I have been asked to explain something about myself which seems to be regarded as very extraordinary. The problem has been presented to me in the form of a cutting from a very flattering American article, which yet contained a certain suggestion of wonder. So far as I can understand, it is thought extraordinary that a man should be ordinary. I am ordinary in the correct sense of the term; which means the acceptance of an order; a Creator and the Creation, the common sense of gratitude for Creation, life and love as gifts permanently good, marriage and chivalry as laws rightly controlling them, and the rest of the normal traditions of our race and religion. It is also thought a little odd that I regard the grass as green, even after some newly-discovered Slovak artist has painted it grey; that I think daylight very tolerable in spite of thirteen Lithuanian philosophers sitting in a row and cursing the light of day; and that, in matters more polemical, I actually prefer weddings to divorces and babies to Birth Control. These eccentric views, which I share with the overwhelming majority of mankind, past and present, I should not attempt to defend here one by one. And I only give a general reply for a particular reason. I wish to make it unmistakably plain that my defence of these sentiments is not sentimental. It would be easy to gush about these things; but I defy the reader, after reading this, to find the faintest trace of the tear of sensibility. I hold this view not because it is sensibility, but because it is sense.
On the contrary, it is the sceptics who are the sentimentalists. More than half the "revolt" and the talk of being advanced and progressive is simply a weak sort of snobbishness which takes the form of a worship of Youth. Some men of my generation delight in declaring that they are of the Party of the Young and defending every detail of the latest fashions or freaks. If I do not do that, it is for the same reason that I do not dye my hair or wear stays. But even when it is less despicable than that, the current phrase that everything must be done for youth, that the rising generation is all that matters, is in sober fact a piece of pure sentimentalism. It is also, within reason, a perfectly natural piece of sentiment. All healthy people like to see the young enjoying themselves; but if we turn that pleasure into a principle, we are sentimentalists. If we desire the greatest happiness of the greatest number, it will be obvious that the greatest number, at any given moment, are rather more likely to be between twenty-five and seventy than to be between seventeen and twenty-five. Sacrificing everything to the young will be like working only for the rich. They will be a privileged class and the rest will be snobs or slaves. Moreover, the young will always have a fair amount of fun under the worst conditions; if we really wish to console the world, it will be much more rational to console the old. This is what I call facing facts; and I have continued to believe in most of these traditions because they are facts. I could give a great many other examples; for instance, chivalry. Chivalry is not the romantic, but the realistic, view of the sexes. It is so realistic that the real reasons for it cannot always be given in print.
If those called free-thinkers are sentimentalists, those called free-lovers are open and obvious sentimentalists. We can always convict such people of sentimentalism by their weakness for euphemism. The phrase they use is always softened and suited for journalistic appeals. They talk of free love when they mean something quite different, better defined as free lust. But being sentimentalists they feel bound to simper and coo over the word "love." They insist on talking about Birth Control when they mean less birth and no control. We could smash them to atoms, if we could be as indecent in our language as they are immoral in their conclusions. And as it is with morals, so it is with religion. The general notion that science establishes agnosticism is a sort of mystification produced by talking Latin and Greek instead of plain English. Science is the Latin for knowledge. Agnosticism is the Greek for ignorance. It is not self-evident that ignorance is the goal of knowledge. It is the ignorance and not the knowledge that produces the current notion that free thought weakens theism. It is the real world, that we see with our own eyes, that obviously unfolds a plan of things that fit into each other. It is only a remote and misty legend that ever pretended to explain it by the automatic advantage of the "fit." As a fact, modern evolutionists, even when they are still Darwinians, do not pretend that the theory explains all varieties and adaptations. Those who know are rather rescuing Darwin at the expense of Darwinism. But it is those who do not know who doubt or deny; it is typical that their myth is actually called the Missing Link. They actually know nothing of their own argument except that it breaks down somewhere. But it is worth while to ask why this loose legend has such power over many; and I will proceed to my suggestion. I have not changed my mind; nor, indeed, have they changed their mind. They have only changed their mood.
