The Everlasting Man E-Book

G.K. Chesterton

• Herausgeber: tredition
• Kategorie: Religion und Spiritualität
• Sprache: Englisch
• Veröffentlichungsjahr: 2022

Seitenzahl: 536

Beschreibung

The Everlasting Man - G. K. Chesterton - The Everlasting Man is a Christian apologetics book written by G. K. Chesterton, published in 1925. It is, to some extent, a deliberate rebuttal of H. G. Wells' The Outline of History, disputing Wells' portrayals of human life and civilisation as a seamless development from animal life and of Jesus Christ as merely another charismatic figure. Chesterton detailed his own spiritual journey in Orthodoxy, but in this book he tries to illustrate the spiritual journey of humanity, or at least of Western civilisation. The author Ross Douthat credits that, "Chesterton's somewhat loosey-goosey outline of history doubles as the best modern argument for Christianity I've ever read. You have to give in to the Chestertonian style, but if you do, be careful — you might just be converted." Gilbert Keith Chesterton (29 May 1874 – 14 June 1936) was an English writer, philosopher, lay theologian, and literary and art critic. He has been referred to as the "prince of paradox". Time magazine observed of his writing style: "Whenever possible Chesterton made his points with popular sayings, proverbs, allegories—first carefully turning them inside out." Chesterton created the fictional priest-detective Father Brown, and wrote on apologetics. Even some of those who disagree with him have recognised the wide appeal of such works as Orthodoxy and The Everlasting Man. Chesterton routinely referred to himself as an "orthodox" Christian, and came to identify this position more and more with Catholicism, eventually converting to Roman Catholicism from high church Anglicanism. Biographers have identified him as a successor to such Victorian authors as Matthew Arnold, Thomas Carlyle, John Henry Newman and John Ruskin. Chesterton was born in Campden Hill in Kensington, London, the son of Marie Louise, née Grosjean, and Edward Chesterton (1841–1922). Chesterton was baptised at the age of one month into the Church of England, though his family themselves were irregularly practising Unitarians. According to his autobiography, as a young man he became fascinated with the occult and, along with his brother Cecil, experimented with Ouija boards. He was educated at St Paul's School, then attended the Slade School of Art to become an illustrator. The Slade is a department of University College London, where Chesterton also took classes in literature, but did not complete a degree in either subject. He married Frances Blogg in 1901; the marriage lasted the rest of his life. Chesterton credited Frances with leading him back to Anglicanism, though he later considered Anglicanism to be a "pale imitation". He entered full communion with the Roman Catholic Church in 1922. The couple were unable to have children.

Leseprobe

G. K. Chesterton

The Everlasting Man

INTRODUCTION THE PLAN OF THIS BOOK

There are two ways of getting home; and one of them is to stay there. The other is to walk round the whole world till we come back to the same place; and I tried to trace such a journey in a story I once wrote. It is, however, a relief to turn from that topic to another story that I never wrote. Like every book I never wrote, it is by far the best book I have ever written. It is only too probable that I shall never write it, so I will use it symbolically here; for it was a symbol of the same truth. I conceived it as a romance of those vast valleys with sloping sides, like those along which the ancient White Horses of Wessex are scrawled along the flanks of the hills. It concerned some boy whose farm or cottage stood on such a slope, and who went on his travels to find something, such as the effigy and grave of some giant; and when he was far enough from home he looked back and saw that his own farm and kitchen-garden, shining flat on the hill-side like the colours and quarterings of a shield, were but parts of some such gigantic figure, on which he had always lived, but which was too large and too close to be seen. That, I think, is a true picture of the progress of any real independent intelligence to-day; and that is the point of this book.

The point of this book, in other words, is that the next best thing to being really inside Christendom is to be really outside it. And a particular point of it is that the popular critics of Christianity are not really outside it. They are on a debatable ground, in every sense of the term. They are doubtful in their very doubts. Their criticism has taken on a curious tone; as of a random and illiterate heckling. Thus they make current an anti-clerical cant as a sort of small-talk. They will complain of parsons dressing like parsons; as if we should be any more free if all the police who shadowed or collared us were plain-clothes detectives. Or they will complain that a sermon cannot be interrupted, and call a pulpit a coward’s castle; though they do not call an editor’s office a coward’s castle. It would be unjust both to journalists and priests; but it would be much truer of journalists. The clergyman appears in person and could easily be kicked as he came out of church; the journalist conceals even his name so that nobody can kick him. They write wild and pointless articles and letters in the press about why the churches are empty, without even going there to find out if they are empty, or which of them are empty. Their suggestions are more vapid and vacant than the most insipid curate in a three-act farce, and move us to comfort him after the manner of the curate in the Bab Ballads; ‘Your mind is not so blank as that of Hopley Porter.’ So we may truly say to the very feeblest cleric: ‘Your mind is not so blank as that of Indignant Layman or Plain Man or Man in the Street, or any of your critics in the newspapers; for they have not the most shadowy notion of what they want themselves, let alone of what you ought to give them.’ They will suddenly turn round and revile the Church for not having prevented the War, which they themselves did not want to prevent; and which nobody had ever professed to be able to prevent, except some of that very school of progressive and cosmopolitan sceptics who are the chief enemies of the Church. It was the anti-clerical and agnostic world that was always prophesying the advent of universal peace; it is that world that was, or should have been, abashed and confounded by the advent of universal war. As for the general view that the Church was discredited by the War—they might as well say that the Ark was discredited by the Flood. When the world goes wrong, it proves rather that the Church is right. The Church is justified, not because her children do not sin, but because they do. But that marks their mood about the whole religious tradition: they are in a state of reaction against it. It is well with the boy when he lives on his father’s land; and well with him again when he is far enough from it to look back on it and see it as a whole. But these people have got into an intermediate state, have fallen into an intervening valley from which they can see neither the heights beyond them nor the heights behind. They cannot get out of the penumbra of Christian controversy. They cannot be Christians and they cannot leave off being Anti-Christians. Their whole atmosphere is the atmosphere of a reaction: sulks, perversity, petty criticism. They still live in the shadow of the faith and have lost the light of the faith.

