Tremendous Trifles by G. K. Chesterton (Sheed and Ward, 1909)
This was a Christmas gift back in 2013. (Thanks, DSTB!) Despite my love of Chesterton's writings, it fell into the black hole that is my over-stuffed bookshelf, the bookshelf that takes up most of the back wall of my office, the bookshelf that inspired 95 by 65 goal #63, "Read 26 existing but as yet unread books from my bookshelves." Thanks to that goal, Tremendous Trifles re-emerged.
This series of essays from the very early years of the 20th century were the result of Chesterton's brilliant mind looking in unusual, sometimes bizarre, ways at things and events that most people would ignore—if they noticed them at all. The writings are somewhat dated, but I notice it primarily in missing out on some of the jokes; the ideas are still fresh, fascinating, and yes, sometimes bizarre.
I thoroughly enjoyed reading this real, physical, odor-of-old-libraries book, but if you wish, you can read Tremendous Trifles for free, at Project Gutenberg. (Most of Chesterton's works are now in the public domain.) Here are a few quotations to whet your appetite.
[A]nyone else may do it better, if anyone else will only try.
Applied by Chesterton to his own writings, this statement is absurd: his mind and his skills were incredible. But still it speaks an important truth, that very often things could be done better, but those who are more able are not the ones making the effort.
The world will never starve for want of wonders; but only for want of wonder.
One of the wise and awful truths which this brown-paper art reveals, is this, that white is a colour. It is not a mere absence of colour; it is a shining and affirmative thing, as fierce as red, as definite as black. When, so to speak, your pencil grows red-hot, it draws roses; when it grows white-hot, it draws stars. And one of the two or three defiant verities of the best religious morality, of real Christianity, for example, is exactly this same thing; the chief assertion of religious morality is that white is a colour. Virtue is not the absence of vices or the avoidance of moral dangers; virtue is a vivid and separate thing, like pain or a particular smell. Mercy does not mean not being cruel or sparing people revenge or punishment; it means a plain and positive thing like the sun, which one has either seen or not seen. Chastity does not mean abstention from sexual wrong; it means something flaming, like Joan of Arc. In a word, God paints in many colours; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white.
If there is one thing worse than the modern weakening of major morals it is the modern strengthening of minor morals.
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 policemen 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 ballet 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 its 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.
I find that there really are human beings who think fairy tales bad for children. ... [A] lady has written me an earnest letter saying that fairy tales ought not to be taught to children even if they are true. She says that it is cruel to tell children fairy tales, because it frightens them. You might just as well say that it is cruel to give girls sentimental novels because it makes them cry. All this kind of talk is based on that complete forgetting of what a child is like which has been the firm foundation of so many educational schemes. [emphasis mine] If you keep bogies and goblins away from children they would make them up for themselves. One small child in the dark can invent more hells than Swedenborg. One small child can imagine monsters too big and black to get into any picture, and give them names too unearthly and cacophonous to have occurred in the cries of any lunatic. ... The fear does not come from fairy tales; the fear comes from the universe of the soul.
The timidity of the child or the savage is entirely reasonable; they are alarmed at this world, because this world is a very alarming place. ... Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon.
Exactly what the fairy tale does is this: it accustoms him for a series of clear pictures to the idea that these limitless terrors had a limit, that these shapeless enemies have enemies, that these strong enemies of man have enemies in the knights of God, that there is something in the universe more mystical than darkness, and stronger than strong fear....
At the four corners of a child's bed stand Perseus and Roland, Sigurd and St. George. If you withdraw the guard of heroes you are not making him rational; you are only leaving him to fight the devils alone.
There is only one reason why all grown-up people do not play with toys; and it is a fair reason. The reason is that playing with toys takes so very much more time and trouble than anything else. Playing as children mean playing is the most serious thing in the world; and as soon as we have small duties or small sorrows we have to abandon to some extent so enormous and ambitious a plan of life. We have enough strength for politics and commerce and art and philosophy; we have not enough strength for play. This is a truth which everyone will recognize who, as a child, has ever played with anything at all: anyone who has played with bricks, anyone who has played with dolls, anyone who has played with tin soldiers. My journalistic work, which earns money, is not pursued with such awful persistency as that work which earned nothing.
Brave men are all vertebrates; they have their softness on the surface and their toughness in the middle. But these modern cowards are all crustaceans; their hardness is all on the cover and their softness is inside.
And finally, I present a story, one that makes up almost the entirety of one essay, aptly entitled "A Somewhat Improbable Story." It's as madcap as most of Chesterton's stories, and a serious essay as well.
You may suppose me, for the sake of argument, sitting at lunch in one of those quick-lunch restaurants in the City where men take their food so fast that it has none of the quality of food, and take their half-hour's vacation so fast that it has none of the qualities of leisure; to hurry through one's leisure is the most unbusiness-like of actions. They all wore tall shiny hats as if they could not lose an instant even to hang them on a peg, and they all had one eye a little off, hypnotised by the huge eye of the clock. In short, they were the slaves of the modern bondage, you could hear their fetters clanking. Each was, in fact, bound by a chain; the heaviest chain ever tied to a man—it is called a watch-chain.
Now, among these there entered and sat down opposite to me a man who almost immediately opened an uninterrupted monologue. He was like all the other men in dress, yet he was startlingly opposite to them in all manner. He wore a high shiny hat and a long frock coat, but he wore them as such solemn things were meant to be worn; he wore the silk hat as if it were a mitre, and the frock coat as if it were the ephod of a high priest. He not only hung his hat up on the peg, but he seemed (such was his stateliness) almost to ask permission of the hat for doing so, and to apologise to the peg for making use of it. When he had sat down on a wooden chair with the air of one considering its feelings and given a sort of slight stoop or bow to the wooden table itself, as if it were an altar, I could not help some comment springing to my lips. For the man was a big, sanguine-faced, prosperous-looking man, and yet he treated everything with a care that almost amounted to nervousness.
