The Everlasting Man by G.K. Chesterton — Read

What are here called the Gods might almost alternatively be called the day-dreams. To compare them to dreams is not to deny that dreams can come true. To compare them to travellers' tales is not to deny that they may be true tales, or at least truthful tales. In truth they are the sort of tales the traveller tells to himself. All this mythological business belongs to the poetical part of men. It seems strangely forgotten nowadays that a myth is a work of imagination and therefore a work of art. It needs a poet to make it. It needs a poet to criticise it. There are more poets than non-poets in the world, as is proved by the popular origin of such legends. But for some reason I have never heard explained, it is only the minority of unpoetical people who are allowed to write critical studies of these popular poems. We do not submit a sonnet to a mathematician or a song to a calculating boy; but we do indulge the equally fantastic idea that folk-lore can be treated as a science. Unless these things are appreciated artistically they are not appreciated at all. When the professor is told by the Polynesian that once there was nothing except a great feathered serpent, unless the learned man feels a thrill and a half temptation to wish it were true, he is no judge of such things at all. When he is assured, on the best Red Indian authority, that a primitive hero carried the sun and moon and stars in a box, unless he clasps his hands and almost kicks his legs as a child would at such a charming fancy, he knows nothing about the matter. This test is not nonsensical; primitive children and barbaric children do laugh and kick like other children; and we must have a certain simplicity to repicture the childhood of the world. When Hiawatha was told by his nurse that a warrior threw his grandmother up to the moon, he laughed like any English child told by his nurse that a cow jumped over the moon. The child sees the joke as well as most men, and better than some scientific men. But the ultimate test even of the fantastic is the appropriateness of the inappropriate. And the test must appear merely arbitrary because it is merely artistic. If any student tells me that the infant Hiawatha only laughed out of respect for tribal custom of sacrificing the aged to economical housekeeping, I say he did not. If any scholar tells me that the cow jumped over the moon only because a heifer was sacrificed to Diana, I answer that it did not. It happened because it is obviously the right thing for a cow to jump over the moon. Mythology is a lost art, one of the few arts that really are lost; but it is an art. The horned moon and the horned mooncalf make a harmonious and almost a quiet pattern. And throwing your grandmother into the sky is not good behaviour; but it is perfectly good taste.

Thus scientists seldom understand, as artists understand, that one branch of the beautiful is the ugly. They seldom allow for the legitimate liberty of the grotesque. And they will dismiss a savage myth as merely coarse and clumsy and an evidence of degradation, because it has not all the beauty of the herald Mercury new lighted on a heaven-kissing hill; when it really has the beauty of the Mock Turtle or the Mad Hatter. It is the supreme proof of a man being prosaic that he always insists on poetry being poetical. Sometimes the humour is in the very subject as well as the style of the fable. The Australian aborigines, regarded as the rudest of savages, have a story about a giant frog who had swallowed the sea and all the waters of the world; and who was only forced to spill them by being made to laugh. All the animals with all their antics passed before him and, like Queen Victoria, he was not amused. He collapsed at last before an eel who stood delicately balanced on the tip of its tail, doubtless with a rather desperate dignity. Any amount of fine fantastic literature might be made out of that fable. There is philosophy in that vision of the dry world before the beatific Deluge of laughter. There is imagination in the mountainous monster erupting like an aqueous volcano; there is plenty of fun in the thought of his goggling visage as the pelican or the penguin passed by. Anyhow the frog laughed; but the folk-lore student remains grave.