Now the best relation to our spiritual home is to be near enough to love it. But the next best is to be far enough away not to hate it. It is the contention of these pages that while the best judge of Christianity is a Christian, the next best judge would be something more like a Confucian. The worst judge of all is the man now most ready with his judgments; the ill-educated Christian turning gradually into the ill-tempered agnostic, entangled in the end of a feud of which he never understood the beginning, blighted with a sort of hereditary boredom with he knows not what, and already weary of hearing what he has never heard. He does not judge Christianity calmly as a Confucian would; he does not judge it as he would judge Confucianism. He cannot by an effort of fancy set the Catholic Church thousands of miles away in strange skies of morning and judge it as impartially as a Chinese pagoda. It is said that the great St. Francis Xavier, who very nearly succeeded in setting up the Church there as a tower overtopping all pagodas, failed partly because his followers were accused by their fellow missionaries of representing the Twelve Apostles with the garb or attributes of Chinamen. But it would be far better to see them as Chinamen, and judge them fairly as Chinamen, than to see them as featureless idols merely made to be battered by iconoclasts; or rather as cockshies to be pelted by empty-headed cockneys. It would be better to see the whole thing as a remote Asiatic cult; the mitres of its bishops as the towering head-dresses of mysterious bonzes; its pastoral staffs as the sticks twisted like serpents carried in some Asiatic procession; to see the prayer-book as fantastic as the prayer-wheel and the Cross as crooked as the Swastika. Then at least we should not lose our temper as some of the sceptical critics seem to lose their temper, not to mention their wits. Their anti-clericalism has become an atmosphere, an atmosphere of negation and hostility from which they cannot escape. Compared with that, it would be better to see the whole thing as something belonging to another continent, or to another planet. It would be more philosophical to stare indifferently at bonzes than to be perpetually and pointlessly grumbling at bishops. It would be better to walk past a church as if it were a pagoda than to stand permanently in the porch, impotent either to go inside and help or to go outside and forget. For those in whom a mere reaction has thus become an obsession, I do seriously recommend the imaginative effort of conceiving the Twelve Apostles as Chinamen. In other words, I recommend these critics to try to do as much justice to Christian saints as if they were Pagan sages.

But with this we come to the final and vital point. I shall try to show in these pages that when we do make this imaginative effort to see the whole thing from the outside, we find that it really looks like what is traditionally said about it inside. It is exactly when the boy gets far enough off to see the giant that he sees that he really is a giant. It is exactly when we do at last see the Christian Church afar under those clear and level eastern skies that we see that it is really the Church of Christ. To put it shortly, the moment we are really impartial about it we know why people are partial to it. But this second proposition requires more serious discussion; and I shall here set myself to discuss it.

As soon as I had clearly in my mind this conception of something solid in the solitary and unique character of the divine story, it struck me that there was exactly the same strange and yet solid character in the human story that had led up to it; because that human story also had a root that was divine. I mean that just as the Church seems to grow more remarkable when it is fairly compared with the common religious life of mankind, so mankind itself seems to grow more remarkable when we compare it with the common life of nature. And I have noticed that most modern history is driven to something like sophistry, first to soften the sharp transition from animals to men, and then to soften the sharp transition from heathens to Christians. Now the more we really read in a realistic spirit of those two transitions the sharper we shall find them to be. It is because the critics are not detached that they do not see this detachment; it is because they are not looking at things in a dry light that they cannot see the difference between black and white. It is because they are in a particular mood of reaction and revolt that they have a motive for making out that all the white is dirty grey and the black not so black as it is painted. I do not say there are not human excuses for their revolt; I do not say it is not in some ways sympathetic; what I say is that it is not in any way scientific. An iconoclast may be indignant; an iconoclast may be justly indignant; but an iconoclast is not impartial. And it is stark hypocrisy to pretend that nine-tenths of the higher critics and scientific evolutionists and professors of comparative religion are in the least impartial. Why should they be impartial, what is being impartial, when the whole world is at war about whether one thing is a devouring superstition or a divine hope? I do not pretend to be impartial in the sense that the final act of faith fixes a man’s mind because it satisfies his mind. But I do profess to be a great deal more impartial than they are; in the sense that I can tell the story fairly, with some sort of imaginative justice to all sides; and they cannot. I do profess to be impartial in the sense that I should be ashamed to talk such nonsense about the Lama of Thibet as they do about the Pope of Rome, or to have as little sympathy with Julian the Apostate as they have with the Society of Jesus. They are not impartial; they never by any chance hold the historical scales even; and above all they are never impartial upon this point of evolution and transition. They suggest everywhere the grey gradations of twilight, because they believe it is the twilight of the gods. I propose to maintain that whether or no it is the twilight of gods, it is not the daylight of men.

