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The Everlasting Man

The Everlasting Man

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by G. K. Chesterton

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Considered by many to be Chesterton's greatest masterpiece of all his writings, this is his whole view of world history as informed by the Incarnation. Beginning with the origin of man and the various religious attitudes throughout history, Chesterton shows how the fulfillment of all of man's desires takes place in the person of Christ and in Christ's


Considered by many to be Chesterton's greatest masterpiece of all his writings, this is his whole view of world history as informed by the Incarnation. Beginning with the origin of man and the various religious attitudes throughout history, Chesterton shows how the fulfillment of all of man's desires takes place in the person of Christ and in Christ's Church.

Chesterton propounds the thesis that "those who say that Christ stands side by side with similar myths, and his religion side by side with similar religions, are only repeating a very stale formula contradicted by a very striking fact." And with all the brilliance and devastating irony, so characteristic of his best writing, Chesterton gleefully and tempestuously tears to shreds that "very stale formula" and triumphantly proclaims in vivid language the glory and unanswerable logic of that very striking fact. Here is the genius of Chesterton at its delightful best.

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Aziloth Books
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6.00(w) x 9.00(h) x 0.38(d)

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The Everlasting Man

By G. K. Chesterton

Hendrickson Publishers Marketing, LLC

Copyright © 2011 Hendrickson Publishers Marketing, LLC
All rights reserved.
ISBN: 978-1-59856-645-1


The Man in the Cave

Far away in some strange constellation in skies infinitely remote, there is a small star, which astronomers may someday discover. At least I could never observe in the faces or demeanor of most astronomers or men of science any evidence that they have 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 dehumanized spectator. Only I do not believe in being dehumanized 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 titled 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 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 comments 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 traveling for the first time in a motorcar.

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 have 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 generalizations 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.

Today all our novels and newspapers will be found swarming with numberless allusions to a popular character called a caveman. 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 caveman 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 romance of the hippopotami are effected without any of this preliminary fracas or shindy. The caveman may have been no better that 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 revolutionary 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 caveman, the one connection in which it is really relevant and sensible to talk about him as the caveman 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 caveman 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 caveman and his cave and not the literary caveman 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 rumors 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 colors 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 travelers, and without any of these long allusive words that are full of irrelevant implication and suggestion. Then we might realize exactly what we do know about the caveman, or at any rate about the cave.

A priest and a boy entered sometime 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 someone 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 unspoiled 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 colored earths; and when they followed the lines of them they recognized, 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 recognize, 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 draftsman 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.


Excerpted from The Everlasting Man by G. K. Chesterton. Copyright © 2011 Hendrickson Publishers Marketing, LLC. Excerpted by permission of Hendrickson Publishers Marketing, LLC.
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Meet the Author

G. K. Chesterton (1874–1936) was one of C. S. Lewis’ primary mentors in apologetics, and an influence even in his conversion. Novelist, poet, essayist, and journalist, Chesterton was perhaps best known for his Father Brown detective stories. He produced more than 100 volumes in his lifetime, including biographies of St. Francis of Assisi and St. Thomas Aquinas. His Everlasting Man, which set out a Christian outline of history, was one of the factors that wore down Lewis’ resistance to Christianity. Chesteron was one of the first defenders of orthodoxy to use humor as a weapon. Perhaps more important was his use of reason to defend faith.

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