Read Ebook: Tremendous Trifles by Chesterton G K Gilbert Keith

Font size: 10 px 15 px 20 px 25 px 30 px 35 px

Background color: BlackWhiteGrayLight GrayDark GrayDim Gray

Text color: BlackWhiteGrayLight GrayDark GrayDim Gray

Apply/Save settings

Ebook has 509 lines and 57903 words, and 11 pages

.....

I believe in preaching to the converted; for I have generally found that the converted do not understand their own religion. Thus I have always urged in this paper that democracy has a deeper meaning than democrats understand; that is, that common and popular things, proverbs, and ordinary sayings always have something in them unrealised by most who repeat them. Here is one. We have all heard about the man who is in momentary danger, and who sees the whole of his life pass before him in a moment. In the cold, literal, and common sense of words, this is obviously a thundering lie. Nobody can pretend that in an accident or a mortal crisis he elaborately remembered all the tickets he had ever taken to Wimbledon, or all the times that he had ever passed the brown bread and butter.

But in those few moments, while my cab was tearing towards the traffic of the Strand, I discovered that there is a truth behind this phrase, as there is behind all popular phrases. I did really have, in that short and shrieking period, a rapid succession of a number of fundamental points of view. I had, so to speak, about five religions in almost as many seconds. My first religion was pure Paganism, which among sincere men is more shortly described as extreme fear. Then there succeeded a state of mind which is quite real, but for which no proper name has ever been found. The ancients called it Stoicism, and I think it must be what some German lunatics mean when they talk about Pessimism. It was an empty and open acceptance of the thing that happens--as if one had got beyond the value of it. And then, curiously enough, came a very strong contrary feeling--that things mattered very much indeed, and yet that they were something more than tragic. It was a feeling, not that life was unimportant, but that life was much too important ever to be anything but life. I hope that this was Christianity. At any rate, it occurred at the moment when we went crash into the omnibus.

It seemed to me that the hansom cab simply turned over on top of me, like an enormous hood or hat. I then found myself crawling out from underneath it in attitudes so undignified that they must have added enormously to that great cause to which the Anti-Puritan League and I have recently dedicated ourselves. I mean the cause of the pleasures of the people. As to my demeanour when I emerged, I have two confessions to make, and they are both made merely in the interests of mental science. The first is that whereas I had been in a quite pious frame of mind the moment before the collision, when I got to my feet and found I had got off with a cut or two I began to curse and to swear. A man offered me a newspaper or something that I had dropped. I can distinctly remember consigning the paper to a state of irremediable spiritual ruin. I am very sorry for this now, and I apologise both to the man and to the paper. I have not the least idea what was the meaning of this unnatural anger; I mention it as a psychological confession. It was immediately followed by extreme hilarity, and I made so many silly jokes to the policeman that he disgraced himself by continual laughter before all the little boys in the street, who had hitherto taken him seriously.

.....

But henceforward I shall always understand with a darker and more delicate charity those who take tythe of mint, and anise, and cumin, and neglect the weightier matters of the law; I shall remember how I was once really tortured with owing half a crown to a man who might have been dead. Some admirable men in white coats at the Charing Cross Hospital tied up my small injury, and I went out again into the Strand. I felt upon me even a kind of unnatural youth; I hungered for something untried. So to open a new chapter in my life I got into a hansom cab.

A friend of mine who was visiting a poor woman in bereavement and casting about for some phrase of consolation that should not be either insolent or weak, said at last, "I think one can live through these great sorrows and even be the better. What wears one is the little worries." "That's quite right, mum," answered the old woman with emphasis, "and I ought to know, seeing I've had ten of 'em." It is, perhaps, in this sense that it is most true that little worries are most wearing. In its vaguer significance the phrase, though it contains a truth, contains also some possibilities of self-deception and error. People who have both small troubles and big ones have the right to say that they find the small ones the most bitter; and it is undoubtedly true that the back which is bowed under loads incredible can feel a faint addition to those loads; a giant holding up the earth and all its animal creation might still find the grasshopper a burden. But I am afraid that the maxim that the smallest worries are the worst is sometimes used or abused by people, because they have nothing but the very smallest worries. The lady may excuse herself for reviling the crumpled rose leaf by reflecting with what extraordinary dignity she would wear the crown of thorns--if she had to. The gentleman may permit himself to curse the dinner and tell himself that he would behave much better if it were a mere matter of starvation. We need not deny that the grasshopper on man's shoulder is a burden; but we need not pay much respect to the gentleman who is always calling out that he would rather have an elephant when he knows there are no elephants in the country. We may concede that a straw may break the camel's back, but we like to know that it really is the last straw and not the first.