I maintain that when brought out into the daylight, these two things look altogether strange and unique; and that it is only in the false twilight of an imaginary period of transition that they can be made to look in the least like anything else. The first of these is the creature called man, and the second is the man called Christ. I have therefore divided this book into two parts: the former being a sketch of the main adventure of the human race in so far as it remained heathen; and the second a summary of the real difference that was made by it becoming Christian. Both motives necessitate a certain method, a method which is not very easy to manage, and perhaps even less easy to define or defend.

In order to strike, in the only sane or possible sense, the note of impartiality, it is necessary to touch the nerve of novelty. I mean that in one sense we see things fairly when we see them first. That, I may remark in passing, is why children generally have very little difficulty about the dogmas of the Church. But the Church, being a highly practical thing for working and fighting, is necessarily a thing for men and not merely for children. There must be in it for working purposes a great deal of tradition, of familiarity, and even of routine. So long as its fundamentals are sincerely felt, this may even be the saner condition. But when its fundamentals are doubted, as at present, we must try to recover the candour and wonder of the child; the unspoilt realism and objectivity of innocence. Or if we cannot do that, we must try at least to shake off the cloud of mere custom and see the thing as new, if only by seeing it as unnatural. Things that may well be familiar so long as familiarity breeds affection had much better become unfamiliar when familiarity breeds contempt. For in connection with things so great as are here considered, whatever our view of them, contempt must be a mistake. Indeed contempt must be an illusion. We must invoke the most wild and soaring sort of imagination; the imagination that can see what is there.

The only way to suggest the point is by an example of something, indeed of almost anything, that has been considered beautiful or wonderful. George Wyndham once told me that he had seen one of the first aeroplanes rise for the first time, and it was very wonderful; but not so wonderful as a horse allowing a man to ride on him. Somebody else has said that a fine man on a fine horse is the noblest bodily object in the world. Now, so long as people feel this in the right way, all is well. The first and best way of appreciating it is to come of people with a tradition of treating animals properly; of men in the right relation to horses. A boy who remembers his father who rode a horse, who rode it well and treated it well, will know that the relation can be satisfactory and will be satisfied. He will be all the more indignant at the ill-treatment of horses because he knows how they ought to be treated; but he will see nothing but what is normal in a man riding on a horse. He will not listen to the great modern philosopher who explains to him that the horse ought to be riding on the man. He will not pursue the pessimist fancy of Swift and say that men must be despised as monkeys, and horses worshipped as gods. And horse and man together making an image that is to him human and civilised, it will be easy, as it were, to lift horse and man together into something heroic or symbolical; like a vision of St. George in the clouds. The fable of the winged horse will not be wholly unnatural to him: and he will know why Ariosto set many a Christian hero in such an airy saddle, and made him the rider of the sky. For the horse has really been lifted up along with the man in the wildest fashion in the very word we use when we speak of ‘chivalry.’ The very name of the horse has been given to the highest mood and moment of the man; so that we might almost say that the handsomest compliment to a man is to call him a horse.

But if a man has got into a mood in which he is not able to feel this sort of wonder, then his cure must begin right at the other end. We must now suppose that he has drifted into a dull mood, in which somebody sitting on a horse means no more than somebody sitting on a chair. The wonder of which Wyndham spoke, the beauty that made the thing seem an equestrian statue, the meaning of the more chivalric horseman, may have become to him merely a convention and a bore. Perhaps they have been merely a fashion; perhaps they have gone out of fashion; perhaps they have been talked about too much or talked about in the wrong way; perhaps it was then difficult to care for horses without the horrible risk of being horsy. Anyhow, he has got into a condition when he cares no more for a horse than for a towel-horse. His grandfather’s charge at Balaclava seems to him as dull and dusty as the album containing such family portraits. Such a person has not really become enlightened about the album; on the contrary, he has only become blind with the dust. But when he has reached that degree of blindness, he will not be able to look at a horse or a horseman at all until he has seen the whole thing as a thing entirely unfamiliar and almost unearthly.

Out of some dark forest under some ancient dawn there must come towards us, with lumbering yet dancing motions, one of the very queerest of the prehistoric creatures. We must see for the first time the strangely small head set on a neck not only longer but thicker than itself, as the face of a gargoyle is thrust out upon a gutter-spout, the one disproportionate crest of hair running along the ridge of that heavy neck like a beard in the wrong place; the feet, each like a solid club of horn, alone amid the feet of so many cattle; so that the true fear is to be found in showing not the cloven but the uncloven hoof. Nor is it mere verbal fancy to see him thus as a unique monster; for in a sense a monster means what is unique, and he is really unique. But the point is that when we thus see him as the first man saw him, we begin once more to have some imaginative sense of what it meant when the first man rode him. In such a dream he may seem ugly, but he does not seem unimpressive; and certainly that two-legged dwarf who could get on top of him will not seem unimpressive. By a longer and more erratic road we shall come back to the same marvel of the man and the horse; and the marvel will be, if possible, even more marvellous. We shall have again a glimpse of St. George; the more glorious because St. George is not riding on the horse, but rather riding on the dragon.

In this example, which I have taken merely because it is an example, it will be noted that I do not say that the nightmare seen by the first man of the forest is either more true or more wonderful than the normal mare of the stable seen by the civilised person who can appreciate what is normal. Of the two extremes, I think on the whole that the traditional grasp of truth is the better. But I say that the truth is found at one or other of these two extremes, and is lost in the intermediate condition of mere fatigue and forgetfulness of tradition. In other words, I say it is better to see a horse as a monster than to see it only as a slow substitute for a motor-car. If we have got into that state of mind about a horse as something stale, it is far better to be frightened of a horse because it is a good deal too fresh.

