Fancies Versus Fads. G. K. Chesterton

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СКАЧАТЬ the morbid impulse to pour poison in his brother’s ear. On the theory of psycho-analysis, as expounded, a man ought to be haunted by the ghosts of all the men he has not murdered. Even if they were limited to those he has felt a vague fancy for murdering, they might make a respectable crowd to follow at his heels. Yet Shakespeare certainly seems to represent Macbeth as haunted by Banquo, whom he removed at one blow from the light of the sun and from his own subconsciousness. Hell ought to mean the regret for lost opportunities for crime; the insupportable thought of houses still standing unburned or unburgled, or of wealthy uncles still walking about alive with their projecting watch-chains. Yet Dante certainly seemed to represent it as concerned exclusively with things done and done with, and not as merely the morbidly congested imagination of a thief who had not thieved and a murderer who had not murdered. In short, it is only too apparent that the poets and sages of the past knew very little of psycho-analysis, and whether or no Mr. Beresford can achieve great literary effects with it, they managed to achieve their literary effects without it. This is but a preliminary point, and I shall touch the more serious problem in a few minutes, if the fashion has not changed before then. For the moment I only take the test of literary experience, and of how independent of such theories have been the real masterpieces of man. Men are still excited over the poetic parts of poets like Shakespeare and Dante; if they go to sleep it is over the scientific parts. It is over some system of the spheres which Dante thought the very latest astronomy, or some argument about the humours of the body which Shakespeare thought the very latest physiology. I appeal to Mr. Beresford’s indestructible sense of humanity and his still undestroyed sense of humour. What would have become of the work of Dickens if it had been rewritten to illustrate the thesis of Darwin? What even of the work of Mr. Kipling if modified to meet the theories of Mr. Kidd? Believe me, the proportions are as I have said. Art is long, but science is fleeting; and Mr. Beresford’s subconsciousness, though stout and brave, is in danger of being not so much a muffled drum as a drum which somebody silences for ever; by knocking a hole in it, only to find nothing inside. But there is one incidental moral in the matter that seems to me topical and rather arresting. It concerns the idea of punishment. The psycho-analysts continue to buzz in a mysterious manner round the problem of Hamlet. They are especially interested in the things of which Hamlet was unconscious, not to mention the things of which Shakespeare was unconscious. It is in vain for old-fashioned rationalists like myself to point out that this is like dissecting the brain of Puck or revealing the real private life of Punch and Judy. The discussion no longer revolves round whether Hamlet is mad, but whether everybody is mad, especially the experts investigating the madness. And the curious thing about this process is that even when the critics are really subtle enough to see subtle things, they are never simple enough to see self-evident things. A really fine critic is reported as arguing that in Hamlet the consciousness willed one thing and the subconsciousness another. Apparently the conscious Hamlet had unreservedly embraced and even welcomed the obligation of vengeance, but the shock (we are told) had rendered the whole subject painful, and started a strange and secret aversion to the scheme. It did not seem to occur to the writers that there might possibly be something slightly painful, at the best, in cutting the throat of your own uncle and the husband of your own mother. There might certainly be an aversion from the act; but I do not quite see why it should be an unconscious aversion. It seems just possible that a man might be quite conscious of not liking such a job. Where he differed from the modern morality was that he believed in the possibility of disliking it and yet doing it.

      But to follow the argument of these critics, one would think that murdering the head of one’s family was a sort of family festivity or family joke; a gay and innocent indulgence into which the young prince would naturally have thrown himself with thoughtless exuberance, were it not for the dark and secretive thoughts that had given him an unaccountable distaste for it. Suppose it were borne in upon one of these modern middle-class critics, of my own rank and routine of life (possibly through his confidence in the messages at a Spiritualist séance) that it was his business to go home to Brompton or Surbiton and stick the carving-knife into Uncle William, who had poisoned somebody and was beyond the reach of the law. It is possible that the critic’s first thought would be that it was a happy way of spending a half-holiday; and that only in the critic’s subconsciousness the suspicion would stir that there was something unhappy about the whole business. But it seems also possible that the regret might not be confined to his subconsciousness, but might swim almost to the surface of his consciousness. In plain words, this sort of criticism has lost the last rags of common sense. Hamlet requires no such subconscious explanation, for he explains himself, and was perhaps rather too fond of doing so. He was a man to whom duty had come in a very dreadful and repulsive form, and to a man not fitted for that form of duty. There was a conflict, but he was conscious of it from beginning to end. He was not an unconscious person; but a far too conscious one.

      Strangely enough, this theory of subconscious repulsion in the dramatic character is itself an example of subconscious repulsion in the modern critic. It is the critic who has a sort of subliminal prejudice which makes him avoid something, that seems very simple to others. The thing which he secretly and obscurely avoids, from the start, is the very simple fact of the morality in which Shakespeare did believe, as distinct from all the crude psychology in which he almost certainly did not believe. Shakespeare certainly did believe in the struggle between duty and inclination. The critic instinctively avoids the admission that Hamlet’s was a struggle between duty and inclination; and tries to substitute a struggle between consciousness and subconsciousness. He gives Hamlet a complex to avoid giving him a conscience. But he is actually forced to talk as if it was a man’s natural inclination to kill an uncle, because he does not want to admit that it might be his duty to kill him. He is really driven to talking as if some dark and secretive monomania alone prevented us all from killing our uncles. He is driven to this because he will not even take seriously the simple and, if you will, primitive morality upon which the tragedy is built. For that morality involves three moral propositions, from which the whole of the morbid modern subconsciousness does really recoil as from an ugly jar of pain. These principles are: first, that it may be our main business to do the right thing, even when we detest doing it; second, that the right thing may involve punishing some person, especially some powerful person; third, that the just process of punishment may take the form of fighting and killing. The modern critic is prejudiced against the first principle and calls it asceticism; he is prejudiced against the second principle and calls it vindictiveness; he is prejudiced against the third and generally calls it militarism. That it actually might be the duty of a young man to risk his own life, much against his own inclination, by drawing a sword and killing a tyrant, that is an idea instinctively avoided by this particular mood of modern times. That is why tyrants have such a good time in modern times. And in order to avoid this plain and obvious meaning, of war as a duty and peace as a temptation, the critic has to turn the whole play upside down, and seek its meaning in modern notions so remote as to be in this connexion meaningless. He has to make William Shakespeare of Stratford one of the pupils of Professor Freud. He has to make him a champion of psycho-analysis, which is like making him a champion of vaccination. He has to fit Hamlet’s soul somehow into the classifications of Freud and Jung; which is just as if he had to fit Hamlet’s father into the classifications of Sir Oliver Lodge and Sir Arthur Conan Doyle. He has to interpret the whole thing by a new morality that Shakespeare had never heard of, because he has an intense internal dislike of the old morality that Shakespeare could not help hearing of. And that morality, which some of us believe to be based on a much more realistic psychology, is that punishment as punishment is a perfectly healthy process, not merely because it is reform, but also because it is expiation. What the modern world means by proposing to substitute pity for punishment is really very simple. It is that the modern world dare not punish those who are punishable, but only those who are pitiable. It would never touch anyone so important as King Claudius—or Kaiser William.

      Now this truth is highly topical just now. The point about Hamlet was that he wavered, very excusably, in something that had to be done; and this is the point quite apart from whether we ourselves would have done it. That was pointed out long ago by Browning in “The Statue and the Bust.” He argued that even if the motive for acting was bad, the motive for not acting was worse. And an action or inaction is judged by its real motive, not by whether somebody else might have done the same thing from a better motive. Whether or no СКАЧАТЬ