All Things Considered

"Where nobody grows old or weary or wise,Where nobody grows old or godly or grave."

But, after all (it is a shocking thing to say), I doubt whether Mr. Yeats really knows the real philosophy of the fairies. He is not simple enough; he is not stupid enough. Though I say it who should not, in good sound human stupidity I would knock Mr. Yeats out any day. The fairies like me better than Mr. Yeats; they can take me in more. And I have my doubts whether this feeling of the free, wild spirits on the crest of hill or wave is really the central and simple spirit of folk-lore. I think the poets have made a mistake: because the world of the fairy-tales is a brighter and more varied world than ours, they have fancied it less moral; really it is brighter and more varied because it is more moral. Suppose a man could be born in a modern prison. It is impossible, of course, because nothing human can happen in a modern prison, though it could sometimes in an ancient dungeon. A modern prison is always inhuman, even when it is not inhumane. But suppose a man were born in a modern prison, and grew accustomed to the deadly silence and the disgusting indifference; and suppose he were then suddenly turned loose upon the life and laughter of Fleet Street. He would, of course, think that the literary men in Fleet Street were a free and happy race; yet how sadly, how ironically, is this the reverse of the case! And so again these toiling serfs in Fleet Street, when they catch a glimpse of the fairies, think the fairies are utterly free. But fairies are like journalists in this and many other respects. Fairies and journalists have an apparent gaiety and a delusive beauty. Fairies and journalists seem to be lovely and lawless; they seem to be both of them too exquisite to descend to the ugliness of everyday duty. But it is an illusion created by the sudden sweetness of their presence. Journalists live under law; and so in fact does fairyland.

If you really read the fairy-tales, you will observe that one idea runs from one end of them to the other – the idea that peace and happiness can only exist on some condition. This idea, which is the core of ethics, is the core of the nursery-tales. The whole happiness of fairyland hangs upon a thread, upon one thread. Cinderella may have a dress woven on supernatural looms and blazing with unearthly brilliance; but she must be back when the clock strikes twelve. The king may invite fairies to the christening, but he must invite all the fairies or frightful results will follow. Bluebeard's wife may open all doors but one. A promise is broken to a cat, and the whole world goes wrong. A promise is broken to a yellow dwarf, and the whole world goes wrong. A girl may be the bride of the God of Love himself if she never tries to see him; she sees him, and he vanishes away. A girl is given a box on condition she does not open it; she opens it, and all the evils of this world rush out at her. A man and woman are put in a garden on condition that they do not eat one fruit: they eat it, and lose their joy in all the fruits of the earth.

This great idea, then, is the backbone of all folk-lore – the idea that all happiness hangs on one thin veto; all positive joy depends on one negative. Now, it is obvious that there are many philosophical and religious ideas akin to or symbolised by this; but it is not with them I wish to deal here. It is surely obvious that all ethics ought to be taught to this fairy-tale tune; that, if one does the thing forbidden, one imperils all the things provided. A man who breaks his promise to his wife ought to be reminded that, even if she is a cat, the case of the fairy-cat shows that such conduct may be incautious. A burglar just about to open some one else's safe should be playfully reminded that he is in the perilous posture of the beautiful Pandora: he is about to lift the forbidden lid and loosen evils unknown. The boy eating some one's apples in some one's apple tree should be a reminder that he has come to a mystical moment of his life, when one apple may rob him of all others. This is the profound morality of fairy-tales; which, so far from being lawless, go to the root of all law. Instead of finding (like common books of ethics) a rationalistic basis for each Commandment, they find the great mystical basis for all Commandments. We are in this fairyland on sufferance; it is not for us to quarrel with the conditions under which we enjoy this wild vision of the world. The vetoes are indeed extraordinary, but then so are the concessions. The idea of property, the idea of some one else's apples, is a rum idea; but then the idea of there being any apples is a rum idea. It is strange and weird that I cannot with safety drink ten bottles of champagne; but then the champagne itself is strange and weird, if you come to that. If I have drunk of the fairies' drink it is but just I should drink by the fairies' rules. We may not see the direct logical connection between three beautiful silver spoons and a large ugly policeman; but then who in fairy tales ever could see the direct logical connection between three bears and a giant, or between a rose and a roaring beast? Not only can these fairy-tales be enjoyed because they are moral, but morality can be enjoyed because it puts us in fairyland, in a world at once of wonder and of war.