Now, as it is with the monster that is called a horse, so it is with the monster that is called a man. Of course the best condition of all, in my opinion, is always to have regarded man as he is regarded in my philosophy. He who holds the Christian and Catholic view of human nature will feel certain that it is a universal and therefore a sane view, and will be satisfied. But if he has lost the sane vision, he can only get it back by something very like a mad vision; that is, by seeing man as a strange animal and realising how strange an animal he is. But just as seeing the horse as a prehistoric prodigy ultimately led back to, and not away from, an admiration for the mastery of man, so the really detached consideration of the curious career of man will lead back to, and not away from, the ancient faith in the dark designs of God. In other words, it is exactly when we do see how queer the quadruped is that we praise the man who mounts him; and exactly when we do see how queer the biped is that we praise the Providence that made him.

In short, it is the purpose of this introduction to maintain this thesis: that it is exactly when we do regard man as an animal that we know he is not an animal. It is precisely when we do try to picture him as a sort of horse on its hind legs that we suddenly realise that he must be something as miraculous as the winged horse that towered up into the clouds of heaven. All roads lead to Rome, all ways lead round again to the central and civilised philosophy, including this road through elfland and topsyturvydom. But it may be that it is better never to have left the land of a reasonable tradition, where men ride lightly upon horses and are mighty hunters before the Lord.

So also in the specially Christian case we have to react against the heavy bias of fatigue. It is almost impossible to make the facts vivid, because the facts are familiar; and for fallen men it is often true that familiarity is fatigue. I am convinced that if we could tell the supernatural story of Christ word for word as of a Chinese hero, call him the Son of Heaven instead of the Son of God, and trace his rayed nimbus in the gold thread of Chinese embroideries or the gold lacquer of Chinese pottery instead of in the gold leaf of our own old Catholic paintings, there would be a unanimous testimony to the spiritual purity of the story. We should hear nothing then of the injustice of substitution or the illogicality of atonement, of the superstitious exaggeration of the burden of sin or the impossible insolence of an invasion of the laws of nature. We should admire the chivalry of the Chinese conception of a god who fell from the sky to fight the dragons and save the wicked from being devoured by their own fault and folly. We should admire the subtlety of the Chinese view of life, which perceives that all human imperfection is in very truth a crying imperfection. We should admire the Chinese esoteric and superior wisdom, which said there are higher cosmic laws than the laws we know; we believe every common Indian conjurer who chooses to come to us and talk in the same style. If Christianity were only a new oriental fashion, it would never be reproached with being an old and oriental faith. I do not propose in this book to follow the alleged example of St. Francis Xavier with the opposite imaginative intention, and turn the Twelve Apostles into Mandarins; not so much to make them look like natives as to make them look like foreigners. I do not propose to work what I believe would be a completely successful practical joke; that of telling the whole story of the Gospel and the whole history of the Church in a setting of pagodas and pigtails; and noting with malignant humour how much it was admired as a heathen story in the very quarters where it is condemned as a Christian story. But I do propose to strike wherever possible this note of what is new and strange, and for that reason the style even on so serious a subject may sometimes be deliberately grotesque and fanciful. I do desire to help the reader to see Christendom from the outside in the sense of seeing it as a whole, against the background of other historic things; just as I desire him to see humanity as a whole against the background of natural things. And I say that in both cases, when seen thus, they stand out from their background like supernatural things. They do not fade into the rest with the colours of impressionism; they stand out from the rest with the colours of heraldry; as vivid as a red cross on a white shield or a black lion on a ground of gold. So stands the Red Clay against the green field of nature, or the White Christ against the red clay of his race.

But in order to see them clearly we have to see them as a whole. We have to see how they developed as well as how they began; for the most incredible part of the story is that things which began thus should have developed thus. Any one who chooses to indulge in mere imagination can imagine that other things might have happened or other entities evolved. Any one thinking of what might have happened may conceive a sort of evolutionary equality; but any one facing what did happen must face an exception and a prodigy. If there was ever a moment when man was only an animal, we can if we choose make a fancy picture of his career transferred to some other animal. An entertaining fantasia might be made in which elephants built in elephantine architecture, with towers and turrets like tusks and trunks, cities beyond the scale of any colossus. A pleasant fable might be conceived in which a cow had developed a costume, and put on four boots and two pairs of trousers. We could imagine a Supermonkey more marvellous than any Superman, a quadrumanous creature carving and painting with his hands and cooking and carpentering with his feet. But if we are considering what did happen, we shall certainly decide that man has distanced everything else with a distance like that of the astronomical spaces and a speed like that of the still thunderbolt of the light. And in the same fashion, while we can if we choose see the Church amid a mob of Mithraic or Manichean superstitions squabbling and killing each other at the end of the Empire, while we can if we choose imagine the Church killed in the struggle and some other chance cult taking its place, we shall be the more surprised (and possibly puzzled) if we meet it two thousand years afterwards rushing through the ages as the winged thunderbolt of thought and everlasting enthusiasm; a thing without rival or resemblance; and still as new as it is old.

