Part 4

On the first of May I was sitting outside a café in the Place de la Bastille in Paris staring at the exultant column, crowned with a capering figure, which stands in the place where the people destroyed a prison and ended an age. The thing is a curious example of how symbolic is the great part of human history. As a matter of mere material fact, the Bastille when it was taken was not a horrible prison; it was hardly a prison at all. But it was a symbol, and the people always go by a sure instinct for symbols; for the Chinaman, for instance, at the last General Election, or for President Kruger’s hat in the election before; their poetic sense is perfect. The Chinaman with his pigtail is not an idle flippancy. He does typify with a compact precision exactly the thing the people resent in African policy, the alien and grotesque nature of the power of wealth, the fact that money has no roots, that it is not a natural and familiar power, but a sort of airy and evil magic calling monsters from the ends of the earth. The people hate the mine owner who can bring a Chinaman flying across the sea, exactly as the people hated the wizard who could fetch a flying dragon through the air. It was the same with Mr. Kruger’s hat. His hat (that admirable hat) was not merely a joke. It did symbolise, and symbolise extremely well, the exact thing which our people at that moment regarded with impatience and venom; the old-fashioned, dingy, Republican simplicity, the unbeautiful dignity of the bourgeois, and the heavier truisms of political morality. No; the people are sometimes wrong on the practical side of politics; they are never wrong on the artistic side.

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So it was, certainly, with the Bastille. The destruction of the Bastille was not a reform; it was something more important than a reform. It was an iconoclasm; it was the breaking of a stone image. The people saw the building like a giant looking at them with a score of eyes, and they struck at it as at a carved fact. For of all the shapes in which that immense illusion called materialism can terrify the soul, perhaps the most oppressive are big buildings. Man feels like a fly, an accident, in the thing he has himself made. It requires a violent effort of the spirit to remember that man made this confounding thing and man could unmake it. Therefore the mere act of the ragged people in the street taking and destroying a huge public building has a spiritual, a ritual meaning far beyond its immediate political results. It is a religious service. If, for instance, the Socialists were numerous or courageous enough to capture and smash up the Bank of England, you might argue for ever about the inutility of the act, and how it really did not touch the root of the economic problem in the correct manner. But mankind would never forget it. It would change the world.

Architecture is a very good test of the true strength of a society, for the most valuable things in a human state are the irrevocable things--marriage, for instance. And architecture approaches nearer than any other art to being irrevocable, because it is so difficult to get rid of. You can turn a picture with its face to the wall; it would be a nuisance to turn that Roman cathedral with its face to the wall. You can tear a poem to pieces; it is only in moments of very sincere emotion that you tear a town-hall to pieces. A building is akin to dogma; it is insolent, like a dogma. Whether or no it is permanent, it claims permanence like a dogma. People ask why we have no typical architecture of the modern world, like impressionism in painting. Surely it is obviously because we have not enough dogmas; we cannot bear to see anything in the sky that is solid and enduring, anything in the sky that does not change like the clouds of the sky. But along with this decision which is involved in creating a building, there goes a quite similar decision in the more delightful task of smashing one. The two of necessity go together. In few places have so many fine public buildings been set up as here in Paris, and in few places have so many been destroyed. When people have finally got into the horrible habit of preserving buildings, they have got out of the habit of building them. And in London one mingles, as it were, one’s tears because so few are pulled down.

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As I sat staring at the column of the Bastille, inscribed to Liberty and Glory, there came out of one corner of the square (which, like so many such squares, was at once crowded and quiet) a sudden and silent line of horsemen. Their dress was of a dull blue, plain and prosaic enough, but the sun set on fire the brass and steel of their helmets; and their helmets were carved like the helmets of the Romans. I had seen them by twos and threes often enough before. I had seen plenty of them in pictures toiling through the snows of Friedland or roaring round the squares at Waterloo. But now they came file after file, like an invasion, and something in their numbers, or in the evening light that lit up their faces and their crests, or something in the reverie into which they broke, made me inclined to spring to my feet and cry out, “The French soldiers!” There were the little men with the brown faces that had so often ridden through the capitals of Europe as coolly as they now rode through their own. And when I looked across the square I saw that the two other corners were choked with blue and red; held by little groups of infantry. The city was garrisoned as against a revolution.