TOM JONES AND MORALITY

The two hundredth anniversary of Henry Fielding is very justly celebrated, even if, as far as can be discovered, it is only celebrated by the newspapers. It would be too much to expect that any such merely chronological incident should induce the people who write about Fielding to read him; this kind of neglect is only another name for glory. A great classic means a man whom one can praise without having read. This is not in itself wholly unjust; it merely implies a certain respect for the realisation and fixed conclusions of the mass of mankind. I have never read Pindar (I mean I have never read the Greek Pindar; Peter Pindar I have read all right), but the mere fact that I have not read Pindar, I think, ought not to prevent me and certainly would not prevent me from talking of "the masterpieces of Pindar," or of "great poets like Pindar or Æschylus." The very learned men are angularly unenlightened on this as on many other subjects; and the position they take up is really quite unreasonable. If any ordinary journalist or man of general reading alludes to Villon or to Homer, they consider it a quite triumphant sneer to say to the man, "You cannot read mediæval French," or "You cannot read Homeric Greek." But it is not a triumphant sneer – or, indeed, a sneer at all. A man has got as much right to employ in his speech the established and traditional facts of human history as he has to employ any other piece of common human information. And it is as reasonable for a man who knows no French to assume that Villon was a good poet as it would be for a man who has no ear for music to assume that Beethoven was a good musician. Because he himself has no ear for music, that is no reason why he should assume that the human race has no ear for music. Because I am ignorant (as I am), it does not follow that I ought to assume that I am deceived. The man who would not praise Pindar unless he had read him would be a low, distrustful fellow, the worst kind of sceptic, who doubts not only God, but man. He would be like a man who could not call Mount Everest high unless he had climbed it. He would be like a man who would not admit that the North Pole was cold until he had been there.

But I think there is a limit, and a highly legitimate limit, to this process. I think a man may praise Pindar without knowing the top of a Greek letter from the bottom. But I think that if a man is going to abuse Pindar, if he is going to denounce, refute, and utterly expose Pindar, if he is going to show Pindar up as the utter ignoramus and outrageous impostor that he is, then I think it will be just as well perhaps – I think, at any rate, it would do no harm – if he did know a little Greek, and even had read a little Pindar. And I think the same situation would be involved if the critic were concerned to point out that Pindar was scandalously immoral, pestilently cynical, or low and beastly in his views of life. When people brought such attacks against the morality of Pindar, I should regret that they could not read Greek; and when they bring such attacks against the morality of Fielding, I regret very much that they cannot read English.

There seems to be an extraordinary idea abroad that Fielding was in some way an immoral or offensive writer. I have been astounded by the number of the leading articles, literary articles, and other articles written about him just now in which there is a curious tone of apologising for the man. One critic says that after all he couldn't help it, because he lived in the eighteenth century; another says that we must allow for the change of manners and ideas; another says that he was not altogether without generous and humane feelings; another suggests that he clung feebly, after all, to a few of the less important virtues. What on earth does all this mean? Fielding described Tom Jones as going on in a certain way, in which, most unfortunately, a very large number of young men do go on. It is unnecessary to say that Henry Fielding knew that it was an unfortunate way of going on. Even Tom Jones knew that. He said in so many words that it was a very unfortunate way of going on; he said, one may almost say, that it had ruined his life; the passage is there for the benefit of any one who may take the trouble to read the book. There is ample evidence (though even this is of a mystical and indirect kind), there is ample evidence that Fielding probably thought that it was better to be Tom Jones than to be an utter coward and sneak. There is simply not one rag or thread or speck of evidence to show that Fielding thought that it was better to be Tom Jones than to be a good man. All that he is concerned with is the description of a definite and very real type of young man; the young man whose passions and whose selfish necessities sometimes seemed to be stronger than anything else in him.

