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By G. K. CHESTERTON, Dale Ahlquist
Dover Publications, Inc.Copyright © 2012 Dale Ahlquist
All rights reserved.
A Defence of Penny Dreadfuls
ONE of the strangest examples of the degree to which ordinary life is undervalued is the example of popular literature, the vast mass of which we contentedly describe as vulgar. The boy's novelette may be ignorant in a literary sense, which is only like saying that a modern novel is ignorant in the chemical sense, or the economic sense, or the astronomical sense; but it is not vulgar intrinsically—it is the actual centre of a million flaming imaginations.
In former centuries the educated class ignored the ruck of vulgar literature. They ignored, and therefore did not, properly speaking, despise it. Simple ignorance and indifference does not inflate the character with pride. A man does not walk down the street giving a haughty twirl to his moustaches at the thought of his superiority to some variety of deep-sea fishes. The old scholars left the whole under-world of popular compositions in a similar darkness.
To-day, however, we have reversed this principle. We do despise vulgar compositions, and we do not ignore them. We are in some danger of becoming petty in our study of pettiness; there is a terrible Circean law in the background that if the soul stoops too ostentatiously to examine anything it never gets up again. There is no class of vulgar publications about which there is, to my mind, more utterly ridiculous exaggeration and misconception than the current boys' literature of the lowest stratum. This class of composition has presumably always existed, and must exist. It has no more claim to be good literature than the daily conversation of its readers to be fine oratory, or the lodging-houses and tenements they inhabit to be sublime architecture. But people must have conversation, they must have houses, and they must have stories. The simple need for some kind of ideal world in which fictitious persons play an unhampered part is infinitely deeper and older than the rules of good art, and much more important. Every one of us in childhood has constructed such an invisible dramatis personæ, but it never occurred to our nurses to correct the composition by careful comparison with Balzac. In the East the professional story-teller goes from village to village with a small carpet; and I wish sincerely that anyone had the moral courage to spread that carpet and sit on it in Ludgate Circus. But it is not probable that all the tales of the carpet-bearer are little gems of original artistic workmanship. Literature and fiction are two entirely different things. Literature is a luxury; fiction is a necessity. A work of art can hardly be too short, for its climax is its merit. A story can never be too long, for its conclusion is merely to be deplored, like the last halfpenny or the last pipelight. And so, while the increase of the artistic conscience tends in more ambitious works to brevity and impressionism, voluminous industry still marks the producer of the true romantic trash. There was no end to the ballads of Robin Hood; there is no end to the volumes about Dick Deadshot and the Avenging Nine. These two heroes are deliberately conceived as immortal.
But instead of basing all discussion of the problem upon the common-sense recognition of this fact—that the youth of the lower orders always has had and always must have formless and endless romantic reading of some kind, and then going on to make provision for its wholesomeness—we begin, generally speaking, by fantastic abuse of this reading as a whole and indignant surprise that the errand-boys under discussion do not read 'The Egoist' and 'The Master Builder.' It is the custom, particularly among magistrates, to attribute half the crimes of the Metropolis to cheap novelettes. If some grimy urchin runs away with an apple, the magistrate shrewdly points out that the child's knowledge that apples appease hunger is traceable to some curious literary researches. The boys themselves, when penitent, frequently accuse the novelettes with great bitterness, which is only to be expected from young people possessed of no little native humour. If I had forged a will, and could obtain sympathy by tracing the incident to the influence of Mr. George Moore's novels, I should find the greatest entertainment in the diversion. At any rate, it is firmly fixed in the minds of most people that gutter-boys, unlike everybody else in the community, find their principal motives for conduct in printed books.
Now it is quite clear that this objection, the objection brought by magistrates, has nothing to do with literary merit. Bad story writing is not a crime. Mr. Hall Caine walks the streets openly, and cannot be put in prison for an anticlimax. The objection rests upon the theory that the tone of the mass of boys' novelettes is criminal and degraded, appealing to low cupidity and low cruelty. This is the magisterial theory, and this is rubbish.
So far as I have seen them, in connection with the dirtiest book-stalls in the poorest districts, the facts are simply these: The whole bewildering mass of vulgar juvenile literature is concerned with adventures, rambling, disconnected and endless. It does not express any passion of any sort, for there is no human character of any sort. It runs eternally in certain grooves of local and historical type: the medieval knight, the eighteenth-century duellist, and the modern cowboy, recur with the same stiff simplicity as the conventional human figures in an Oriental pattern. I can quite as easily imagine a human being kindling wild appetites by the contemplation of his Turkey carpet as by such dehumanized and naked narrative as this.
