicity it can be grateful for anything—even complexity. Many peasants have to be vegetarians, and their ordinary life is really a simple life. But the peasants do not despise a good dinner when they can get it; they wolf it down with enthusiasm, because they have not only the simple life but the simple spirit. And it is so with the modern modes of art which revert, very rightly, to what is “primitive.” But their moral mistake is that they try to combine the ruggedness that should belong to simplicity with a superciliousness that should only belong to satiety. The last Futurist draughtsmanship, for instance, evidently has the aim of drawing a tree as it might be drawn by a child of ten. I think the new artists would admit it; nor do I merely sneer at it. I am willing to admit, especially for the sake of argument, that there is a truth of philosophy and psychology in this attempt to attain the clarity even through the crudity of childhood. In this sense I can see what a man is driving at when he draws a tree merely as a stick with smaller sticks standing out of it. He may be trying to trace in black and white or grey a primeval and almost prenatal illumination; that it is very remarkable that a stick should exist, and still more remarkable that a stick should stick up or stick out. He may be similarly enchanted with his own stick of charcoal or grey chalk; he may be enraptured, as a child is, with the mere fact that it makes a mark on the paper—a highly poetic fact in itself. But the child does not despise the real tree for being different from his drawing of the tree. He does not despise Uncle Humphrey because that talented amateur can really draw a tree. He does not think less of the real sticks because they are live sticks, and can grow and branch and curve in a way uncommon in walking-sticks. Because he has a single eye he can enjoy a double pleasure. This distinction, which seems strangely neglected, may be traced again in the drama and most other domains of art. Reformers insist that the audiences of simpler ages were content with bare boards or rudimentary scenery if they could hear Sophocles or Shakespeare talking a language of the gods. They were very properly contented with plain boards. But they were not discontented with pageants. The people who appreciated Antony’s oration as such would have appreciated Aladdin’s palace as such. They did not think gilding