For the sake of saying something to express my interest I said, "This furniture is fairly solid; but, of course, people do treat it much too carelessly."
As I looked up doubtfully my eye caught his, and was fixed as his was fixed in an apocalyptic stare. I had thought him ordinary as he entered, save for his strange, cautious manner; but if the other people had seen him then they would have screamed and emptied the room. They did not see him, and they went on making a clatter with their forks, and a murmur with their conversation. But the man's face was the face of a maniac.
"Did you mean anything particular by that remark?" he asked at last, and the blood crawled back slowly into his face.
"Nothing whatever," I answered. "One does not mean anything here; it spoils people's digestions."
He limped back and wiped his broad forehead with a big handkerchief; and yet there seemed to be a sort of regret in his relief.
"I thought perhaps," he said in a low voice, "that another of them had gone wrong."
"If you mean another digestion gone wrong," I said, "I never heard of one here that went right. This is the heart of the Empire, and the other organs are in an equally bad way."
"No, I mean another street gone wrong," and he said heavily and quietly, "but as I suppose that doesn't explain much to you, I think I shall have to tell you the story. I do so with all the less responsibility, because I know you won't believe it. For forty years of my life I invariably left my office, which is in Leadenhall Street, at half-past five in the afternoon, taking with me an umbrella in the right hand and a bag in the left hand. For forty years two months and four days I passed out of the side office door, walked down the street on the left-hand side, took the first turning to the left and the third to the right, from where I bought an evening paper, followed the road on the right-hand side round two obtuse angles, and came out just outside a Metropolitan station, where I took a train home. For forty years two months and four days I fulfilled this course by accumulated habit: it was not a long street that I traversed, and it took me about four and a half minutes to do it. After forty years two months and four days, on the fifth day I went out in the same manner, with my umbrella in the right hand and my bag in the left, and I began to notice that walking along the familiar street tired me somewhat more than usual; and when I turned it I was convinced that I had turned down the wrong one. For now the street shot up quite a steep slant, such as one only sees in the hilly parts of London, and in this part there were no hills at all. Yet it was not the wrong street; the name written on it was the same; the shuttered shops were the same; the lamp-posts and the whole look of the perspective was the same; only it was tilted upwards like a lid. Forgetting any trouble about breathlessness or fatigue I ran furiously forward, and reached the second of my accustomed turnings, which ought to bring me almost within sight of the station. And as I turned that corner I nearly fell on the pavement. For now the street went up straight in front of my face like a steep staircase or the side of a pyramid. There was not for miles round that place so much as a slope like that of Ludgate Hill. And this was a slope like that of the Matterhorn. The whole street had lifted itself like a single wave, and yet every speck and detail of it was the same, and I saw in the high distance, as at the top of an Alpine pass, picked out in pink letters the name over my paper shop.
"I ran on and on blindly now, passing all the shops and coming to a part of the road where there was a long grey row of private houses. I had, I know not why, an irrational feeling that I was a long iron bridge in empty space. An impulse seized me, and I pulled up the iron trap of a coal-hole. Looking down through it I saw empty space and the stairs.
"When I looked up again a man was standing in his front garden, having apparently come out of his house; he was leaning over the railings and gazing at me. We were all alone on that nightmare road; his face was in shadow; his dress was dark and ordinary; but when I saw him standing so perfectly still I knew somehow that he was not of this world. And the stars behind his head were larger and fiercer than ought to be endured by the eyes of men.
"'If you are a kind angel,' I said, 'or a wise devil, or have anything in common with mankind, tell me what is this street possessed of devils.'
"After a long silence he said, 'What do you say that it is?'
"'It is Bumpton Street, of course,' I snapped. 'It goes to Oldgate Station.'
"'Yes,' he admitted gravely; 'it goes there sometimes. Just now, however, it is going to heaven.'
"'To heaven?' I said. 'Why?'
"'It is going to heaven for justice,' he replied. 'You must have treated it badly. Remember always that there is one thing that cannot be endured by anybody or anything. That one unendurable thing is to be overworked and also neglected. For instance, you can overwork women—everybody does. But you can't neglect women—I defy you to. At the same time, you can neglect tramps and gypsies and all the apparent refuse of the State so long as you do not overwork it. But no beast of the field, no horse, no dog can endure long to be asked to do more than his work and yet have less than his honour. It is the same with streets. You have worked this street to death, and yet you have never remembered its existence. If you had a healthy democracy, even of pagans, they would have hung this street with garlands and given it the name of a god. Then it would have gone quietly. But at last the street has grown tired of your tireless insolence; and it is bucking and rearing its head to heaven. Have you never sat on a bucking horse?'
"I looked at the long grey street, and for a moment it seemed to me to be exactly like the long grey neck of a horse flung up to heaven. But in a moment my sanity returned, and I said, 'But this is all nonsense. Streets go to the place they have to go. A street must always go to its end.'
"'Why do you think so of a street?' he asked, standing very still.
"'Because I have always seen it do the same thing,' I replied, in reasonable anger. 'Day after day, year after year, it has always gone to Oldgate Station; day after...'
"I stopped, for he had flung up his head with the fury of the road in revolt.
"'And you?' he cried terribly. 'What do you think the road thinks of you? Does the road think you are alive? Are you alive? Day after day, year after year, you have gone to Oldgate Station....' Since then I have respected the things called inanimate."
And bowing slightly to the mustard-pot, the man in the restaurant withdrew.