To appreciate anything we must always isolate it, even if the thing itself symbolise something other than isolation. If we wish to see what a house is it must be a house in some uninhabited landscape. If we wish to depict what a man really is we must depict a man alone in a desert or on a dark sea sand. So long as he is a single figure he means all that humanity means; so long as he is solitary he means human society; so long as he is solitary he means sociability and comradeship. Add another figure and the picture is less human--not more so. One is company, two is none. If you wish to symbolise human building draw one dark tower on the horizon; if you wish to symbolise light let there be no star in the sky. Indeed, all through that strangely lit season which we call our day there is but one star in the sky--a large, fierce star which we call the sun. One sun is splendid; six suns would be only vulgar. One Tower Of Giotto is sublime; a row of Towers of Giotto would be only like a row of white posts. The poetry of art is in beholding the single tower; the poetry of nature in seeing the single tree; the poetry of love in following the single woman; the poetry of religion in worshipping the single star. And so, in the same pensive lucidity, I find the poetry of all human anatomy in standing on a single leg. To express complete and perfect leggishness the leg must stand in sublime isolation, like the tower in the wilderness. As Ibsen so finely says, the strongest leg is that which stands most alone.

This lonely leg on which I rest has all the simplicity of some Doric column. The students of architecture tell us that the only legitimate use of a column is to support weight. This column of mine fulfils its legitimate function. It supports weight. Being of an animal and organic consistency, it may even improve by the process, and during these few days that I am thus unequally balanced, the helplessness or dislocation of the one leg may find compensation in the astonishing strength and classic beauty of the other leg. Mrs. Mountstuart Jenkinson in Mr. George Meredith's novel might pass by at any moment, and seeing me in the stork-like attitude would exclaim, with equal admiration and a more literal exactitude, "He has a leg." Notice how this famous literary phrase supports my contention touching this isolation of any admirable thing. Mrs. Mountstuart Jenkinson, wishing to make a clear and perfect picture of human grace, said that Sir Willoughby Patterne had a leg. She delicately glossed over and concealed the clumsy and offensive fact that he had really two legs. Two legs were superfluous and irrelevant, a reflection, and a confusion. Two legs would have confused Mrs. Mountstuart Jenkinson like two Monuments in London. That having had one good leg he should have another--this would be to use vain repetitions as the Gentiles do. She would have been as much bewildered by him as if he had been a centipede.

All pessimism has a secret optimism for its object. All surrender of life, all denial of pleasure, all darkness, all austerity, all desolation has for its real aim this separation of something so that it may be poignantly and perfectly enjoyed. I feel grateful for the slight sprain which has introduced this mysterious and fascinating division between one of my feet and the other. The way to love anything is to realise that it might be lost. In one of my feet I can feel how strong and splendid a foot is; in the other I can realise how very much otherwise it might have been. The moral of the thing is wholly exhilarating. This world and all our powers in it are far more awful and beautiful than even we know until some accident reminds us. If you wish to perceive that limitless felicity, limit yourself if only for a moment. If you wish to realise how fearfully and wonderfully God's image is made, stand on one leg. If you want to realise the splendid vision of all visible things--wink the other eye.

For some time I had been wandering in quiet streets in the curious town of Besan?on, which stands like a sort of peninsula in a horse-shoe of river. You may learn from the guide books that it was the birthplace of Victor Hugo, and that it is a military station with many forts, near the French frontier. But you will not learn from guide books that the very tiles on the roofs seem to be of some quainter and more delicate colour than the tiles of all the other towns of the world; that the tiles look like the little clouds of some strange sunset, or like the lustrous scales of some strange fish. They will not tell you that in this town the eye cannot rest on anything without finding it in some way attractive and even elvish, a carved face at a street corner, a gleam of green fields through a stunted arch, or some unexpected colour for the enamel of a spire or dome.