The practical morality of Tom Jones is bad, though not so bad, spiritually speaking, as the practical morality of Arthur Pendennis or the practical morality of Pip, and certainly nothing like so bad as the profound practical immorality of Daniel Deronda. The practical morality of Tom Jones is bad; but I cannot see any proof that his theoretical morality was particularly bad. There is no need to tell the majority of modern young men even to live up to the theoretical ethics of Henry Fielding. They would suddenly spring into the stature of archangels if they lived up to the theoretic ethics of poor Tom Jones. Tom Jones is still alive, with all his good and all his evil; he is walking about the streets; we meet him every day. We meet with him, we drink with him, we smoke with him, we talk with him, we talk about him. The only difference is that we have no longer the intellectual courage to write about him. We split up the supreme and central human being, Tom Jones, into a number of separate aspects. We let Mr. J.M. Barrie write about him in his good moments, and make him out better than he is. We let Zola write about him in his bad moments, and make him out much worse than he is. We let Maeterlinck celebrate those moments of spiritual panic which he knows to be cowardly; we let Mr. Rudyard Kipling celebrate those moments of brutality which he knows to be far more cowardly. We let obscene writers write about the obscenities of this ordinary man. We let puritan writers write about the purities of this ordinary man. We look through one peephole that makes men out as devils, and we call it the new art. We look through another peephole that makes men out as angels, and we call it the New Theology. But if we pull down some dusty old books from the bookshelf, if we turn over some old mildewed leaves, and if in that obscurity and decay we find some faint traces of a tale about a complete man, such a man as is walking on the pavement outside, we suddenly pull a long face, and we call it the coarse morals of a bygone age.

The truth is that all these things mark a certain change in the general view of morals; not, I think, a change for the better. We have grown to associate morality in a book with a kind of optimism and prettiness; according to us, a moral book is a book about moral people. But the old idea was almost exactly the opposite; a moral book was a book about immoral people. A moral book was full of pictures like Hogarth's "Gin Lane" or "Stages of Cruelty," or it recorded, like the popular broadsheet, "God's dreadful judgment" against some blasphemer or murderer. There is a philosophical reason for this change. The homeless scepticism of our time has reached a sub-conscious feeling that morality is somehow merely a matter of human taste – an accident of psychology. And if goodness only exists in certain human minds, a man wishing to praise goodness will naturally exaggerate the amount of it that there is in human minds or the number of human minds in which it is supreme. Every confession that man is vicious is a confession that virtue is visionary. Every book which admits that evil is real is felt in some vague way to be admitting that good is unreal. The modern instinct is that if the heart of man is evil, there is nothing that remains good. But the older feeling was that if the heart of man was ever so evil, there was something that remained good – goodness remained good. An actual avenging virtue existed outside the human race; to that men rose, or from that men fell away. Therefore, of course, this law itself was as much demonstrated in the breach as in the observance. If Tom Jones violated morality, so much the worse for Tom Jones. Fielding did not feel, as a melancholy modern would have done, that every sin of Tom Jones was in some way breaking the spell, or we may even say destroying the fiction of morality. Men spoke of the sinner breaking the law; but it was rather the law that broke him. And what modern people call the foulness and freedom of Fielding is generally the severity and moral stringency of Fielding. He would not have thought that he was serving morality at all if he had written a book all about nice people. Fielding would have considered Mr. Ian Maclaren extremely immoral; and there is something to be said for that view. Telling the truth about the terrible struggle of the human soul is surely a very elementary part of the ethics of honesty. If the characters are not wicked, the book is. This older and firmer conception of right as existing outside human weakness and without reference to human error can be felt in the very lightest and loosest of the works of old English literature. It is commonly unmeaning enough to call Shakspere a great moralist; but in this particular way Shakspere is a very typical moralist. Whenever he alludes to right and wrong it is always with this old implication. Right is right, even if nobody does it. Wrong is wrong, even if everybody is wrong about it.

