G. K. Chesterton
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, werre 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 really independent intelligence today; 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 and anti-clerical cant as a sort of smalltalk. They will complain of parsons dressing like parsons; as if we should be any more free if all the police who shadowed ? 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 demeanor 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 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 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 illogically 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 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 is only be noted that no philosopher denies that a mystery still attaches to the two great transitions: the origin of the universes itself and the origin of the principal 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 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 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 deemed 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 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 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 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 be 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 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 cave-man, 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 some one who shall put such stories in the primary light, in which they are not commonplace There is, for instance, some thing 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 void of ages, the movement and the gesture of a man's band. 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 attempts difficult things; as where the draughtsman had represented the action of the stag when be 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 CaveMan. 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 spark danced in 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-colors; 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 be 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 recognize 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 of 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 bad 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 CaveMan 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 cr?che, in which the babies were put to be specially safe, and that colored 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 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 bad 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 the 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 bad 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 eons 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 colored 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 the 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 any thing else came there, is a thing for theologians and philosophers and scientists and not for historians. But an excellent test case of this isolation and mystery is the matter of the impulse of art. This creature was truly different from all other creatures; because he was a creator as well as a creature. Nothing in that sense could be made in any other image but the image of man. But the truth is so true that, even in the absence of any religious belief, it must be assumed in the form of some moral or metaphysical principle. In the next chapter we shall see how this principle applies to all the historical hypotheses and evolutionary ethics now in fashion; to the origins of tribal government or mythological belief. But the clearest and most convenient example to start with is this popular one of what the cave-man really did in his cave. It means that somehow or other a new thing had appeared in the cavernous night of nature, a mind that is like a mirror. It is like a mirror because it is truly a thing of reflection. It is like a mirror because in it alone all the other shapes can be been like shining shadows in a vision. Above all, it is like a mirror because it is the only thing of its kind. Other things may resemble it or resemble each other in various ways; other things may excel it or excel each other in various ways; just as in the furniture of a room a table may be round like a Mirror or a cupboard may be larger than a mirror. But the mirror is the only thing that can contain them all. Man is the microcosm; man is the measure of all things; man is the image of God. These are the only real lessons to be learnt in the cave and it is time to leave it for the open road. It will be well in this place, however, to sum up once and for all what is meant by saying that man is at once the exception to everything and the mirror and the measure of all things. But to see man as he is, it is necessary once more to keep close to that simplicity that can clear itself of accumulated clouds of sophistry. The simplest truth about man is that he is a very strange being; almost in the sense of being a stranger on the earth. In all sobriety, he has much more of the external appearance of one bringing alien habits from another land than of a mere growth of this one. He has an unfair advantage and an unfair disadvantage. He cannot sleep in his own skin; he cannot trust his own instincts. He is at once a creator moving miraculous hands and fingers and a kind of cripple. He is wrapped in artificial bandages called clothes; he is propped on artificial crutches called furniture. His mind has the same doubtful liberties and the same wild limitations. Alone among the animals, he is shaken with the beautiful madness called laughter; as if he had caught sight of some secret in the very shape of the universe hidden from the universe itself. Alone among the animals he feels the need of averting his thoughts from the root realities of his own bodily being; of hiding them as in the presence of some higher possibility which creates the mystery of shame. Whether we raise these things as natural to man or abuse them as artificial in nature, they remain in the same sense unique. This is realized by the whole popular instinct called religion, until disturbed by pedants, especially the laborious pedants of the Simple Life. The most sophisticate of all sophists are gymnosophists. It is not natural to see man as a natural product. It is not sense to call man a common object