.....

Evening was coming on and in the light of it all these colours so simple and yet so subtle seemed more and more to fit together and make a fairy tale. I sat down for a little outside a caf? with a row of little toy trees in front of it, and presently the driver of a fly came to the same place. He was one of those very large and dark Frenchmen, a type not common but yet typical of France; the Rabelaisian Frenchman, huge, swarthy, purple-faced, a walking wine-barrel; he was a sort of Southern Falstaff, if one can imagine Falstaff anything but English. And, indeed, there was a vital difference, typical of two nations. For while Falstaff would have been shaking with hilarity like a huge jelly, full of the broad farce of the London streets, this Frenchman was rather solemn and dignified than otherwise--as if pleasure were a kind of pagan religion. After some talk which was full of the admirable civility and equality of French civilisation, he suggested without either eagerness or embarrassment that he should take me in his fly for an hour's ride in the hills beyond the town. And though it was growing late I consented; for there was one long white road under an archway and round a hill that dragged me like a long white cord. We drove through the strong, squat gateway that was made by Romans, and I remember the coincidence like a sort of omen that as we passed out of the city I heard simultaneously the three sounds which are the trinity of France. They make what some poet calls "a tangled trinity," and I am not going to disentangle it. Whatever those three things mean, how or why they co-exist; whether they can be reconciled or perhaps are reconciled already; the three sounds I heard then by an accident all at once make up the French mystery. For the brass band in the Casino gardens behind me was playing with a sort of passionate levity some ramping tune from a Parisian comic opera, and while this was going on I heard also the bugles on the hills above, that told of terrible loyalties and men always arming in the gate of France; and I heard also, fainter than these sounds and through them all, the Angelus.

.....

After this coincidence of symbols I had a curious sense of having left France behind me, or, perhaps, even the civilised world. And, indeed, there was something in the landscape wild enough to encourage such a fancy. I have seen perhaps higher mountains, but I have never seen higher rocks; I have never seen height so near, so abrupt and sensational, splinters of rock that stood up like the spires of churches, cliffs that fell sudden and straight as Satan fell from heaven. There was also a quality in the ride which was not only astonishing, but rather bewildering; a quality which many must have noticed if they have driven or ridden rapidly up mountain roads. I mean a sense of gigantic gyration, as of the whole earth turning about one's head. It is quite inadequate to say that the hills rose and fell like enormous waves. Rather the hills seemed to turn about me like the enormous sails of a windmill, a vast wheel of monstrous archangelic wings. As we drove on and up into the gathering purple of the sunset this dizziness increased, confounding things above with things below. Wide walls of wooded rock stood out above my head like a roof. I stared at them until I fancied that I was staring down at a wooded plain. Below me steeps of green swept down to the river. I stared at them until I fancied that they swept up to the sky. The purple darkened, night drew nearer; it seemed only to cut clearer the chasms and draw higher the spires of that nightmare landscape. Above me in the twilight was the huge black hulk of the driver, and his broad, blank back was as mysterious as the back of Death in Watts' picture. I felt that I was growing too fantastic, and I sought to speak of ordinary things. I called out to the driver in French, "Where are you taking me?" and it is a literal and solemn fact that he answered me in the same language without turning around, "To the end of the world."

I did not answer. I let him drag the vehicle up dark, steep ways, until I saw lights under a low roof of little trees and two children, one oddly beautiful, playing at ball. Then we found ourselves filling up the strict main street of a tiny hamlet, and across the wall of its inn was written in large letters, LE BOUT DU MONDE--the end of the world.

The driver and I sat down outside that inn without a word, as if all ceremonies were natural and understood in that ultimate place. I ordered bread for both of us, and red wine, that was good but had no name. On the other side of the road was a little plain church with a cross on top of it and a cock on top of the cross. This seemed to me a very good end of the world; if the story of the world ended here it ended well. Then I wondered whether I myself should really be content to end here, where most certainly there were the best things of Christendom--a church and children's games and decent soil and a tavern for men to talk with men. But as I thought a singular doubt and desire grew slowly in me, and at last I started up.

"Are you not satisfied?" asked my companion. "No," I said, "I am not satisfied even at the end of the world."

