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Alarms and Discursions

<h2> The Wings of Stone </h2> The preceding essay is about a half-built house upon my private horizon; I wrote it sitting in a garden-chair; and as, though it was a week ago, I have scarcely moved since then (to speak of), I do not see why I should not go on writing about it. Strictly speaking, I have moved; I have even walked across a field—a field of turf all fiery in our early summer sunlight—and studied the early angular red skeleton which has turned golden in the sun. It is odd that the skeleton of a house is cheerful when the skeleton of a man is mournful, since we only see it after the man is destroyed. At least, we think the skeleton is mournful; the skeleton himself does not seem to think so. Anyhow, there is something strangely primary and poetic about this sight of the scaffolding and main lines of a human building; it is a pity there is no scaffolding round a human baby. One seems to see domestic life as the daring and ambitious thing that it is, when one looks at those open staircases and empty chambers, those spirals of wind and open halls of sky. Ibsen said that the art of domestic drama was merely to knock one wall out of the four walls of a drawing-room. I find the drawing-room even more impressive when all four walls are knocked out. I have never understood what people mean by domesticity being tame; it seems to me one of the wildest of adventures. But if you wish to see how high and harsh and fantastic an adventure it is, consider only the actual structure of a house itself. A man may march up in a rather bored way to bed; but at least he is mounting to a height from which he could kill himself. Every rich, silent, padded staircase, with banisters of oak, stair-rods of brass, and busts and settees on every landing, every such staircase is truly only an awful and naked ladder running up into the Infinite to a deadly height. The millionaire who stumps up inside the house is really doing the same thing as the tiler or roof-mender who climbs up outside the house; they are both mounting up into the void. They are both making an escalade of the intense inane. Each is a sort of domestic mountaineer; he is reaching a point from which mere idle falling will kill a man; and life is always worth living while men feel that they may die. I cannot understand people at present making such a fuss about flying ships and aviation, when men ever since Stonehenge and the Pyramids have done something so much more wild than flying. A grasshopper can go astonishingly high up in the air, his biological limitation and weakness is that he cannot stop there. Hosts of unclean birds and crapulous insects can pass through the sky, but they cannot pass any communication between it and the earth. But the army of man has advanced vertically into infinity, and not been cut off. It can establish outposts in the ether, and yet keep open behind it its erect and insolent road. It would be grand (as in Jules Verne) to fire a cannon-ball at the moon; but would it not be grander to build a railway to the moon? Yet every building of brick or wood is a hint of that high railroad; every chimney points to some star, and every tower is a Tower of Babel. Man rising on these awful and unbroken wings of stone seems to me more majestic and more mystic than man fluttering for an instant on wings of canvas and sticks of steel. How sublime and, indeed, almost dizzy is the thought of these veiled ladders on which we all live, like climbing monkeys! Many a black-coated clerk in a flat may comfort himself for his sombre garb by reflecting that he is like some lonely rook in an immemorial elm. Many a wealthy bachelor on the top floor of a pile of mansions should look forth at morning and try (if possible) to feel like an eagle whose nest just clings to the edge of some awful cliff. How sad that the word "giddy" is used to imply wantonness or levity! It should be a high compliment to a man's exalted spirituality and the imagination to say he is a little giddy. I strolled slowly back across the stretch of turf by the sunset, a field of the cloth of gold. As I drew near my own house, its huge size began to horrify me; and when I came to the porch of it I discovered with an incredulity as strong as despair that my house was actually bigger than myself. A minute or two before there might well have seemed to be a monstrous and mythical competition about which of the two should swallow the other. But I was Jonah; my house was the huge and hungry fish; and even as its jaws darkened and closed about me I had again this dreadful fancy touching the dizzy altitude of all the works of man. I climbed the stairs stubbornly, planting each foot with savage care, as if ascending a glacier. When I got to a landing I was wildly relieved, and waved my hat. The very word "landing" has about it the wild sound of some one washed up by the sea. I climbed each flight like a ladder in naked sky. The walls all round me failed and faded into infinity; I went up the ladder to my bedroom as Montrose went up the ladder to the gallows; sic itur ad astro. Do you think this is a little fantastic—even a little fearful and nervous? Believe me, it is only one of the wild and wonderful things that one can learn by stopping at home. <h2> The Three Kinds of Men </h2> Roughly speaking, there are three kinds of people in this world. The first kind of people are People; they are the largest and probably the most valuable class. We owe to this class the chairs we sit down on, the clothes we wear, the houses we live in; and, indeed (when we come to think of it), we probably belong to this class ourselves. The second class may be called for convenience the Poets; they are often a nuisance to their families, but, generally speaking, a blessing to mankind. The third class is that of the Professors or Intellectuals; sometimes described as the thoughtful people; and these are a blight and a desolation both to their families and also to mankind. Of course, the classification sometimes overlaps, like all classification. Some good people are almost poets and some bad poets are almost professors. But the division follows lines of real psychological cleavage. I do not offer it lightly. It has been the fruit of more than eighteen minutes of earnest reflection