THE MAID OF ORLEANS

A considerable time ago (at far too early an age, in fact) I read Voltaire's "La Pucelle," a savage sarcasm on the traditional purity of Joan of Arc, very dirty, and very funny. I had not thought of it again for years, but it came back into my mind this morning because I began to turn over the leaves of the new "Jeanne d'Arc," by that great and graceful writer, Anatole France. It is written in a tone of tender sympathy, and a sort of sad reverence; it never loses touch with a noble tact and courtesy, like that of a gentleman escorting a peasant girl through the modern crowd. It is invariably respectful to Joan, and even respectful to her religion. And being myself a furious admirer of Joan the Maid, I have reflectively compared the two methods, and I come to the conclusion that I prefer Voltaire's.

When a man of Voltaire's school has to explode a saint or a great religious hero, he says that such a person is a common human fool, or a common human fraud. But when a man like Anatole France has to explode a saint, he explains a saint as somebody belonging to his particular fussy little literary set. Voltaire read human nature into Joan of Arc, though it was only the brutal part of human nature. At least it was not specially Voltaire's nature. But M. France read M. France's nature into Joan of Arc – all the cold kindness, all the homeless sentimental sin of the modern literary man. There is one book that it recalled to me with startling vividness, though I have not seen the matter mentioned anywhere; Renan's "Vie de Jésus." It has just the same general intention: that if you do not attack Christianity, you can at least patronise it. My own instinct, apart from my opinions, would be quite the other way. If I disbelieved in Christianity, I should be the loudest blasphemer in Hyde Park. Nothing ought to be too big for a brave man to attack; but there are some things too big for a man to patronise.

And I must say that the historical method seems to me excessively unreasonable. I have no knowledge of history, but I have as much knowledge of reason as Anatole France. And, if anything is irrational, it seems to me that the Renan-France way of dealing with miraculous stories is irrational. The Renan-France method is simply this: you explain supernatural stories that have some foundation simply by inventing natural stories that have no foundation. Suppose that you are confronted with the statement that Jack climbed up the beanstalk into the sky. It is perfectly philosophical to reply that you do not think that he did. It is (in my opinion) even more philosophical to reply that he may very probably have done so. But the Renan-France method is to write like this: "When we consider Jack's curious and even perilous heredity, which no doubt was derived from a female greengrocer and a profligate priest, we can easily understand how the ideas of heaven and a beanstalk came to be combined in his mind. Moreover, there is little doubt that he must have met some wandering conjurer from India, who told him about the tricks of the mango plant, and how t is sent up to the sky. We can imagine these two friends, the old man and the young, wandering in the woods together at evening, looking at the red and level clouds, as on that night when the old man pointed to a small beanstalk, and told his too imaginative companion that this also might be made to scale the heavens. And then, when we remember the quite exceptional psychology of Jack, when we remember how there was in him a union of the prosaic, the love of plain vegetables, with an almost irrelevant eagerness for the unattainable, for invisibility and the void, we shall no longer wonder that it was to him especially that was sent this sweet, though merely symbolic, dream of the tree uniting earth and heaven." That is the way that Renan and France write, only they do it better. But, really, a rationalist like myself becomes a little impatient and feels inclined to say, "But, hang it all, what do you know about the heredity of Jack or the psychology of Jack? You know nothing about Jack at all, except that some people say that he climbed up a beanstalk. Nobody would ever have thought of mentioning him if he hadn't. You must interpret him in terms of the beanstalk religion; you cannot merely interpret religion in terms of him. We have the materials of this story, and we can believe them or not. But we have not got the materials to make another story."

It is no exaggeration to say that this is the manner of M. Anatole France in dealing with Joan of Arc. Because her miracle is incredible to his somewhat old-fashioned materialism, he does not therefore dismiss it and her to fairyland with Jack and the Beanstalk. He tries to invent a real story, for which he can find no real evidence. He produces a scientific explanation which is quite destitute of any scientific proof. It is as if I (being entirely ignorant of botany and chemistry) said that the beanstalk grew to the sky because nitrogen and argon got into the subsidiary ducts of the corolla. To take the most obvious example, the principal character in M. France's story is a person who never existed at all. All Joan's wisdom and energy, it seems, came from a certain priest, of whom there is not the tiniest trace in all the multitudinous records of her life. The only foundation I can find for this fancy is the highly undemocratic idea that a peasant girl could not possibly have any ideas of her own. It is very hard for a freethinker to remain democratic. The writer seems altogether to forget what is meant by the moral atmosphere of a community. To say that Joan must have learnt her vision of a virgin overthrowing evil from a priest, is like saying that some modern girl in London, pitying the poor, must have learnt it from a Labour Member. She would learn it where the Labour Member learnt it – in the whole state of our society.