of the country or the seashore. It is not seeing straight to see him as an animal. It is not sane. It sins against the light; against that broad daylight of proportion which is the principle of all reality. It is reached by stretching a point, by making out a case, by artificially selecting a certain light and shade, by bringing into prominence the lesser or lower things which may happen to be similar. The solid thing standing in the sunlight, the thing we can walk round and see from all sides, is quite different. It is also quite extraordinary; and the more sides we see of it the more extraordinary it seems. It is emphatically not a thing that follows or flows naturally from anything else. If we imagine that an inhuman or impersonal intelligence could have felt from the first the general nature of the non-human world sufficiently to see that things would evolve in whatever way they did evolve, there would have been nothing whatever in all that natural world to prepare such a mind for such an unnatural novelty, To such a mind, man would most certainly not have seemed something like one herd out of a hundred herds finding richer pasture; or one swallow out of a hundred swallows making a summer under a strange sky. It would not be in the same scale and scarcely in the same dimension. We might as truly say that it would not be in the same universe. It would be more like seeing one cow out of a hundred cows suddenly jump over the moon or one pig out of a hundred pigs grow wings in a flash and fly. It would not be a question of the cattle finding their own grazing-ground but of their building their own cattle-sheds, not a question of one swallow making a summer but of his making a summer-house. For the very fact that birds do build nests is one of those similarities that sharpen the startling difference. The very fact that a bird can get as far as building a nest, and cannot get any farther, proves that be has not a mind as man has a mind; it proves it more completely than if he built nothing at all. If he built nothing at all, he might possibly be a philosopher of the Quietist or Buddhist school, indifferent to all but the mind within. But when he builds as he does build and is satisfied and sings aloud with satisfaction, then we know there is really an invisible veil like a pane of glass between him and us, like the window on which a bird will beat in vain. But suppose our abstract onlooker saw one of the birds begin to build as men build. Suppose in an incredibly short space of time there were seven styles of architecture for one style of nest. Suppose the bird carefully selected forked twigs and pointed leaves to express the piercing piety of Gothic, but turned to broad foliage and black mud when he sought in a darker mood to call up the heavy columns of Bel and Ashtaroth; making his nest indeed one of the hanging gardens of Babylon. Suppose the bird made little clay statues of birds celebrated in letters or politics and stuck them up in front of the nest. Suppose that one bird out of a thousand birds began to do one of the thousand things that man bad already done even in the morning of the world; and we can be quite certain that the onlooker would not regard such a bird as a mere evolutionary variety of the other birds; he would regard it as a very fearful wild-fowl indeed; possibly as a bird of ill-omen, certainly as an omen. That bird would tell the augurs, not of something that would happen, but of something that had happened. That something would be the appearance of a mind with a new dimension of depth; a mind like that of man. If there be no God, no other mind could conceivably have foreseen it. Now as a matter of fact, there is a not a shadow of evidence that this thing was evolved at all. There is not a particle of proof that this transition came slowly or even that it came naturally. In a strictly scientific sense we simply know nothing whatever about how it grew, or whether it grew, or what it is. There may be a broken trail of stones and bones faintly suggesting the development of the human body. There is nothing even faintly suggesting such a development of this human mind. It was not and it was; we know not in what instant or in what infinity of years. Something happened; and it has all the appearance of a transaction outside time. It has therefore nothing to do with history in the ordinary sense. The historian must take it or something like it for granted; it is not his business as a historian to explain it. But if be cannot explain it as a historian, he will not explain it as a biologist. In neither case is there any disgrace to him in accepting it without explaining it; for it is a reality, and history and biology deal with realities. He is quite justified in calmly confronting the pig with wings and the cow that jumped over the moon, merely because they have happened. He can reasonably accept man as a freak, because he accepts man as a fact. He can be perfectly comfortable in a crazy and disconnected world, or in a world that can produce such a crazy and disconnected thing. For reality is a thing in which we can all repose, even if it hardly seems related to anything else. The thing is there; and that is enough for most of us. But if we do indeed want to know how it can conceivably have come there, if we do indeed wish to see it related realistically to other things, if we do insist on seeing it evolved before our very eyes from an environment nearer to its own nature, then assuredly it is to very different things that we must go. We must stir very strange memories and return to very simple dreams, if we desire some origin that can make man other than a monster. We shall have discovered very different causes before he becomes a creature of causation; and invoked other authority to turn him into something reasonable, or even into anything probable That way lies all that is at once awful and familiar and forgotten, with dreadful faces thronged and fiery arms. We can accept man as a fact, if we are content with an unexplained fact. We can accept him as an animal, if we can live with a fabulous animal. But if we must needs have sequence and necessity, then indeed we must provide a prelude and crescendo of mounting miracles, that ushered in with unthinkable thunders in all the seven heavens of another order a man may be an ordinary thing.THE EVERLASTING MAN by G.K. CHESTERTON
PART 1 Chapter 1
ON THE CREATURE CALLED MAN