and research. The class called People (to which you and I, with no little pride, attach ourselves) has certain casual, yet profound, assumptions, which are called "commonplaces," as that children are charming, or that twilight is sad and sentimental, or that one man fighting three is a fine sight. Now, these feelings are not crude; they are not even simple. The charm of children is very subtle; it is even complex, to the extent of being almost contradictory. It is, at its very plainest, mingled of a regard for hilarity and a regard for helplessness. The sentiment of twilight, in the vulgarest drawing-room song or the coarsest pair of sweethearts, is, so far as it goes, a subtle sentiment. It is strangely balanced between pain and pleasure; it might also be called pleasure tempting pain. The plunge of impatient chivalry by which we all admire a man fighting odds is not at all easy to define separately, it means many things, pity, dramatic surprise, a desire for justice, a delight in experiment and the indeterminate. The ideas of the mob are really very subtle ideas; but the mob does not express them subtly. In fact, it does not express them at all, except on those occasions (now only too rare) when it indulges in insurrection and massacre. Now, this accounts for the otherwise unreasonable fact of the existence of Poets. Poets are those who share these popular sentiments, but can so express them that they prove themselves the strange and delicate things that they really are. Poets draw out the shy refinement of the rabble. Where the common man covers the queerest emotions by saying, "Rum little kid," Victor Hugo will write "L'art d'etre grand-pere"; where the stockbroker will only say abruptly, "Evenings closing in now," Mr. Yeats will write "Into the twilight"; where the navvy can only mutter something about pluck and being "precious game," Homer will show you the hero in rags in his own hall defying the princes at their banquet. The Poets carry the popular sentiments to a keener and more splendid pitch; but let it always be remembered that it is the popular sentiments that they are carrying. No man ever wrote any good poetry to show that childhood was shocking, or that twilight was gay and farcical, or that a man was contemptible because he had crossed his single sword with three. The people who maintain this are the Professors, or Prigs. The Poets are those who rise above the people by understanding them. Of course, most of the Poets wrote in prose—Rabelais, for instance, and Dickens. The Prigs rise above the people by refusing to understand them: by saying that all their dim, strange preferences are prejudices and superstitions. The Prigs make the people feel stupid; the Poets make the people feel wiser than they could have imagined that they were. There are many weird elements in this situation. The oddest of all perhaps is the fate of the two factors in practical politics. The Poets who embrace and admire the people are often pelted with stones and crucified. The Prigs who despise the people are often loaded with lands and crowned. In the House of Commons, for instance, there are quite a number of prigs, but comparatively few poets. There are no People there at all. By poets, as I have said, I do not mean people who write poetry, or indeed people who write anything. I mean such people as, having culture and imagination, use them to understand and share the feelings of their fellows; as against those who use them to rise to what they call a higher plane. Crudely, the poet differs from the mob by his sensibility; the professor differs from the mob by his insensibility. He has not sufficient finesse and sensitiveness to sympathize with the mob. His only notion is coarsely to contradict it, to cut across it, in accordance with some egotistical plan of his own; to tell himself that, whatever the ignorant say, they are probably wrong. He forgets that ignorance often has the exquisite intuitions of innocence. Let me take one example which may mark out the outline of the contention. Open the nearest comic paper and let your eye rest lovingly upon a joke about a mother-in-law. Now, the joke, as presented for the populace, will probably be a simple joke; the old lady will be tall and stout, the hen-pecked husband will be small and cowering. But for all that, a mother-in-law is not a simple idea. She is a very subtle idea. The problem is not that she is big and arrogant; she is frequently little and quite extraordinarily nice. The problem of the mother-in-law is that she is like the twilight: half one thing and half another. Now, this twilight truth, this fine and even tender embarrassment, might be rendered, as it really is, by a poet, only here the poet would have to be some very penetrating and sincere novelist, like George Meredith, or Mr. H. G. Wells, whose "Ann Veronica" I have just been reading with delight. I would trust the fine poets and novelists because they follow the fairy clue given them in Comic Cuts. But suppose the Professor appears, and suppose he says (as he almost certainly will), "A mother-in-law is merely a fellow-citizen. Considerations of sex should not interfere with comradeship. Regard for age should not influence the intellect. A mother-in-law is merely Another Mind. We should free ourselves from these tribal hierarchies and degrees." Now, when the Professor says this (as he always does), I say to him, "Sir, you are coarser than Comic Cuts. You are more vulgar and blundering than the most elephantine music-hall artiste. You are blinder and grosser than the mob. These vulgar knockabouts have, at least, got hold of a social shade and real mental distinction, though they can only express it clumsily. You are so clumsy that you cannot get hold of it at all. If you really cannot see that the bridegroom's mother and the bride have any reason for constraint or diffidence, then you are neither polite nor humane: you have no sympathy in you for the deep and doubtful hearts of human folk." It is better even to put the difficulty as the vulgar put it than to be pertly unconscious of the difficulty altogether. The same question might be considered well enough in the old proverb that two is company and three is none. This proverb is the truth put popularly: that is, it is the truth put wrong. Certainly it is untrue that three is no