Then, after a silence, I said, "Because you see there are two ends of the world. And this is the wrong end of the world; at least the wrong one for me. This is the French end of the world. I want the other end of the world. Drive me to the other end of the world."

"The other end of the world?" he asked. "Where is that?"

"It is in Walham Green," I whispered hoarsely. "You see it on the London omnibuses. 'World's End and Walham Green.' Oh, I know how good this is; I love your vineyards and your free peasantry, but I want the English end of the world. I love you like a brother, but I want an English cabman, who will be funny and ask me what his fare 'is.' Your bugles stir my blood, but I want to see a London policeman. Take, oh, take me to see a London policeman."

He stood quite dark and still against the end of the sunset, and I could not tell whether he understood or not. I got back into his carriage.

"You will understand," I said, "if ever you are an exile even for pleasure. The child to his mother, the man to his country, as a countryman of yours once said. But since, perhaps, it is rather too long a drive to the English end of the world, we may as well drive back to Besan?on."

Only as the stars came out among those immortal hills I wept for Walham Green.

On the first of May I was sitting outside a caf? in the Place de la Bastille in Paris staring at the exultant column, crowned with a capering figure, which stands in the place where the people destroyed a prison and ended an age. The thing is a curious example of how symbolic is the great part of human history. As a matter of mere material fact, the Bastille when it was taken was not a horrible prison; it was hardly a prison at all. But it was a symbol, and the people always go by a sure instinct for symbols; for the Chinaman, for instance, at the last General Election, or for President Kruger's hat in the election before; their poetic sense is perfect. The Chinaman with his pigtail is not an idle flippancy. He does typify with a compact precision exactly the thing the people resent in African policy, the alien and grotesque nature of the power of wealth, the fact that money has no roots, that it is not a natural and familiar power, but a sort of airy and evil magic calling monsters from the ends of the earth. The people hate the mine owner who can bring a Chinaman flying across the sea, exactly as the people hated the wizard who could fetch a flying dragon through the air. It was the same with Mr. Kruger's hat. His hat was not merely a joke. It did symbolise, and symbolise extremely well, the exact thing which our people at that moment regarded with impatience and venom; the old-fashioned, dingy, Republican simplicity, the unbeautiful dignity of the bourgeois, and the heavier truisms of political morality. No; the people are sometimes wrong on the practical side of politics; they are never wrong on the artistic side.

.....

So it was, certainly, with the Bastille. The destruction of the Bastille was not a reform; it was something more important than a reform. It was an iconoclasm; it was the breaking of a stone image. The people saw the building like a giant looking at them with a score of eyes, and they struck at it as at a carved fact. For of all the shapes in which that immense illusion called materialism can terrify the soul, perhaps the most oppressive are big buildings. Man feels like a fly, an accident, in the thing he has himself made. It requires a violent effort of the spirit to remember that man made this confounding thing and man could unmake it. Therefore the mere act of the ragged people in the street taking and destroying a huge public building has a spiritual, a ritual meaning far beyond its immediate political results. It is a religious service. If, for instance, the Socialists were numerous or courageous enough to capture and smash up the Bank of England, you might argue for ever about the inutility of the act, and how it really did not touch the root of the economic problem in the correct manner. But mankind would never forget it. It would change the world.

Architecture is a very good test of the true strength of a society, for the most valuable things in a human state are the irrevocable things--marriage, for instance. And architecture approaches nearer than any other art to being irrevocable, because it is so difficult to get rid of. You can turn a picture with its face to the wall; it would be a nuisance to turn that Roman cathedral with its face to the wall. You can tear a poem to pieces; it is only in moments of very sincere emotion that you tear a town-hall to pieces. A building is akin to dogma; it is insolent, like a dogma. Whether or no it is permanent, it claims permanence like a dogma. People ask why we have no typical architecture of the modern world, like impressionism in painting. Surely it is obviously because we have not enough dogmas; we cannot bear to see anything in the sky that is solid and enduring, anything in the sky that does not change like the clouds of the sky. But along with this decision which is involved in creating a building, there goes a quite similar decision in the more delightful task of smashing one. The two of necessity go together. In few places have so many fine public buildings been set up as here in Paris, and in few places have so many been destroyed. When people have finally got into the horrible habit of preserving buildings, they have got out of the habit of building them. And in London one mingles, as it were, one's tears because so few are pulled down.