PART I ON THE CREATURE CALLED MAN

CHAPTER I THE MAN IN THE CAVE

Far away in some strange constellation in skies infinitely remote, there is a small star, which astronomers may some day discover. At least I could never observe in the faces or demeanour of most astronomers or men of science any evidence that they had discovered it; though as a matter of fact they were walking about on it all the time. It is a star that brings forth out of itself very strange plants and very strange animals; and none stranger than the men of science. That at least is the way in which I should begin a history of the world if I had to follow the scientific custom of beginning with an account of the astronomical universe. I should try to see even this earth from the outside, not by the hackneyed insistence of its relative position to the sun, but by some imaginative effort to conceive its remote position for the dehumanised spectator. Only I do not believe in being dehumanised in order to study humanity. I do not believe in dwelling upon the distances that are supposed to dwarf the world; I think there is even something a trifle vulgar about this idea of trying to rebuke spirit by size. And as the first idea is not feasible, that of making the earth a strange planet so as to make it significant, I will not stoop to the other trick of making it a small planet in order to make it insignificant. I would rather insist that we do not even know that it is a planet at all, in the sense in which we know that it is a place; and a very extraordinary place too. That is the note which I wish to strike from the first, if not in the astronomical, then in some more familiar fashion.

One of my first journalistic adventures, or misadventures, concerned a comment on Grant Allen, who had written a book about the Evolution of the Idea of God. I happened to remark that it would be much more interesting if God wrote a book about the evolution of the idea of Grant Allen. And I remember that the editor objected to my remark on the ground that it was blasphemous; which naturally amused me not a little. For the joke of it was, of course, that it never occurred to him to notice the title of the book itself, which really was blasphemous; for it was, when translated into English, ‘I will show you how this nonsensical notion that there is a God grew up among men.’ My remark was strictly pious and proper; confessing the divine purpose even in its most seemingly dark or meaningless manifestations. In that hour I learned many things, including the fact that there is something purely acoustic in much of that agnostic sort of reverence. The editor had not seen the point, because in the title of the book the long word came at the beginning and the short word at the end; whereas in my comment the short word came at the beginning and gave him a sort of shock. I have noticed that if you put a word like God into the same sentence with a word like dog, these abrupt and angular words affect people like pistol-shots. Whether you say that God made the dog or the dog made God does not seem to matter; that is only one of the sterile disputations of the too subtle theologians. But so long as you begin with a long word like evolution the rest will roll harmlessly past; very probably the editor had not read the whole of the title, for it is rather a long title and he was rather a busy man.

But this little incident has always lingered in my mind as a sort of parable. Most modern histories of mankind begin with the word evolution, and with a rather wordy exposition of evolution, for much the same reason that operated in this case. There is something slow and soothing and gradual about the word and even about the idea. As a matter of fact, it is not, touching these primary things, a very practical word or a very profitable idea. Nobody can imagine how nothing could turn into something. Nobody can get an inch nearer to it by explaining how something could turn into something else. It is really far more logical to start by saying ‘In the beginning God created heaven and earth’ even if you only mean ‘In the beginning some unthinkable power began some unthinkable process.’ For God is by its nature a name of mystery, and nobody ever supposed that man could imagine how a world was created any more than he could create one. But evolution really is mistaken for explanation. It has the fatal quality of leaving on many minds the impression that they do understand it and everything else; just as many of them live under a sort of illusion that they have read the Origin of Species.

But this notion of something smooth and slow, like the ascent of a slope, is a great part of the illusion. It is an illogicality as well as an illusion; for slowness has really nothing to do with the question. An event is not any more intrinsically intelligible or unintelligible because of the pace at which it moves. For a man who does not believe in a miracle, a slow miracle would be just as incredible as a swift one. The Greek witch may have turned sailors to swine with a stroke of the wand. But to see a naval gentleman of our acquaintance looking a little more like a pig every day, till he ended with four trotters and a curly tail, would not be any more soothing. It might be rather more creepy and uncanny. The medieval wizard may have flown through the air from the top of a tower; but to see an old gentleman walking through the air, in a leisurely and lounging manner, would still seem to call for some explanation. Yet there runs through all the rationalistic treatment of history this curious and confused idea that difficulty is avoided, or even mystery eliminated, by dwelling on mere delay or on something dilatory in the processes of things. There will be something to be said upon particular examples elsewhere; the question here is the false atmosphere of facility and ease given by the mere suggestion of going slow; the sort of comfort that might be given to a nervous old woman travelling for the first time in a motor-car.

Mr. H. G. Wells has confessed to being a prophet; and in this matter he was a prophet at his own expense. It is curious that his first fairy-tale was a complete answer to his last book of history. The Time Machine destroyed in advance all comfortable conclusions founded on the mere relativity of time. In that sublime nightmare the hero saw trees shoot up like green rockets, and vegetation spread visibly like a green conflagration, or the sun shoot across the sky from east to west with the swiftness of a meteor. Yet in his sense these things were quite as natural when they went swiftly; and in our sense they are quite as supernatural when they go slowly. The ultimate question is why they go at all; and anybody who really understands that question will know that it always has been and always will be a religious question; or at any rate a philosophical or metaphysical question. And most certainly he will not think the question answered by some substitution of gradual for abrupt change; or, in other words, by a merely relative question of the same story being spun out or rattled rapidly through, as can be done with any story at a cinema by turning a handle.