What we call the intellectual world is divided into two types of people--those who worship the intellect and those who use it. There are exceptions; but, broadly speaking, they are never the same people. Those who use the intellect never worship it; they know too much about it. Those who worship the intellect never use it; as you can see by the things they say about it. Hence there has arisen a confusion about intellect and intellectualism; and, as the supreme expression of that confusion, something that is called in many countries the Intelligentsia, and in France more especially, the Intellectuals. It is found in practice to consist of clubs and coteries of people talking mostly about books and pictures, but especially new books and new pictures; and about music, so long as it is very modern music; or what some would call very unmusical music. The first fact to record about it is that what Carlyle said of the world is very specially true of the intellectual world-- that it is mostly fools. Indeed, it has a curious attraction for complete fools, as a warm fire has for cats. I have frequently visited such societies, in the capacity of a common or normal fool, and I have almost always found there a few fools who were more foolish than I had imagined to be possible to man born of woman; people who had hardly enough brains to be called half-witted. But it gave them a glow within to be in what they imagined to be the atmosphere of intellect; for they worshipped it like an unknown god. I could tell many stories of that world. I remember a venerable man with a very long beard who seemed to live at one of these clubs. At intervals he would hold up his hand as if for silence and preface his remarks by saying, "A Thought." And then he would say something that sounded as if a cow had suddenly spoken in a drawing-room. I remember once a silent and much-enduring man (I rather think it was my friend Mr. Edgar Jepson, the novelist) who could bear it no longer and cried with a sort of expiring gasp, "But, Good God, man, you don't call that a THOUGHT, do you?" But that was pretty much the quality of the thought of such thinkers, especially of the freethinkers. Out of this social situation arises one sort of exception to the rule. Intelligence does exist even in the Intelligentsia. It does sometimes happen that a man of real talent has a weakness for flattery, even the flattery of fools. He would rather say something that silly people think clever than something which only clever people could perceive to be true. Oscar Wilde was a man of this type. When he said somewhere that an immoral woman is the sort of woman a man never gets tired of, he used a phrase so baseless as to be perfectly pointless. Everybody knows that a man may get tired of a whole procession of immoral women, especially if he is an immoral man. That was "a Thought"; otherwise something to be uttered, with uplifted hand, to people who could not think at all. In their poor muddled minds there was some vague connection between wit and cynicism; so they never applauded him so warmly as a wit, as when he was cynical without being witty. But when he said, "A cynic is a man who knows the price of everything and the value of nothing," he made a statement (in excellent epigrammatic form) which really meant something. But it would have meant his own immediate dethronement if it could have been understood by those who only enthroned him for being cynical.
Anyhow, it is in this intellectual world, with its many fools and few wits and fewer wise men, that there goes on perpetually a sort of ferment of fashionable revolt and negation. From this comes all that is called destructive criticism; though, as a matter of fact, the new critic is generally destroyed by the next critic long before he has had any chance of destroying anything else. When people say solemnly that the world is in revolt against religion or private property or patriotism or marriage, they mean that this world is in revolt against them; or rather, is in permanent revolt against everything. Now, as a matter of fact, this world has a certain excuse for being always in that state of excitement, apart from mere fuss and mere folly. The reason is rather an important one; and I would ask anyone who really does want to think, and especially to think freely, to pause upon it seriously for a moment. It arises from the fact that these people are so much concerned with the study of Art. It collapses into mere drivelling and despair, because they try to transfer their treatment of art to the treatment of morals and philosophy. In this they make a bad blunder in reasoning. But then, as I have explained, intellectuals are not very intellectual.
The Arts, exist, as we should put it in our primeval fashion, to show forth the glory of God; or, to translate the same thing in terms of our psychology, to awaken and keep alive the sense of wonder in man. The success of any work of art is achieved when we say of any subject, a tree or a cloud or a human character, "I have seen that a thousand times and I never saw it before." Now for this purpose a certain variation of VENUE is natural and even necessary. Artists change what they call their attack; for it is to some extent their business to make it a surprise attack. They have to throw a new light on things; and it is not surprising if it is sometimes an invisible ultra-violet ray or one rather resembling a black ray of madness or death. But when the artist extends the eccentric experiment from art to real life, it is quite different. He is like an absent-minded sculptor turning his chisel from chipping at the bust to chipping at the bald head of the distinguished sitter. And these anarchic artists do suffer a little from absence of Mind.