.....

As I sat staring at the column of the Bastille, inscribed to Liberty and Glory, there came out of one corner of the square a sudden and silent line of horsemen. Their dress was of a dull blue, plain and prosaic enough, but the sun set on fire the brass and steel of their helmets; and their helmets were carved like the helmets of the Romans. I had seen them by twos and threes often enough before. I had seen plenty of them in pictures toiling through the snows of Friedland or roaring round the squares at Waterloo. But now they came file after file, like an invasion, and something in their numbers, or in the evening light that lit up their faces and their crests, or something in the reverie into which they broke, made me inclined to spring to my feet and cry out, "The French soldiers!" There were the little men with the brown faces that had so often ridden through the capitals of Europe as coolly as they now rode through their own. And when I looked across the square I saw that the two other corners were choked with blue and red; held by little groups of infantry. The city was garrisoned as against a revolution.

Of course, I had heard all about the strike, chiefly from a baker. He said he was not going to "Chomer." I said, "Qu'est-ce que c'est que le chome?" He said, "Ils ne veulent pas travailler." I said, "Ni moi non plus," and he thought I was a class-conscious collectivist proletarian. The whole thing was curious, and the true moral of it one not easy for us, as a nation, to grasp, because our own faults are so deeply and dangerously in the other direction. To me, as an Englishman , the whole thing seemed a fuss about nothing. It looked like turning out one of the best armies in Europe against ordinary people walking about the street. The cavalry charged us once or twice, more or less harmlessly. But, of course, it is hard to say how far in such criticisms one is assuming the French populace to be as docile as the English. But the deeper truth of the matter tingled, so to speak, through the whole noisy night. This people has a natural faculty for feeling itself on the eve of something--of the Bartholomew or the Revolution or the Commune or the Day of Judgment. It is this sense of crisis that makes France eternally young. It is perpetually pulling down and building up, as it pulled down the prison and put up the column in the Place de La Bastille. France has always been at the point of dissolution. She has found the only method of immortality. She dies daily.

Lying in bed would be an altogether perfect and supreme experience if only one had a coloured pencil long enough to draw on the ceiling. This, however, is not generally a part of the domestic apparatus on the premises. I think myself that the thing might be managed with several pails of Aspinall and a broom. Only if one worked in a really sweeping and masterly way, and laid on the colour in great washes, it might drip down again on one's face in floods of rich and mingled colour like some strange fairy rain; and that would have its disadvantages. I am afraid it would be necessary to stick to black and white in this form of artistic composition. To that purpose, indeed, the white ceiling would be of the greatest possible use; in fact, it is the only use I think of a white ceiling being put to.

But for the beautiful experiment of lying in bed I might never have discovered it. For years I have been looking for some blank spaces in a modern house to draw on. Paper is much too small for any really allegorical design; as Cyrano de Bergerac says, "Il me faut des g?ants." But when I tried to find these fine clear spaces in the modern rooms such as we all live in I was continually disappointed. I found an endless pattern and complication of small objects hung like a curtain of fine links between me and my desire. I examined the walls; I found them to my surprise to be already covered with wallpaper, and I found the wallpaper to be already covered with uninteresting images, all bearing a ridiculous resemblance to each other. I could not understand why one arbitrary symbol should thus be sprinkled all over my nice walls like a sort of small-pox. The Bible must be referring to wallpapers, I think, when it says, "Use not vain repetitions, as the Gentiles do." I found the Turkey carpet a mass of unmeaning colours, rather like the Turkish Empire, or like the sweetmeat called Turkish Delight. I do not exactly know what Turkish Delight really is; but I suppose it is Macedonian Massacres. Everywhere that I went forlornly, with my pencil or my paint brush, I found that others had unaccountably been before me, spoiling the walls, the curtains, and the furniture with their childish and barbaric designs.

.....