company. Three is splendid company: three is the ideal number for pure comradeship: as in the Three Musketeers. But if you reject the proverb altogether; if you say that two and three are the same sort of company; if you cannot see that there is a wider abyss between two and three than between three and three million—then I regret to inform you that you belong to the Third Class of human beings; that you shall have no company either of two or three, but shall be alone in a howling desert till you die. <h2> The Steward of the Chiltern Hundreds </h2> The other day on a stray spur of the Chiltern Hills I climbed up upon one of those high, abrupt, windy churchyards from which the dead seem to look down upon all the living. It was a mountain of ghosts as Olympus was a mountain of gods. In that church lay the bones of great Puritan lords, of a time when most of the power of England was Puritan, even of the Established Church. And below these uplifted bones lay the huge and hollow valleys of the English countryside, where the motors went by every now and then like meteors, where stood out in white squares and oblongs in the chequered forest many of the country seats even of those same families now dulled with wealth or decayed with Toryism. And looking over that deep green prospect on that luminous yellow evening, a lovely and austere thought came into my mind, a thought as beautiful as the green wood and as grave as the tombs. The thought was this: that I should like to go into Parliament, quarrel with my party, accept the Stewardship of the Chiltern Hundreds, and then refuse to give it up. We are so proud in England of our crazy constitutional anomalies that I fancy that very few readers indeed will need to be told about the Steward of the Chiltern Hundreds. But in case there should be here or there one happy man who has never heard of such twisted tomfooleries, I will rapidly remind you what this legal fiction is. As it is quite a voluntary, sometimes even an eager, affair to get into Parliament, you would naturally suppose that it would be also a voluntary matter to get out again. You would think your fellow-members would be indifferent, or even relieved to see you go; especially as (by another exercise of the shrewd, illogical old English common sense) they have carefully built the room too small for the people who have to sit in it. But not so, my pippins, as it says in the "Iliad." If you are merely a member of Parliament (Lord knows why) you can't resign. But if you are a Minister of the Crown (Lord knows why) you can. It is necessary to get into the Ministry in order to get out of the House; and they have to give you some office that doesn't exist or that nobody else wants and thus unlock the door. So you go to the Prime Minister, concealing your air of fatigue, and say, "It has been the ambition of my life to be Steward of the Chiltern Hundreds." The Prime Minister then replies, "I can imagine no man more fitted both morally and mentally for that high office." He then gives it you, and you hurriedly leave, reflecting how the republics of the Continent reel anarchically to and fro for lack of a little solid English directness and simplicity. Now, the thought that struck me like a thunderbolt as I sat on the Chiltern slope was that I would like to get the Prime Minister to give me the Chiltern Hundreds, and then startle and disturb him by showing the utmost interest in my work. I should profess a general knowledge of my duties, but wish to be instructed in the details. I should ask to see the Under-Steward and the Under-Under-Steward, and all the fine staff of experienced permanent officials who are the glory of this department. And, indeed, my enthusiasm would not be wholly unreal. For as far as I can recollect the original duties of a Steward of the Chiltern Hundreds were to put down the outlaws and brigands in that part of the world. Well, there are a great many outlaws and brigands in that part of the world still, and though their methods have so largely altered as to require a corresponding alteration in the tactics of the Steward, I do not see why an energetic and public-spirited Steward should not nab them yet. For the robbers have not vanished from the old high forests to the west of the great city. The thieves have not vanished; they have grown so large that they are invisible. You do not see the word "Asia" written across a map of that neighbourhood; nor do you see the word "Thief" written across the countrysides of England; though it is really written in equally large letters. I know men governing despotically great stretches of that country, whose every step in life has been such that a slip would have sent them to Dartmoor; but they trod along the high hard wall between right and wrong, the wall as sharp as a swordedge, as softly and craftily and lightly as a cat. The vastness of their silent violence itself obscured what they were at; if they seem to stand for the rights of property it is really because they have so often invaded them. And if they do not break the laws, it is only because they make them. But after all we only need a Steward of the Chiltern Hundreds who really understands cats and thieves. Men hunt one animal differently from another; and the rich could catch swindlers as dexterously as they catch otters or antlered deer if they were really at all keen upon doing it. But then they never have an uncle with antlers; nor a personal friend who is an otter. When some of the great lords that lie in the churchyard behind me went out against their foes in those deep woods beneath I wager that they had bows against the bows of the outlaws, and spears against the spears of the robber knights. They knew what they were about; they fought the evildoers of their age with the weapons of their age. If the same common sense were applied to commercial law, in forty-eight hours it would be all over with the American Trusts and the African forward finance. But it will not be done: for the governing class either does not care, or cares very much, for the criminals, and as for me, I had a delusive opportunity of being Constable of Beaconsfield (with grossly inadequate powers), but I fear I shall never really be Steward of the Chiltern Hundreds. <div style="break-after:column;"></div>

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