Among these stories there are a certain number which deal sympathetically with the adventures of robbers, outlaws and pirates, which present in a dignified and romantic light thieves and murderers like Dick Turpin and Claude Duval. That is to say, they do precisely the same thing as Scott's 'Ivanhoe,' Scott's 'Rob Roy,' Scott's 'Lady of the Lake,' Byron's 'Corsair,' Wordsworth's 'Rob Roy's Grave,' Stevenson's 'Macaire,' Mr. Max Pemberton's 'Iron Pirate,' and a thousand more works distributed systematically as prizes and Christmas presents. Nobody imagines that an admiration of Locksley in 'Ivanhoe' will lead a boy to shoot Japanese arrows at the deer in Richmond Park; no one thinks that the incautious opening of Wordsworth at the poem on Rob Roy will set him up for life as a blackmailer. In the case of our own class, we recognise that this wild life is contemplated with pleasure by the young, not because it is like their own life, but because it is different from it. It might at least cross our minds that, for whatever other reason the errand-boy reads 'The Red Revenge,' it really is not because he is dripping with the gore of his own friends and relatives.
In this matter, as in all such matters, we lose our bearings entirely by speaking of the 'lower classes' when we mean humanity minus ourselves. This trivial romantic literature is not especially plebeian: it is simply human. The philanthropist can never forget classes and callings. He says, with a modest swagger, 'I have invited twenty-five factory hands to tea.' If he said 'I have invited twenty-five chartered accountants to tea,' everyone would see the humour of so simple a classification. But this is what we have done with this lumberland of foolish writing: we have probed, as if it were some monstrous new disease, what is, in fact, nothing but the foolish and valiant heart of man. Ordinary men will always be sentimentalists: for a sentimentalist is simply a man who has feelings and does not trouble to invent a new way of expressing them. These common and current publications have nothing essentially evil about them. They express the sanguine and heroic truisms on which civilization is built; for it is clear that unless civilization is built on truisms, it is not built at all. Clearly, there could be no safety for a society in which the remark by the Chief Justice that murder was wrong was regarded as an original and dazzling epigram.
If the authors and publishers of 'Dick Deadshot,' and such remarkable works, were suddenly to make a raid upon the educated class, were to take down the names of every man, however distinguished, who was caught at a University Extension Lecture, were to confiscate all our novels and warn us all to correct our lives, we should be seriously annoyed. Yet they have far more right to do so than we; for they, with all their idiocy, are normal and we are abnormal. It is the modern literature of the educated, not of the uneducated, which is avowedly and aggressively criminal. Books recommending profligacy and pessimism, at which the high-souled errand-boy would shudder, lie upon all our drawing-room tables. If the dirtiest old owner of the dirtiest old bookstall in Whitechapel dared to display works really recommending polygamy or suicide, his stock would be seized by the police. These things are our luxuries. And with a hypocrisy so ludicrous as to be almost unparalleled in history, we rate the gutter-boys for their immorality at the very time that we are discussing (with equivocal German Professors) whether morality is valid at all. At the very instant that we curse the Penny Dreadful for encouraging thefts upon property, we canvass the proposition that all property is theft. At the very instant we accuse it (quite unjustly) of lubricity and indecency, we are cheerfully reading philosophies which glory in lubricity and indecency. At the very instant that we charge it with encouraging the young to destroy life, we are placidly discussing whether life is worth preserving.