Of course, I had heard all about the strike, chiefly from a baker. He said he was not going to “Chomer.” I said, “Qu’est-ce que c’est que le chome?” He said, “Ils ne veulent pas travailler.” I said, “Ni moi non plus,” and he thought I was a class-conscious collectivist proletarian. The whole thing was curious, and the true moral of it one not easy for us, as a nation, to grasp, because our own faults are so deeply and dangerously in the other direction. To me, as an Englishman (personally steeped in the English optimism and the English dislike of severity), the whole thing seemed a fuss about nothing. It looked like turning out one of the best armies in Europe against ordinary people walking about the street. The cavalry charged us once or twice, more or less harmlessly. But, of course, it is hard to say how far in such criticisms one is assuming the French populace to be (what it is not) as docile as the English. But the deeper truth of the matter tingled, so to speak, through the whole noisy night. This people has a natural faculty for feeling itself on the eve of something--of the Bartholomew or the Revolution or the Commune or the Day of Judgment. It is this sense of crisis that makes France eternally young. It is perpetually pulling down and building up, as it pulled down the prison and put up the column in the Place de La Bastille. France has always been at the point of dissolution. She has found the only method of immortality. She dies daily.

X. On Lying in Bed

Lying in bed would be an altogether perfect and supreme experience if only one had a coloured pencil long enough to draw on the ceiling. This, however, is not generally a part of the domestic apparatus on the premises. I think myself that the thing might be managed with several pails of Aspinall and a broom. Only if one worked in a really sweeping and masterly way, and laid on the colour in great washes, it might drip down again on one’s face in floods of rich and mingled colour like some strange fairy rain; and that would have its disadvantages. I am afraid it would be necessary to stick to black and white in this form of artistic composition. To that purpose, indeed, the white ceiling would be of the greatest possible use; in fact, it is the only use I think of a white ceiling being put to.

But for the beautiful experiment of lying in bed I might never have discovered it. For years I have been looking for some blank spaces in a modern house to draw on. Paper is much too small for any really allegorical design; as Cyrano de Bergerac says, “Il me faut des géants.” But when I tried to find these fine clear spaces in the modern rooms such as we all live in I was continually disappointed. I found an endless pattern and complication of small objects hung like a curtain of fine links between me and my desire. I examined the walls; I found them to my surprise to be already covered with wallpaper, and I found the wallpaper to be already covered with uninteresting images, all bearing a ridiculous resemblance to each other. I could not understand why one arbitrary symbol (a symbol apparently entirely devoid of any religious or philosophical significance) should thus be sprinkled all over my nice walls like a sort of small-pox. The Bible must be referring to wallpapers, I think, when it says, “Use not vain repetitions, as the Gentiles do.” I found the Turkey carpet a mass of unmeaning colours, rather like the Turkish Empire, or like the sweetmeat called Turkish Delight. I do not exactly know what Turkish Delight really is; but I suppose it is Macedonian Massacres. Everywhere that I went forlornly, with my pencil or my paint brush, I found that others had unaccountably been before me, spoiling the walls, the curtains, and the furniture with their childish and barbaric designs.

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Nowhere did I find a really clear space for sketching until this occasion when I prolonged beyond the proper limit the process of lying on my back in bed. Then the light of that white heaven broke upon my vision, that breadth of mere white which is indeed almost the definition of Paradise, since it means purity and also means freedom. But alas! like all heavens, now that it is seen it is found to be unattainable; it looks more austere and more distant than the blue sky outside the window. For my proposal to paint on it with the bristly end of a broom has been discouraged--never mind by whom; by a person debarred from all political rights--and even my minor proposal to put the other end of the broom into the kitchen fire and turn it to charcoal has not been conceded. Yet I am certain that it was from persons in my position that all the original inspiration came for covering the ceilings of palaces and cathedrals with a riot of fallen angels or victorious gods. I am sure that it was only because Michael Angelo was engaged in the ancient and honourable occupation of lying in bed that he ever realized how the roof of the Sistine Chapel might be made into an awful imitation of a divine drama that could only be acted in the heavens.

