Fancies Versus Fads. G. K. ChestertonЧитать онлайн книгу.
and wishes to drive them from his temple of poetry. But it is the sort of accident that is almost an allegory. There is even a sense in which it has a practical side. When all is said, could a whole crowd of men sing the “Descende Cœlo,” that noble ode, as a crowd can certainly sing the “Dies Irae,” or for that matter “Down among the Dead Men”? Did Horace himself sing the Horatian odes in the sense in which Shakespeare could sing, or could hardly help singing, the Shakespearean songs? I do not know, having no kind of scholarship on these points. But I do not feel that it could have been at all the same thing; and my only purpose is to attempt a rude description of that thing. Rhyme is consonant to the particular kind of song that can be a popular song, whether pathetic or passionate or comic; and Milton is entitled to his true distinction; nobody is likely to sing “Paradise Lost” as if it were a song of that kind. I have tried to suggest my sympathy with rhyme, in terms true enough to be accepted by the other side as expressing their antipathy for it. I have admitted that rhyme is a toy and even a trick, of the sort that delights children. I have admitted that every rhyme is a nursery rhyme. What I will never admit is that anyone who is too big for the nursery is big enough for the Kingdom of God, though the God were only Apollo.
A good critic should be like God in the great saying of a Scottish mystic. George Macdonald said that God was easy to please and hard to satisfy. That paradox is the poise of all good artistic appreciation. Without the first part of the paradox appreciation perishes, because it loses the power to appreciate. Good criticism, I repeat, combines the subtle pleasure in a thing being done well with the simple pleasure in it being done at all. It combines the pleasure of the scientific engineer in seeing how the wheels work together to a logical end with the pleasure of the baby in seeing the wheels go round. It combines the pleasure of the artistic draughtsman in the fact that his lines of charcoal, light and apparently loose, fall exactly right and in a perfect relation with the pleasure of the child in the fact that the charcoal makes marks of any kind on the paper. And in the same fashion it combines the critic’s pleasure in a poem with the child’s pleasure in a rhyme. The historical point about this kind of poetry, the rhymed romantic kind, is that it rose out of the Dark Ages with the whole of this huge popular power behind it, the human love of a song, a riddle, a proverb, a pun or a nursery rhyme; the sing-song of innumerable children’s games, the chorus of a thousand campfires and a thousand taverns. When poetry loses its link with all these people who are easily pleased it loses all its power of giving pleasure. When a poet looks down on a rhyme it is, I will not say as if he looked down on a daisy (which might seem possible to the more literal-minded), but rather as if he looked down on a lark because he had been up in a balloon. It is cutting away the very roots of poetry; it is revolting against nature because it is natural, against sunshine because it is bright, or mountains because they are high, or moonrise because it is mysterious. The freezing process began after the Reformation with a fastidious search for finer yet freer forms; to-day it has ended in formlessness.
But the joke of it is that even when it is formless it is still fastidious. The new anarchic artists are not ready to accept everything. They are not ready to accept anything except anarchy. Unless it observes the very latest conventions of unconventionality, they would rule out anything classic as coldly as any classic ever ruled out anything romantic. But the classic was a form; and there was even a time when it was a new form. The men who invented Sapphics did invent a new metre; the introduction of Elizabethan blank verse was a real revolution in literary form. But vers libre, or nine-tenths of it, is not a new metre any more than sleeping in a ditch is a new school of architecture. It is no more a revolution in literary form than eating meat raw is an innovation in cookery. It is not even original, because it is not creative; the artist does not invent anything, but only abolishes something. But the only point about it that is to my present purpose is expressed in the word “pride.” It is not merely proud in the sense of being exultant, but proud in the sense of being disdainful. Such outlaws are more exclusive than aristocrats; and their anarchical arrogance goes far beyond the pride of Milton and the aristocrats of the New Learning. And this final refinement has completed the work which the saner aristocrats began, the work now most evident in the world: the separation of art from the people. I need not insist on the sensational and self-evident character of that separation. I need not recommend the modern poet to attempt to sing his vers libres in a public house. I need not even urge the young Imagist to read out a number of his disconnected Images to a public meeting. The thing is not only admitted but admired. The old artist remained proud in spite of his unpopularity; the new artist is proud because of his unpopularity; perhaps it is his chief ground for pride.
Dwelling as I do in the Dark Ages, or at latest among the mediæval fairy-tales, I am yet moved to remember something I once read in a modern fairy-tale. As it happens, I have already used the name of George Macdonald; and in the best of his books there is a description of how a young miner in the mountains could always drive away the subterranean goblins if he could remember and repeat any kind of rhyme. The impromptu rhymes were often doggerel, as was the dog-Latin of many monkish hexameters or the burden of many rude Border ballads. But I have a notion that they drove away the devils, blue devils of pessimism and black devils of pride. Anyhow Madame Montessori, who has apparently been deploring the educational effects of fairy-tales, would probably see in me a pitiable example of such early perversion, for that image which was one of my first impressions seems likely enough to be one of my last; and when the noise of many new and original musical instruments, with strange shapes and still stranger noises, has passed away like a procession, I shall hear in the succeeding silence only a rustle and scramble among the rocks and a boy singing on the mountain.
Hamlet and the Psycho-Analyst
THIS morning, for a long stretch of hours before breakfast, and even as it were merging into breakfast, and almost overlapping breakfast, I was engaged in scientific researches in the great new department of psycho-analysis. Every journalist knows by this time that psycho-analysis largely depends on the study of dreams. But in order to study our dreams it is necessary to dream; and in order to dream it is necessary to sleep. So, while others threw away the golden hours in lighter and less learned occupations, while ignorant and superstitious peasants were already digging in their ignorant and superstitious kitchen-gardens, to produce their ignorant and superstitious beans and potatoes, while priests were performing their pious mummeries and poets composing lyrics on listening to the skylark—I myself was pioneering hundreds of years ahead of this benighted century; ruthlessly and progressively probing into all the various horrible nightmares, from which a happier future will take its oracles and its commandments. I will not describe my dreams in detail; I am not quite so ruthless a psychologist as all that. And indeed it strikes me as possible that the new psychologist will be rather a bore at breakfast. My dream was something about wandering in some sort of catacombs under the Albert Hall, and it involved eating jumbles (a brown flexible cake now almost gone from us, like so many glories of England) and also arguing with a Theosophist. I cannot fit this in very well with Freud and his theory of suppressed impulses. For I swear I never in my life suppressed the impulse to eat a jumble or to argue with a Theosophist. And as for wandering about in the Albert Hall, nobody could ever have had an impulse to do that.
When I came down to breakfast I looked at the morning paper; not (as you humorously suggest) at the evening paper. I had not pursued my scientific studies quite so earnestly as that. I looked at the morning paper, as I say, and found it contained a good deal about Psycho-Analysis, indeed it explained almost everything about Psycho-Analysis except what it was. This was naturally a thing which newspapers would present in a rather fragmentary fashion; and I fitted the fragments together as best I could. Apparently the dreams were merely symbols; and apparently symbols of something very savage and horrible which remained a secret. This seems to me a highly unscientific use of the word symbol. A symbol is not a disguise but rather a display; the best expression of something that cannot otherwise be expressed. Eating a jumble may mean that I wished to bite off my father’s nose (the mother-complex being strong on me); but it does not seem to show much symbolic talent. The Albert Hall may imply the murder of an uncle; but it hardly makes itself