But that is the modern method: the method of the reverent sceptic. When you find a life entirely incredible and incomprehensible from the outside, you pretend that you understand the inside. As Renan, the rationalist, could not make any sense out of Christ's most public acts, he proceeded to make an ingenious system out of His private thoughts. As Anatole France, on his own intellectual principle, cannot believe in what Joan of Arc did, he professes to be her dearest friend, and to know exactly what she meant. I cannot feel it to be a very rational manner of writing history; and sooner or later we shall have to find some more solid way of dealing with those spiritual phenomena with which all history is as closely spotted and spangled as the sky is with stars.

Joan of Arc is a wild and wonderful thing enough, but she is much saner than most of her critics and biographers. We shall not recover the common sense of Joan until we have recovered her mysticism. Our wars fail, because they begin with something sensible and obvious – such as getting to Pretoria by Christmas. But her war succeeded – because it began with something wild and perfect – the saints delivering France. She put her idealism in the right place, and her realism also in the right place: we moderns get both displaced. She put her dreams and her sentiment into her aims, where they ought to be; she put her practicality into her practice. In modern Imperial wars, the case is reversed. Our dreams, our aims are always, we insist, quite practical. It is our practice that is dreamy.

It is not for us to explain this flaming figure in terms of our tired and querulous culture. Rather we must try to explain ourselves by the blaze of such fixed stars. Those who called her a witch hot from hell were much more sensible than those who depict her as a silly sentimental maiden prompted by her parish priest. If I have to choose between the two schools of her scattered enemies, I could take my place with those subtle clerks who thought her divine mission devilish, rather than with those rustic aunts and uncles who thought it impossible.

A DEAD POET

With Francis Thompson we lose the greatest poetic energy since Browning. His energy was of somewhat the same kind. Browning was intellectually intricate because he was morally simple. He was too simple to explain himself; he was too humble to suppose that other people needed any explanation. But his real energy, and the real energy of Francis Thompson, was best expressed in the fact that both poets were at once fond of immensity and also fond of detail. Any common Imperialist can have large ideas so long as he is not called upon to have small ideas also. Any common scientific philosopher can have small ideas so long as he is not called upon to have large ideas as well. But great poets use the telescope and also the microscope. Great poets are obscure for two opposite reasons; now, because they are talking about something too large for any one to understand, and now again because they are talking about something too small for any one to see. Francis Thompson possessed both these infinities. He escaped by being too small, as the microbe escapes; or he escaped by being too large, as the universe escapes. Any one who knows Francis Thompson's poetry knows quite well the truth to which I refer. For the benefit of any person who does not know it, I may mention two cases taken from memory. I have not the book by me, so I can only render the poetical passages in a clumsy paraphrase. But there was one poem of which the image was so vast that it was literally difficult for a time to take it in; he was describing the evening earth with its mist and fume and fragrance, and represented the whole as rolling upwards like a smoke; then suddenly he called the whole ball of the earth a thurible, and said that some gigantic spirit swung it slowly before God. That is the case of the image too large for comprehension. Another instance sticks in my mind of the image which is too small. In one of his poems, he says that abyss between the known and the unknown is bridged by "Pontifical death." There are about ten historical and theological puns in that one word. That a priest means a pontiff, that a pontiff means a bridge-maker, that death is certainly a bridge, that death may turn out after all to be a reconciling priest, that at least priests and bridges both attest to the fact that one thing can get separated from another thing – these ideas, and twenty more, are all actually concentrated in the word "pontifical." In Francis Thompson's poetry, as in the poetry of the universe, you can work infinitely out and out, but yet infinitely in and in. These two infinities are the mark of greatness; and he was a great poet.