The tone now commonly taken toward the practice of lying in bed is hypocritical and unhealthy. Of all the marks of modernity that seem to mean a kind of decadence, there is none more menacing and dangerous than the exultation of very small and secondary matters of conduct at the expense of very great and primary ones, at the expense of eternal ties and tragic human morality. If there is one thing worse than the modern weakening of major morals, it is the modern strengthening of minor morals. Thus it is considered more withering to accuse a man of bad taste than of bad ethics. Cleanliness is not next to godliness nowadays, for cleanliness is made essential and godliness is regarded as an offence. A playwright can attack the institution of marriage so long as he does not misrepresent the manners of society, and I have met Ibsenite pessimists who thought it wrong to take beer but right to take prussic acid. Especially this is so in matters of hygiene; notably such matters as lying in bed. Instead of being regarded, as it ought to be, as a matter of personal convenience and adjustment, it has come to be regarded by many as if it were a part of essential morals to get up early in the morning. It is upon the whole part of practical wisdom; but there is nothing good about it or bad about its opposite.

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Misers get up early in the morning; and burglars, I am informed, get up the night before. It is the great peril of our society that all its mechanisms may grow more fixed while its spirit grows more fickle. A man’s minor actions and arrangements ought to be free, flexible, creative; the things that should be unchangeable are his principles, his ideals. But with us the reverse is true; our views change constantly; but our lunch does not change. Now, I should like men to have strong and rooted conceptions, but as for their lunch, let them have it sometimes in the garden, sometimes in bed, sometimes on the roof, sometimes in the top of a tree. Let them argue from the same first principles, but let them do it in a bed, or a boat, or a balloon. This alarming growth of good habits really means a too great emphasis on those virtues which mere custom can ensure, it means too little emphasis on those virtues which custom can never quite ensure, sudden and splendid virtues of inspired pity or of inspired candour. If ever that abrupt appeal is made to us we may fail. A man can get use to getting up at five o’clock in the morning. A man cannot very well get used to being burnt for his opinions; the first experiment is commonly fatal. Let us pay a little more attention to these possibilities of the heroic and unexpected. I dare say that when I get out of this bed I shall do some deed of an almost terrible virtue.

For those who study the great art of lying in bed there is one emphatic caution to be added. Even for those who can do their work in bed (like journalists), still more for those whose work cannot be done in bed (as, for example, the professional harpooners of whales), it is obvious that the indulgence must be very occasional. But that is not the caution I mean. The caution is this: if you do lie in bed, be sure you do it without any reason or justification at all. I do not speak, of course, of the seriously sick. But if a healthy man lies in bed, let him do it without a rag of excuse; then he will get up a healthy man. If he does it for some secondary hygienic reason, if he has some scientific explanation, he may get up a hypochondriac.

XI. The Twelve Men

The other day, while I was meditating on morality and Mr. H. Pitt, I was, so to speak, snatched up and put into a jury box to try people. The snatching took some weeks, but to me it seemed something sudden and arbitrary. I was put into this box because I lived in Battersea, and my name began with a C. Looking round me, I saw that there were also summoned and in attendance in the court whole crowds and processions of men, all of whom lived in Battersea, and all of whose names began with a C.

It seems that they always summon jurymen in this sweeping alphabetical way. At one official blow, so to speak, Battersea is denuded of all its C’s, and left to get on as best it can with the rest of the alphabet. A Cumberpatch is missing from one street--a Chizzolpop from another--three Chucksterfields from Chucksterfield House; the children are crying out for an absent Cadgerboy; the woman at the street corner is weeping for her Coffintop, and will not be comforted. We settle down with a rollicking ease into our seats (for we are a bold, devil-may-care race, the C’s of Battersea), and an oath is administered to us in a totally inaudible manner by an individual resembling an Army surgeon in his second childhood. We understand, however, that we are to well and truly try the case between our sovereign lord the King and the prisoner at the bar, neither of whom has put in an appearance as yet.