Nowhere did I find a really clear space for sketching until this occasion when I prolonged beyond the proper limit the process of lying on my back in bed. Then the light of that white heaven broke upon my vision, that breadth of mere white which is indeed almost the definition of Paradise, since it means purity and also means freedom. But alas! like all heavens, now that it is seen it is found to be unattainable; it looks more austere and more distant than the blue sky outside the window. For my proposal to paint on it with the bristly end of a broom has been discouraged--never mind by whom; by a person debarred from all political rights--and even my minor proposal to put the other end of the broom into the kitchen fire and turn it to charcoal has not been conceded. Yet I am certain that it was from persons in my position that all the original inspiration came for covering the ceilings of palaces and cathedrals with a riot of fallen angels or victorious gods. I am sure that it was only because Michael Angelo was engaged in the ancient and honourable occupation of lying in bed that he ever realized how the roof of the Sistine Chapel might be made into an awful imitation of a divine drama that could only be acted in the heavens.

The tone now commonly taken toward the practice of lying in bed is hypocritical and unhealthy. Of all the marks of modernity that seem to mean a kind of decadence, there is none more menacing and dangerous than the exultation of very small and secondary matters of conduct at the expense of very great and primary ones, at the expense of eternal ties and tragic human morality. If there is one thing worse than the modern weakening of major morals, it is the modern strengthening of minor morals. Thus it is considered more withering to accuse a man of bad taste than of bad ethics. Cleanliness is not next to godliness nowadays, for cleanliness is made essential and godliness is regarded as an offence. A playwright can attack the institution of marriage so long as he does not misrepresent the manners of society, and I have met Ibsenite pessimists who thought it wrong to take beer but right to take prussic acid. Especially this is so in matters of hygiene; notably such matters as lying in bed. Instead of being regarded, as it ought to be, as a matter of personal convenience and adjustment, it has come to be regarded by many as if it were a part of essential morals to get up early in the morning. It is upon the whole part of practical wisdom; but there is nothing good about it or bad about its opposite.

.....

Misers get up early in the morning; and burglars, I am informed, get up the night before. It is the great peril of our society that all its mechanisms may grow more fixed while its spirit grows more fickle. A man's minor actions and arrangements ought to be free, flexible, creative; the things that should be unchangeable are his principles, his ideals. But with us the reverse is true; our views change constantly; but our lunch does not change. Now, I should like men to have strong and rooted conceptions, but as for their lunch, let them have it sometimes in the garden, sometimes in bed, sometimes on the roof, sometimes in the top of a tree. Let them argue from the same first principles, but let them do it in a bed, or a boat, or a balloon. This alarming growth of good habits really means a too great emphasis on those virtues which mere custom can ensure, it means too little emphasis on those virtues which custom can never quite ensure, sudden and splendid virtues of inspired pity or of inspired candour. If ever that abrupt appeal is made to us we may fail. A man can get use to getting up at five o'clock in the morning. A man cannot very well get used to being burnt for his opinions; the first experiment is commonly fatal. Let us pay a little more attention to these possibilities of the heroic and unexpected. I dare say that when I get out of this bed I shall do some deed of an almost terrible virtue.

For those who study the great art of lying in bed there is one emphatic caution to be added. Even for those who can do their work in bed , still more for those whose work cannot be done in bed , it is obvious that the indulgence must be very occasional. But that is not the caution I mean. The caution is this: if you do lie in bed, be sure you do it without any reason or justification at all. I do not speak, of course, of the seriously sick. But if a healthy man lies in bed, let him do it without a rag of excuse; then he will get up a healthy man. If he does it for some secondary hygienic reason, if he has some scientific explanation, he may get up a hypochondriac.

The other day, while I was meditating on morality and Mr. H. Pitt, I was, so to speak, snatched up and put into a jury box to try people. The snatching took some weeks, but to me it seemed something sudden and arbitrary. I was put into this box because I lived in Battersea, and my name began with a C. Looking round me, I saw that there were also summoned and in attendance in the court whole crowds and processions of men, all of whom lived in Battersea, and all of whose names began with a C.

It seems that they always summon jurymen in this sweeping alphabetical way. At one official blow, so to speak, Battersea is denuded of all its C's, and left to get on as best it can with the rest of the alphabet. A Cumberpatch is missing from one street--a Chizzolpop from another--three Chucksterfields from Chucksterfield House; the children are crying out for an absent Cadgerboy; the woman at the street corner is weeping for her Coffintop, and will not be comforted. We settle down with a rollicking ease into our seats , and an oath is administered to us in a totally inaudible manner by an individual resembling an Army surgeon in his second childhood. We understand, however, that we are to well and truly try the case between our sovereign lord the King and the prisoner at the bar, neither of whom has put in an appearance as yet.