Now what is needed for these problems of primitive existence is something more like a primitive spirit. In calling up this vision of the first things, I would ask the reader to make with me a sort of experiment in simplicity. And by simplicity I do not mean stupidity, but rather the sort of clarity that sees things like life rather than words like evolution. For this purpose it would really be better to turn the handle of the Time Machine a little more quickly and see the grass growing and the trees springing up into the sky, if that experiment could contract and concentrate and make vivid the upshot of the whole affair. What we know, in a sense in which we know nothing else, is that the trees and the grass did grow and that a number of other extraordinary things do in fact happen; that queer creatures support themselves in the empty air by beating it with fans of various fantastic shapes; that other queer creatures steer themselves about alive under a load of mighty waters; that other queer creatures walk about on four legs, and that the queerest creature of all walks about on two. These are things and not theories; and compared with them evolution and the atom and even the solar system are merely theories. The matter here is one of history and not of philosophy; so that it need only be noted that no philosopher denies that a mystery still attaches to the two great transitions: the origin of the universe itself and the origin of the principle of life itself. Most philosophers have the enlightenment to add that a third mystery attaches to the origin of man himself. In other words, a third bridge was built across a third abyss of the unthinkable when there came into the world what we call reason and what we call will. Man is not merely an evolution but rather a revolution. That he has a backbone or other parts upon a similar pattern to birds and fishes is an obvious fact, whatever be the meaning of the fact. But if we attempt to regard him, as it were, as a quadruped standing on his hind legs, we shall find what follows far more fantastic and subversive than if he were standing on his head.

I will take one example to serve for an introduction to the story of man. It illustrates what I mean by saying that a certain childish directness is needed to see the truth about the childhood of the world. It illustrates what I mean by saying that a mixture of popular science and journalistic jargon has confused the facts about the first things, so that we cannot see which of them really comes first. It illustrates, though only in one convenient illustration, all that I mean by the necessity of seeing the sharp differences that give its shape to history, instead of being submerged in all these generalisations about slowness and sameness. For we do indeed require, in Mr. Wells’s phrase, an outline of history. But we may venture to say, in Mr. Mantalini’s phrase, that this evolutionary history has no outline or is a demd outline. But, above all, it illustrates what I mean by saying that the more we really look at man as an animal, the less he will look like one.

To-day all our novels and newspapers will be found swarming with numberless allusions to a popular character called a Cave-Man. He seems to be quite familiar to us, not only as a public character but as a private character. His psychology is seriously taken into account in psychological fiction and psychological medicine. So far as I can understand, his chief occupation in life was knocking his wife about, or treating women in general with what is, I believe, known in the world of the film as ‘rough stuff.’ I have never happened to come upon the evidence for this idea; and I do not know on what primitive diaries or prehistoric divorce-reports it is founded. Nor, as I have explained elsewhere, have I ever been able to see the probability of it, even considered a priori. We are always told without any explanation or authority that primitive man waved a club and knocked the woman down before he carried her off. But on every animal analogy, it would seem an almost morbid modesty and reluctance, on the part of the lady, always to insist on being knocked down before consenting to be carried off. And I repeat that I can never comprehend why, when the male was so very rude, the female should have been so very refined. The cave-man may have been a brute, but there is no reason why he should have been more brutal than the brutes. And the loves of the giraffes and the river romances of the hippopotami are effected without any of this preliminary fracas or shindy. The cave-man may have been no better than the cave-bear; but the child she-bear, so famous in hymnology, is not trained with any such bias for spinsterhood. In short, these details of the domestic life of the cave puzzle me upon either the evolutionary or the static hypothesis; and in any case I should like to look into the evidence for them; but unfortunately I have never been able to find it. But the curious thing is this: that while ten thousand tongues of more or less scientific or literary gossip seemed to be talking at once about this unfortunate fellow, under the title of the cave-man, the one connection in which it is really relevant and sensible to talk about him as the cave-man has been comparatively neglected. People have used this loose term in twenty loose ways; but they have never even looked at their own term for what could really be learned from it.

In fact, people have been interested in everything about the cave-man except what he did in the cave. Now there does happen to be some real evidence of what he did in the cave. It is little enough, like all the prehistoric evidence, but it is concerned with the real cave-man and his cave and not the literary cave-man and his club. And it will be valuable to our sense of reality to consider quite simply what that real evidence is, and not to go beyond it. What was found in the cave was not the club, the horrible gory club notched with the number of women it had knocked on the head. The cave was not a Bluebeard’s Chamber filled with the skeletons of slaughtered wives; it was not filled with female skulls all arranged in rows and all cracked like eggs. It was something quite unconnected, one way or the other, with all the modern phrases and philosophical implications and literary rumours which confuse the whole question for us. And if we wish to see as it really is this authentic glimpse of the morning of the world, it will be far better to conceive even the story of its discovery as some such legend of the land of morning. It would be far better to tell the tale of what was really found as simply as the tale of heroes finding the Golden Fleece or the Gardens of the Hesperides, if we could so escape from a fog of controversial theories into the clear colours and clean-cut outlines of such a dawn. The old epic poets at least knew how to tell a story, possibly a tall story but never a twisted story, never a story tortured out of its own shape to fit theories and philosophies invented centuries afterwards. It would be well if modern investigators could describe their discoveries in the bald narrative style of the earliest travellers, and without any of these long allusive words that are full of irrelevant implication and suggestion. Then we might realise exactly what we do know about the cave-man, or at any rate about the cave.