Let us take a practical case for the sake of simplicity. Many moderns will be heard scoffing at what they would call "chocolate-box art"; meaning an insipid and sickly art. And it is easy to call up the sort of picture that might well make anybody ill. I will suppose, for the sake of argument, that we are looking sadly at the outside of a chocolate-box (now, I need hardly say, empty) and that we see painted on it in rather pallid colours a young woman with golden ringlets gazing from a balcony and holding a rose in the spot-light caused by a convenient ray of moonlight. Any similar touches may be added to the taste or distaste of the critic; she may be convulsively clasping a letter or conspicuously wearing an engagement ring or languidly waving farewell to a distant gentleman in a gondola; or anything else I can think of, calculated to cause pain to the sensitive critic. I sympathise with the critic's feeling; but I think he goes quite wrong in his thinking.
Now, what do we mean when we say that this is a silly picture, or a stale subject, or something very difficult to bear, even when we are fortified by chocolates to endure it? We mean it is possible to have too much of a good thing; to have too many chocolate-boxes, as to have too many chocolates. We mean that it is not a picture, but a picture of a picture. Ultimately it is a picture of innumerable pictures; not a real picture of a rose or a girl or a beam of moonlight. In other words, artists have copied artists, right away back to the first sentimental pictures of the Romantic Movement.
But roses have not copied roses. Moonbeams have not imitated each other. And though a woman may copy women in externals, it is only in externals and not in existence; her womanhood was not copied from any other woman. Considered as realities, the rose and the moon and the woman are simply themselves. Suppose that scene to be a real one, and there is nothing particularly imitative about it. The flower is unquestionably fresh as the young woman is unquestionably young. The rose is a real object, which would smell as sweet by any other name, or by no name. The girl is a particular person, whose personality is entirely new to the world and whose experiences are entirely new to herself. If she does indeed choose to stand in that attitude on that balcony holding that botanical specimen (which seems improbable), we have no right to doubt that she has her own reasons for doing so. In short, when once we conceive the thing as reality, we have no reason whatever to dismiss it as mere repetition. So long as we are thinking of the thing as copied mechanically and for money, as a piece of monotonous and mercenary ornament, we naturally feel that the flower is in a special sense an artificial flower and that the moonlight is all moonshine. We feel inclined to welcome even wild variations in the decorative style; and to admire the new artist who will paint the rose black, lest we should forget that it is a deep red, or the moonshine green, that we may realise it is something more subtle than white. But the moon is the moon and the rose is the rose; and we do not expect the real things to alter. Nor is there any reason to expect the rules about them to alter. Nor is there any reason, so far as this question is concerned, to expect the woman to alter her attitude either about the beauty of the rose or the obligations of the engagement-ring. These things, considered as real things, are quite unaffected by the variation of artistic attack in fictitious things. The moon will continue to affect the tides, whether we paint it blue or green or pink with purple spots. And the man who imagines that artistic revolutions must always affect morals is like a man who should say, "I am so bored with seeing pink roses painted on chocolate-boxes that I refuse to believe that roses grow well in a clay soil."
In short, what the critics would call romanticism is in fact the only form of realism. It is also the only form of rationalism. The more a man uses his reason upon realities, the more he will see that the realities remain much the same, though the representations are very different, And it is only the representations that are repetitions. The sensations are always sincere; the individuals are always individual. If the real girl is experiencing a real romance, she is experiencing something old, but not something stale. If she has plucked something from a real rose-tree, she is holding a very ancient symbol, but a very recent rose. And it is exactly in so far as a man can clear his head, so as to see actual things as they are, that he will see these things as permanently important as they are. Exactly in so far as his head is confused with current fashions and aesthetic modes of the moment, he will see nothing about it except that it is like a picture on a chocolate-box, and not like a picture at the Post-Futurist Gallery. Exactly in so far as he is thinking about real people, he will see that they are really romantic. Exactly in so far as he is thinking only about pictures and poems and decorative styles, he will think that romance is a false or old-fashioned style. He can only see people as imitating pictures; whereas the real people are not imitating anything. They are only being themselves-- as they will always be. Roses remain radiant and mysterious, however many pink rosebuds are sprinkled like pips over cheap wallpapers. Falling in love remains radiant and mysterious, however threadbare be the thousandth repetition of a rhyme as a valentine or a cracker-motto. To see this fact is to live in a world of facts. To be always thinking of the banality of bad wallpapers and valentines is to live in a world of fictions.