.....

Just when I was wondering whether the King and the prisoner were, perhaps, coming to an amicable understanding in some adjoining public house, the prisoner's head appears above the barrier of the dock; he is accused of stealing bicycles, and he is the living image of a great friend of mine. We go into the matter of the stealing of the bicycles. We do well and truly try the case between the King and the prisoner in the affair of the bicycles. And we come to the conclusion, after a brief but reasonable discussion, that the King is not in any way implicated. Then we pass on to a woman who neglected her children, and who looks as if somebody or something had neglected her. And I am one of those who fancy that something had.

All the time that the eye took in these light appearances and the brain passed these light criticisms, there was in the heart a barbaric pity and fear which men have never been able to utter from the beginning, but which is the power behind half the poems of the world. The mood cannot even adequately be suggested, except faintly by this statement that tragedy is the highest expression of the infinite value of human life. Never had I stood so close to pain; and never so far away from pessimism. Ordinarily, I should not have spoken of these dark emotions at all, for speech about them is too difficult; but I mention them now for a specific and particular reason to the statement of which I will proceed at once. I speak these feelings because out of the furnace of them there came a curious realisation of a political or social truth. I saw with a queer and indescribable kind of clearness what a jury really is, and why we must never let it go.

The trend of our epoch up to this time has been consistently towards specialism and professionalism. We tend to have trained soldiers because they fight better, trained singers because they sing better, trained dancers because they dance better, specially instructed laughers because they laugh better, and so on and so on. The principle has been applied to law and politics by innumerable modern writers. Many Fabians have insisted that a greater part of our political work should be performed by experts. Many legalists have declared that the untrained jury should be altogether supplanted by the trained Judge.

.....

Now, if this world of ours were really what is called reasonable, I do not know that there would be any fault to find with this. But the true result of all experience and the true foundation of all religion is this. That the four or five things that it is most practically essential that a man should know, are all of them what people call paradoxes. That is to say, that though we all find them in life to be mere plain truths, yet we cannot easily state them in words without being guilty of seeming verbal contradictions. One of them, for instance, is the unimpeachable platitude that the man who finds most pleasure for himself is often the man who least hunts for it. Another is the paradox of courage; the fact that the way to avoid death is not to have too much aversion to it. Whoever is careless enough of his bones to climb some hopeful cliff above the tide may save his bones by that carelessness. Whoever will lose his life, the same shall save it; an entirely practical and prosaic statement.

Now, one of these four or five paradoxes which should be taught to every infant prattling at his mother's knee is the following: That the more a man looks at a thing, the less he can see it, and the more a man learns a thing the less he knows it. The Fabian argument of the expert, that the man who is trained should be the man who is trusted would be absolutely unanswerable if it were really true that a man who studied a thing and practiced it every day went on seeing more and more of its significance. But he does not. He goes on seeing less and less of its significance. In the same way, alas! we all go on every day, unless we are continually goading ourselves into gratitude and humility, seeing less and less of the significance of the sky or the stones.

.....

Now it is a terrible business to mark a man out for the vengeance of men. But it is a thing to which a man can grow accustomed, as he can to other terrible things; he can even grow accustomed to the sun. And the horrible thing about all legal officials, even the best, about all judges, magistrates, barristers, detectives, and policemen, is not that they are wicked , not that they are stupid , it is simply that they have got used to it.

Strictly they do not see the prisoner in the dock; all they see is the usual man in the usual place. They do not see the awful court of judgment; they only see their own workshop. Therefore, the instinct of Christian civilisation has most wisely declared that into their judgments there shall upon every occasion be infused fresh blood and fresh thoughts from the streets. Men shall come in who can see the court and the crowd, and coarse faces of the policeman and the professional criminals, the wasted faces of the wastrels, the unreal faces of the gesticulating counsel, and see it all as one sees a new picture or a play hitherto unvisited.

Share on: WhatsApp @Hash Facebook Tweet