A priest and a boy entered some time ago a hollow in the hills and passed into a sort of subterranean tunnel that led into a labyrinth of such sealed and secret corridors of rock. They crawled through cracks that seemed almost impassable, they crept through tunnels that might have been made for moles, they dropped into holes as hopeless as wells, they seemed to be burying themselves alive seven times over beyond the hope of resurrection. This is but the commonplace of all such courageous exploration; but what is needed here is some one who shall put such stories in the primary light, in which they are not commonplace. There is, for instance, something strangely symbolic in the accident that the first intruders into that sunken world were a priest and a boy, the types of the antiquity and of the youth of the world. But here I am even more concerned with the symbolism of the boy than with that of the priest. Nobody who remembers boyhood needs to be told what it might be to a boy to enter like Peter Pan under a roof of the roots of all the trees and go deeper and deeper, till he reach what William Morris called the very roots of the mountains. Suppose somebody, with that simple and unspoilt realism that is a part of innocence, to pursue that journey to its end, not for the sake of what he could deduce or demonstrate in some dusty magazine controversy, but simply for the sake of what he could see. What he did see at last was a cavern so far from the light of day that it might have been the legendary Domdaniel cavern that was under the floor of the sea. This secret chamber of rock, when illuminated after its long night of unnumbered ages, revealed on its walls large and sprawling outlines diversified with coloured earths; and when they followed the lines of them they recognised, across that vast and void of ages, the movement and the gesture of a man’s hand. They were drawings or paintings of animals; and they were drawn or painted not only by a man but by an artist. Under whatever archaic limitations, they showed that love of the long sweeping or the long wavering line which any man who has ever drawn or tried to draw will recognise; and about which no artist will allow himself to be contradicted by any scientist. They showed the experimental and adventurous spirit of the artist, the spirit that does not avoid but attempt difficult things; as where the draughtsman had represented the action of the stag when he swings his head clean round and noses towards his tail, an action familiar enough in the horse. But there are many modern animal-painters who would set themselves something of a task in rendering it truly. In this and twenty other details it is clear that the artist had watched animals with a certain interest and presumably a certain pleasure. In that sense it would seem that he was not only an artist but a naturalist; the sort of naturalist who is really natural.

Now it is needless to note, except in passing, that there is nothing whatever in the atmosphere of that cave to suggest the bleak and pessimistic atmosphere of that journalistic cave of the winds, that blows and bellows about us with countless echoes concerning the cave-man. So far as any human character can be hinted at by such traces of the past, that human character is quite human and even humane. It is certainly not the ideal of an inhuman character, like the abstraction invoked in popular science. When novelists and educationists and psychologists of all sorts talk about the cave-man, they never conceive him in connection with anything that is really in the cave. When the realist of the sex novel writes, ‘Red sparks danced in Dagmar Doubledick’s brain; he felt the spirit of the cave-man rising within him,’ the novelist’s readers would be very much disappointed if Dagmar only went off and drew large pictures of cows on the drawing-room wall. When the psychoanalyst writes to a patient, ‘The submerged instincts of the cave-man are doubtless prompting you to gratify a violent impulse,’ he does not refer to the impulse to paint in water-colours; or to make conscientious studies of how cattle swing their heads when they graze. Yet we do know for a fact that the cave-man did these mild and innocent things; and we have not the most minute speck of evidence that he did any of the violent and ferocious things. In other words, the cave-man as commonly presented to us is simply a myth or rather a muddle; for a myth has at least an imaginative outline of truth. The whole of the current way of talking is simply a confusion and a misunderstanding, founded on no sort of scientific evidence and valued only as an excuse for a very modern mood of anarchy. If any gentleman wants to knock a woman about, he can surely be a cad without taking away the character of the cave-man, about whom we know next to nothing except what we can gather from a few harmless and pleasing pictures on a wall.

But this is not the point about the pictures or the particular moral here to be drawn from them. That moral is something much larger and simpler, so large and simple that when it is first stated it will sound childish. And indeed it is in the highest sense childish; and that is why I have in this apologue in some sense seen it through the eyes of a child. It is the biggest of all the facts really facing the boy in the cavern; and is perhaps too big to be seen. If the boy was one of the flock of the priest, it may be presumed that he had been trained in a certain quality of common sense; that common sense that often comes to us in the form of tradition. In that case he would simply recognise the primitive man’s work as the work of a man, interesting but in no way incredible in being primitive. He would see what was there to see; and he would not be tempted into seeing what was not there, by any evolutionary excitement or fashionable speculation. If he had heard of such things he would admit, of course, that the speculations might be true and were not incompatible with the facts that were true. The artist may have had another side to his character besides that which he has alone left on record in his works of art. The primitive man may have taken a pleasure in beating women as well as in drawing animals; all we can say is that the drawings record the one but not the other. It may be true that when the cave-man’s finished jumping on his mother, or his wife as the case may be, he loves to hear the little brook a-gurgling, and also to watch the deer as they come down to drink at the brook. These things are not impossible, but they are irrelevant. The common sense of the child could confine itself to learning from the facts what the facts have to teach; and the pictures in the cave are very nearly all the facts there are. So far as that evidence goes, the child would be justified in assuming that a man had represented animals with rock and red ochre for the same reason as he himself was in the habit of trying to represent animals with charcoal and red chalk. The man had drawn a stag just as the child had drawn a horse; because it was fun. The man had drawn a stag with his head turned as the child had drawn a pig with his eyes shut; because it was difficult. The child and the man, being both human, would be united by the brotherhood of men; and the brotherhood of men is even nobler when it bridges the abyss of ages than when it bridges only the chasm of class. But anyhow he would see no evidence of the cave-man of crude evolutionism; because there is none to be seen. If somebody told him that the pictures had all been drawn by St. Francis of Assisi out of pure and saintly love of animals, there would be nothing in the cave to contradict it.