Now the main truth about all this sceptical revolt, and all the rest of it, is that it was born in a world of fictions. It came from the Intelligentsia, who were perpetually discussing novels and plays and pictures instead of people. They insisted on putting "real life" on the stage and never saw it in the street. They professed to be putting realism into their novels when there was less and less of it in their conversation, as compared with the conversation of the common people. And that perpetual experiment, and shifting of the standpoint, which was natural enough in an artist seeking for certain effects (as it is natural in a photographer hovering round and focussing and fussing with his camera), was wholly inapplicable to any study of the permanent rules and relations of society. When these people began to play about with morals and metaphysics, they simply produced a series of mad worlds where they might have been harmlessly producing a series of mad pictures. Pictures are always meant to catch a certain aspect, at a certain angle, in a certain light; sometimes in light that is almost as brief as lightning. But when the artists became anarchists and began to exhibit the community and the cosmos by these flashes of lightning, the result was not realism but simply nightmare. Because a particular painter, for a particular purpose, might paint the red rose black, the pessimist deduced that the red rose of love and life was really as black as it was painted. Because one artist, from one angle, seized a momentary impression of moonlight as green, the philosopher solemnly put on a pair of green spectacles and declared that it was now a solid scientific certainty that the moon must be crawling with maggots, because it was made of green cheese.
In short, there might have been some value in the old cry of art for the artists; if it had meant that the artists would confine themselves to the medium of art. As a fact, they were always meddling with the medium of morals and religion; and they imported into them the unrest, the changing moods and the merely experimental tricks of their own trade. But a man with a solid sense of reality can see that this is utterly unreal. Whatever the laws of life and love and human relations may be, it is monstrously improbable that they ought to be changed with every fashion in poetry any more than with every fashion in pantaloons. It is insane that there should be a new pattern of hearts or heads whenever there is a new pattern of hats. These things are realities, like a high tide or a clay soil; and you do not get rid of high tides and clay soils by calling roses and moonlight old-fashioned and sentimental. I will venture to say, therefore, and I trust without undue vanity, that I have remained rooted in certain relations and traditions, not because I am a sentimentalist or even a romanticist; but because I am a realist. And I realise that morals must not change with moods, as Cubism must not mean chopping up real houses into cubes, or Vorticism swallowing real ships in whirlpools.
I have not changed my views on these things because there has never been any reason to change them. For anybody impelled by reason and not by running with a crowd will, for instance, perceive that there are always the same arguments for a Purpose and therefore a Personality in things, if he is a thinking person. Only it is now made easy for him to admit vaguely that there may be a Purpose, while denying that there is a Personality, so long as he happens to be a very unthinking person. It is quite as certain as it ever was that life is a gift of God immensely valuable and immensely valued, and anybody can prove it by putting a pistol to the head of a pessimist. Only a certain sort of modern does not like any problem presented to his head; and would dislike a plain question almost as much as a pistol. It is obvious common sense, and obviously consonant to real life, that romantic love is normal to youth and has its natural development in marriage and parenthood as the corresponding conditions of age. None of the nonsense talked about this, that or the other individual irritation or licence has ever made any difference to that solid social truth, for anyone who cares whether things are true, apart from whether they are trite. It is the man who cannot see that a thing is true, although it is trite, who is very truly a victim of mere words and verbal associations. He is the fool who has grown so furious with paper roses that he will not believe that the real rose has a root; nor (till he discovers it with an abrupt and profane ejaculation) that it has a thorn.
The truth is that the modern world has had a mental breakdown; much more than a moral breakdown. Things are being settled by mere associations because there is a reluctance to settle them by arguments. Nearly all the talk about what is advanced and what is antiquated has become a sort of giggling excitement about fashions. The most modern of the moderns stare at a picture of a man making love to a lady in a crinoline with exactly the same sort of vacant grin with which yokels stare at a stranger in an outlandish sort of hat. They regard their fathers of another age exactly as the most insular would regard the foreigners from another country. They seem mentally incapable of getting any further than the statement that our girls are shingled and short-skirted while their silly old great-grandmothers wore ringlets and hoops. That seems to satisfy all their appetite for satire; they are a simple race, a little like savages. They are exactly like the sort of cockney tripper who would roar with laughter because French soldiers wore red trousers and blue coats, while English soldiers were dressed properly in blue trousers and red coats. I have not altered my lines of thought for people who think in this fashion. Why should I?