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Just when I was wondering whether the King and the prisoner were, perhaps, coming to an amicable understanding in some adjoining public house, the prisoner’s head appears above the barrier of the dock; he is accused of stealing bicycles, and he is the living image of a great friend of mine. We go into the matter of the stealing of the bicycles. We do well and truly try the case between the King and the prisoner in the affair of the bicycles. And we come to the conclusion, after a brief but reasonable discussion, that the King is not in any way implicated. Then we pass on to a woman who neglected her children, and who looks as if somebody or something had neglected her. And I am one of those who fancy that something had.

All the time that the eye took in these light appearances and the brain passed these light criticisms, there was in the heart a barbaric pity and fear which men have never been able to utter from the beginning, but which is the power behind half the poems of the world. The mood cannot even adequately be suggested, except faintly by this statement that tragedy is the highest expression of the infinite value of human life. Never had I stood so close to pain; and never so far away from pessimism. Ordinarily, I should not have spoken of these dark emotions at all, for speech about them is too difficult; but I mention them now for a specific and particular reason to the statement of which I will proceed at once. I speak these feelings because out of the furnace of them there came a curious realisation of a political or social truth. I saw with a queer and indescribable kind of clearness what a jury really is, and why we must never let it go.

The trend of our epoch up to this time has been consistently towards specialism and professionalism. We tend to have trained soldiers because they fight better, trained singers because they sing better, trained dancers because they dance better, specially instructed laughers because they laugh better, and so on and so on. The principle has been applied to law and politics by innumerable modern writers. Many Fabians have insisted that a greater part of our political work should be performed by experts. Many legalists have declared that the untrained jury should be altogether supplanted by the trained Judge.

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Now, if this world of ours were really what is called reasonable, I do not know that there would be any fault to find with this. But the true result of all experience and the true foundation of all religion is this. That the four or five things that it is most practically essential that a man should know, are all of them what people call paradoxes. That is to say, that though we all find them in life to be mere plain truths, yet we cannot easily state them in words without being guilty of seeming verbal contradictions. One of them, for instance, is the unimpeachable platitude that the man who finds most pleasure for himself is often the man who least hunts for it. Another is the paradox of courage; the fact that the way to avoid death is not to have too much aversion to it. Whoever is careless enough of his bones to climb some hopeful cliff above the tide may save his bones by that carelessness. Whoever will lose his life, the same shall save it; an entirely practical and prosaic statement.

Now, one of these four or five paradoxes which should be taught to every infant prattling at his mother’s knee is the following: That the more a man looks at a thing, the less he can see it, and the more a man learns a thing the less he knows it. The Fabian argument of the expert, that the man who is trained should be the man who is trusted would be absolutely unanswerable if it were really true that a man who studied a thing and practiced it every day went on seeing more and more of its significance. But he does not. He goes on seeing less and less of its significance. In the same way, alas! we all go on every day, unless we are continually goading ourselves into gratitude and humility, seeing less and less of the significance of the sky or the stones.

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Now it is a terrible business to mark a man out for the vengeance of men. But it is a thing to which a man can grow accustomed, as he can to other terrible things; he can even grow accustomed to the sun. And the horrible thing about all legal officials, even the best, about all judges, magistrates, barristers, detectives, and policemen, is not that they are wicked (some of them are good), not that they are stupid (several of them are quite intelligent), it is simply that they have got used to it.

Strictly they do not see the prisoner in the dock; all they see is the usual man in the usual place. They do not see the awful court of judgment; they only see their own workshop. Therefore, the instinct of Christian civilisation has most wisely declared that into their judgments there shall upon every occasion be infused fresh blood and fresh thoughts from the streets. Men shall come in who can see the court and the crowd, and coarse faces of the policeman and the professional criminals, the wasted faces of the wastrels, the unreal faces of the gesticulating counsel, and see it all as one sees a new picture or a play hitherto unvisited.

Our civilisation has decided, and very justly decided, that determining the guilt or innocence of men is a thing too important to be trusted to trained men. It wishes for light upon that awful matter, it asks men who know no more law than I know, but who can feel the things that I felt in the jury box. When it wants a library catalogued, or the solar system discovered, or any trifle of that kind, it uses up specialists. But when it wishes anything done which is really serious, it collects twelve of the ordinary men standing round. The same thing was done, if I remember right, by the Founder of Christianity.

XII. The Wind and the Trees