Irish Impressions. Гилберт Кит Честертон

      I. Two Stones in a Square

       Table of Contents

      When I had for the first time crossed St. George's Channel, and for the first time stepped out of a Dublin hotel on to St. Stephen's Green, the first of all my impressions was that of a particular statue, or rather portion of a statue. I left many traditional mysteries already in my track, but they did not trouble me as did this random glimpse or vision. I have never understood why the Channel is called St. George's Channel; it would seem more natural to call it St. Patrick's Channel since the great missionary did almost certainly cross that unquiet sea and look up at those mysterious mountains. And though I should be enchanted, in an abstract artistic sense, to imagine St. George sailing towards the sunset, flying the silver and scarlet colours of his cross, I cannot in fact regard that journey as the most fortunate of the adventures of that flag. Nor, for that matter, do I know why the Green should be called St. Stephen's Green, nor why the parliamentary enclosure at Westminster is also connected with the first of the martyrs; unless it be because St. Stephen was killed with stones. The stones piled together to make modern political buildings, might perhaps be regarded as a cairn, or heap of missiles, marking the place of the murder of a witness to the truth. And while it seems unlikely that St. Stephen was pelted with statues as well as stones, there are undoubtedly statues that might well kill a Christian at sight. Among these graven stones, from which the saints suffer, I should certainly include some of those figures in frock coats standing opposite St. Stephen's, Westminster. There are many such statues in Dublin also; but the one with which I am concerned was at first partially veiled from me. And the veil was at least as symbolic as the vision.

      I saw what seemed the crooked hind legs of a horse on a pedestal and deduced an equestrian statue, in the somewhat bloated fashion of the early eighteenth century equestrian statues. But the figure, from where I stood, was wholly hidden in the tops of trees growing round it in a ring; masking it with leafy curtains or draping it with leafy banners. But they were green banners, that waved and glittered all about it in the sunlight; and the face they hid was the face of an English king. Or rather, to speak more correctly, a German king.

      When laws can stay . . . it was impossible that an old rhyme should not run in my head, and words that appealed to the everlasting revolt of the green things of the earth. . . . "And when the leaves in summer time their colour dare not show." The rhyme seemed to reach me out of remote times and find arresting fulfilment, like a prophecy; it was impossible not to feel that I had seen an omen. I was conscious vaguely of a vision of green garlands hung on gray stone; and the wreaths were living and growing, and the stone was dead. Something in the simple substances and elemental colours, in the white sunlight, and the sombre and even secret image, held the mind for a moment in the midst of all the moving city, like a sign given in a dream. I was told that the figure was that of one of the first Georges; but indeed I seemed to know already that it was the White Horse of Hanover that had thus grown gray with Irish weather or green with Irish foliage. I knew only too well, already, that the George who had really crossed the Channel was not the saint. This was one of those German princes whom the English aristocracy used when it made the English domestic polity aristocratic and the English foreign policy German. Those Englishmen who think the Irish are pro-German, or those Irishmen who think the Irish ought to be pro-German, would presumably expect the Dublin populace to have hung the statue of this German deliverer with national flowers and nationalist flags. For some reason, however, I found no traces of Irish tributes round the pedestal of the Teutonic horseman. I wondered how many people in the last fifty years have ever cared about it, or even been conscious of their own carelessness. I wonder how many have ever troubled to look at it, or even trouble not to look at it. If it fell down, I wonder whether anybody would put it up again. I do not know; I only know that Irish gardeners, or some such Irish humorists, had planted trees in a ring round that prancing equestrian figure; trees that had, so to speak, sprung up and choked him, making him more unrecognisable than a Jack-in-the-Green. Jack or George had vanished; but the Green remained.

      About a stone's-throw from this calamity in stone there stood, at the corner of a gorgeously coloured flower-walk, a bust evidently by a modern sculptor with modern symbolic ornament surmounted by the fine falcon face of the poet Mangan; who dreamed and drank and died, a thoughtless and thriftless outcast, in the darkest of the Dublin streets around that place. This individual Irishman really was what we were told that all Irishmen were, hopeless, heedless, irresponsible, impossible, a tragedy of failure. And yet it seemed to be his head that was lifted and not hidden; the gay flowers only showed up this graven image as the green leaves shut out the other; everything around him seemed bright and busy, and told rather of a new time. It was clear that modern men did stop to look at _him;_ indeed modern men had stayed there long enough to make him a monument. It was almost certain that if his monument fell down, it really would be put up again. I think it very likely there would be competition among advanced modern artistic schools of admitted crankiness and unimpeachable lunacy; that somebody would want to cut out a Cubist Mangan in a style less of stone than of bricks; or to set up a Vorticist Mangan, like a frozen whirlpool, to terrify the children playing in that flowery lane. For when I afterwards went into the Dublin Art Club, or mixed generally in the stimulating society of the intellectuals of the Irish capital, I found a multitude of things which moved both my admiration and amusement. Perhaps the best thing of all was that it was the one society that I have seen where the intellectuals were intellectual. But nothing pleased me more than the fact that even Irish art was taken with a certain Irish pugnacity; as if there could be street fights about aesthetics as there once were about theology. I could almost imagine an appeal for pikes to settle a point about art needlework, or a suggestion of dying on the barricades for a difference about bookbinding. And I could still more easily imagine a sort of ultra-civilised civil war round the half-restored bust of poor Mangan. But it was in a yet plainer and more popular sense that I felt that bust to be the sign of a new world, where the statue of Royal George was only the ruin of an old one. And though I have since seen many much more complex, and many decidedly contradictory things in Ireland, the allegory of those two stone images in that public garden has remained in my memory, and has not been reversed. The Glorious Revolution, the great Protestant Deliverer, the Hanoverian Succession, these things