But it is we who are the morbid exceptions; it is we who are the criminal class. This should be our great comfort. The vast mass of humanity, with their vast mass of idle books and idle words, have never doubted and never will doubt that courage is splendid, that fidelity is noble, that distressed ladies should be rescued, and vanquished enemies spared. There are a large number of cultivated persons who doubt these maxims of daily life, just as there are a large number of persons who believe they are the Prince of Wales; and I am told that both classes of people are entertaining conversationalists. But the average man or boy writes daily in these great gaudy diaries of his soul, which we call Penny Dreadfuls, a plainer and better gospel than any of those iridescent ethical paradoxes that the fashionable change as often as their bonnets. It may be a very limited aim in morality to shoot a 'many-faced and fickle traitor,' but at least it is a better aim than to be a many-faced and fickle traitor, which is a simple summary of a good many modern systems from Mr. d'Annunzio's downwards. So long as the coarse and thin texture of mere current popular romance is not touched by a paltry culture it will never be vitally immoral. It is always on the side of life. The poor—the slaves who really stoop under the burden of life—have often been mad, scatter-brained and cruel, but never hopeless. That is a class privilege, like cigars. Their drivelling literature will always be a 'blood and thunder' literature, as simple as the thunder of heaven and the blood of men.CHAPTER 2
A Defence of Rash Vows
IF a prosperous modern man, with a high hat and a frock-coat, were to solemnly pledge himself before all his clerks and friends to count the leaves on every third tree in Holland Walk, to hop up to the City on one leg every Thursday, to repeat the whole of Mill's 'Liberty' seventy-six times, to collect 300 dandelions in fields belonging to anyone of the name of Brown, to remain for thirty-one hours holding his left ear in his right hand, to sing the names of all his aunts in order of age on the top of an omnibus, or make any such unusual undertaking, we should immediately conclude that the man was mad, or, as it is sometimes expressed, was 'an artist in life.' Yet these vows are not more extraordinary than the vows which in the Middle Ages and in similar periods were made, not by fanatics merely, but by the greatest figures in civic and national civilization—by kings, judges, poets, and priests. One man swore to chain two mountains together, and the great chain hung there, it was said, for ages as a monument of—that mystical folly. Another swore that he would find his way to Jerusalem with a patch over his eyes, and died looking for it. It is not easy to see that these two exploits, judged from a strictly rational standpoint, are any saner than the acts above suggested. A mountain is commonly a stationary and reliable object which it is not necessary to chain up at night like a dog. And it is not easy at first sight to see that a man pays a very high compliment to the Holy City by setting out for it under conditions which render it to the last degree improbable that he will ever get there.
But about this there is one striking thing to be noticed. If men behaved in that way in our time, we should, as we have said, regard them as symbols of the 'decadence.' But the men who did these things were not decadent; they belonged generally to the most robust classes of what is generally regarded as a robust age. Again, it will be urged that if men essentially sane performed such insanities, it was under the capricious direction of a superstitious religious system. This, again, will not hold water; for in the purely terrestrial and even sensual departments of life, such as love and lust, the medieval princes show the same mad promises and performances, the same misshapen imagination and the same monstrous self-sacrifice. Here we have a contradiction, to explain which it is necessary to think of the whole nature of vows from the beginning. And if we consider seriously and correctly the nature of vows, we shall, unless I am much mistaken, come to the conclusion that it is perfectly sane, and even sensible, to swear to chain mountains together, and that, if insanity is involved at all, it is a little insane not to do so.
The man who makes a vow makes an appointment with himself at some distant time or place. The danger of it is that himself should not keep the appointment. And in modern times this terror of one's self, of the weakness and mutability of one's self, has perilously increased, and is the real basis of the objection to vows of any kind. A modern man refrains from swearing to count the leaves on every third tree in Holland Walk, not because it is silly to do so (he does many sillier things), but because he has a profound conviction that before he had got to the three hundred and seventy-ninth leaf on the first tree he would be excessively tired of the subject and want to go home to tea. In other words, we fear that by that time he will be, in the common but hideously significant phrase, another man. Now, it is this horrible fairy tale of a man constantly changing into other men that is the soul of the decadence. That John Paterson should, with apparent calm, look forward to being a certain General Barker on Monday, Dr. Macgregor on Tuesday, Sir Walter Carstairs on Wednesday, and Sam Slugg on Thursday, may seem a nightmare; but to that nightmare we give the name of modern culture. One great decadent, who is now dead, published a poem some time ago, in which he powerfully summed up the whole spirit of the movement by declaring that he could stand in the prison yard and entirely comprehend the feelings of a man about to be hanged:
'For he that lives more lives than one More deaths than one must die.'
And the end of all this is that maddening horror of unreality which descends upon the decadents, and compared with which physical pain itself would have the freshness of a youthful thing. The one hell which imagination must conceive as most hellish is to be eternally acting a play without even the narrowest and dirtiest greenroom in which to be human. And this is the condition of the decadent, of the æsthete, of the free-lover. To be everlastingly passing through dangers which we know cannot scathe us, to be taking oaths which we know cannot bind us, to be defying enemies who we know cannot conquer us—this is the grinning tyranny of decadence which is called freedom.
Excerpted from The Defendant by G. K. CHESTERTON, Dale Ahlquist. Copyright © 2012 Dale Ahlquist. Excerpted by permission of Dover Publications, Inc..
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