Indeed I once knew a lady who half-humorously suggested that the cave was a crèche, in which the babies were put to be specially safe, and that coloured animals were drawn on the walls to amuse them; very much as diagrams of elephants and giraffes adorn a modern infant school. And though this was but a jest, it does draw attention to some of the other assumptions that we make only too readily. The pictures do not prove even that the cave-men lived in caves, any more than the discovery of a wine-cellar in Balham (long after that suburb had been destroyed by human or divine wrath) would prove that the Victorian middle classes lived entirely underground. The cave might have had a special purpose like the cellar; it might have been a religious shrine or a refuge in war or the meeting-place of a secret society or all sorts of things. But it is quite true that its artistic decoration has much more of the atmosphere of a nursery than of any of these nightmares of anarchical fury and fear. I have conceived a child as standing in the cave; and it is easy to conceive any child, modern or immeasurably remote, as making a living gesture as if to pat the painted beasts upon the wall. In that gesture there is a foreshadowing, as we shall see later, of another cavern and another child.

But suppose the boy had not been taught by a priest but by a professor, by one of the professors who simplify the relation of men and beasts to a mere evolutionary variation. Suppose the boy saw himself, with the same simplicity and sincerity, as a mere Mowgli running with the pack of nature and roughly indistinguishable from the rest save by a relative and recent variation. What would be for him the simplest lesson of that strange stone picture-book? After all, it would come back to this; that he had dug very deep and found the place where a man had drawn a picture of a reindeer. But he would dig a good deal deeper before he found a place where a reindeer had drawn a picture of a man. That sounds like a truism, but in this connection it is really a very tremendous truth. He might descend to depths unthinkable, he might sink into sunken continents as strange as remote stars, he might find himself in the inside of the world as far from men as the other side of the moon; he might see in those cold chasms or colossal terraces of stone, traced in the faint hieroglyphic of the fossil, the ruins of lost dynasties of biological life, rather like the ruins of successive creations and separate universes than the stages in the story of one. He would find the trail of monsters blindly developing in directions outside all our common imagery of fish and bird; groping and grasping and touching life with every extravagant elongation of horn and tongue and tentacle; growing a forest of fantastic caricatures of the claw and the fin and the finger. But nowhere would he find one finger that had traced one significant line upon the sand; nowhere one claw that had even begun to scratch the faint suggestion of a form. To all appearance, the thing would be as unthinkable in all those countless cosmic variations of forgotten aeons as it would be in the beasts and birds before our eyes. The child would no more expect to see it than to see the cat scratch on the wall a vindictive caricature of the dog. The childish common sense would keep the most evolutionary child from expecting to see anything like that; yet in the traces of the rude and recently evolved ancestors of humanity he would have seen exactly that. It must surely strike him as strange that men so remote from him should be so near, and that beasts so near to him should be so remote. To his simplicity it must seem at least odd that he could not find any trace of the beginning of any arts among any animals. That is the simplest lesson to learn in the cavern of the coloured pictures; only it is too simple to be learnt. It is the simple truth that man does differ from the brutes in kind and not in degree; and the proof of it is here; that it sounds like a truism to say that the most primitive man drew a picture of a monkey, and that it sounds like a joke to say that the most intelligent monkey drew a picture of a man. Something of division and disproportion has appeared; and it is unique. Art is the signature of man.

That is the sort of simple truth with which a story of the beginnings ought really to begin. The evolutionist stands staring in the painted cavern at the things that are too large to be seen and too simple to be understood. He tries to deduce all sorts of other indirect and doubtful things from the details of the pictures, because he cannot see the primary significance of the whole; thin and theoretical deductions about the absence of religion or the presence of superstition; about tribal government and hunting and human sacrifice and heaven knows what. In the next chapter I shall try to trace in a little more detail the much disputed question about these prehistoric origins of human ideas and especially of the religious idea. Here I am only taking this one case of the cave as a sort of symbol of the simpler sort of truth with which the story ought to start. When all is said, the main fact that the record of the reindeer men attests, along with all other records, is that the reindeer man could draw and the reindeer could not. If the reindeer man was as much an animal as the reindeer, it was all the more extraordinary that he could do what all other animals could not. If he was an ordinary product of biological growth, like any other beast or bird, then it is all the more extraordinary that he was not in the least like any other beast or bird. He seems rather more supernatural as a natural product than as a supernatural one.

But I have begun this story in the cave, like the cave of the speculations of Plato, because it is a sort of model of the mistake of merely evolutionary introductions and prefaces. It is useless to begin by saying that everything was slow and smooth and a mere matter of development and degree. For in a plain matter like the pictures there is in fact not a trace of any such development or degree. Monkeys did not begin pictures and men finish them; Pithecanthropus did not draw a reindeer badly and Homo Sapiens draw it well. The higher animals did not draw better and better portraits; the dog did not paint better in his best period than in his early bad manner as a jackal; the wild horse was not an Impressionist and the race-horse a Post-Impressionist. All we can say of this notion of reproducing things in shadow or representative shape is that it exists nowhere in nature except in man; and that we cannot even talk about it without treating man as something separate from nature. In other words, every sane sort of history must begin with man as man, a thing standing absolute and alone. How he came there, or indeed how anything else came there,