Tremendous Trifles. Гилберт Кит Честертон
astonished me less.
On one of these blue and burning afternoons I found myself, to my inexpressible astonishment, playing a game called croquet. I had imagined that it belonged to the epoch of Leach and Anthony Trollope, and I had neglected to provide myself with those very long and luxuriant side whiskers which are really essential to such a scene. I played it with a man whom we will call Parkinson, and with whom I had a semi-philosophical argument which lasted through the entire contest. It is deeply implanted in my mind that I had the best of the argument; but it is certain and beyond dispute that I had the worst of the game.
"Oh, Parkinson, Parkinson!" I cried, patting him affectionately on the head with a mallet, "how far you really are from the pure love of the sport--you who can play. It is only we who play badly who love the Game itself. You love glory; you love applause; you love the earthquake voice of victory; you do not love croquet. You do not love croquet until you love being beaten at croquet. It is we the bunglers who adore the occupation in the abstract. It is we to whom it is art for art's sake. If we may see the face of Croquet herself (if I may so express myself) we are content to see her face turned upon us in anger. Our play is called amateurish; and we wear proudly the name of amateur, for amateurs is but the French for Lovers. We accept all adventures from our Lady, the most disastrous or the most dreary. We wait outside her iron gates (I allude to the hoops), vainly essaying to enter. Our devoted balls, impetuous and full of chivalry, will not be confined within the pedantic boundaries of the mere croquet ground. Our balls seek honour in the ends of the earth; they turn up in the flower-beds and the conservatory; they are to be found in the front garden and the next street. No, Parkinson! The good painter has skill. It is the bad painter who loves his art. The good musician loves being a musician, the bad musician loves music. With such a pure and hopeless passion do I worship croquet. I love the game itself. I love the parallelogram of grass marked out with chalk or tape, as if its limits were the frontiers of my sacred Fatherland, the four seas of Britain. I love the mere swing of the mallets, and the click of the balls is music. The four colours are to me sacramental and symbolic, like the red of martyrdom, or the white of Easter Day. You lose all this, my poor Parkinson. You have to solace yourself for the absence of this vision by the paltry consolation of being able to go through hoops and to hit the stick."
And I waved my mallet in the air with a graceful gaiety.
"Don't be too sorry for me," said Parkinson, with his simple sarcasm. "I shall get over it in time. But it seems to me that the more a man likes a game the better he would want to play it. Granted that the pleasure in the thing itself comes first, does not the pleasure of success come naturally and inevitably afterwards? Or, take your own simile of the Knight and his Lady-love. I admit the gentleman does first and foremost want to be in the lady's presence. But I never yet heard of a gentleman who wanted to look an utter ass when he was there."
"Perhaps not; though he generally looks it," I replied. "But the truth is that there is a fallacy in the simile, although it was my own. The happiness at which the lover is aiming is an infinite happiness, which can be extended without limit. The more he is loved, normally speaking, the jollier he will be. It is definitely true that the stronger the love of both lovers, the stronger will be the happiness. But it is not true that the stronger the play of both croquet players the stronger will be the game. It is logically possible--(follow me closely here, Parkinson!)--it is logically possible, to play croquet too well to enjoy it at all. If you could put this blue ball through that distant hoop as easily as you could pick it up with your hand, then you would not put it through that hoop any more than you pick it up with your hand; it would not be worth doing. If you could play unerringly you would not play at all. The moment the game is perfect the game disappears."
"I do not think, however," said Parkinson, "that you are in any immediate danger of effecting that sort of destruction. I do not think your croquet will vanish through its own faultless excellence. You are safe for the present."
I again caressed him with the mallet, knocked a ball about, wired myself, and resumed the thread of my discourse.
The long, warm evening had been gradually closing in, and by this time it was almost twilight. By the time I had delivered four more fundamental principles, and my companion had gone through five more hoops, the dusk was verging upon dark.
"We shall have to give this up," said Parkinson, as he missed a ball almost for the first time, "I can't see a thing."
"Nor can I," I answered, "and it is a comfort to reflect that I could not hit anything if I saw it."
With that I struck a ball smartly, and sent it away into the darkness towards where the shadowy figure of Parkinson moved in the hot haze. Parkinson immediately uttered a loud and dramatic cry. The situation, indeed, called for it. I had hit the right ball.
Stunned with astonishment, I crossed the gloomy ground, and hit my ball again. It went through a hoop. I could not see the hoop; but it was the right hoop. I shuddered from head to foot.
Words were wholly inadequate, so I slouched heavily after that impossible ball. Again I hit it away into the night, in what I supposed was the vague direction of the quite invisible stick. And in the dead silence I heard the stick rattle as the ball struck it heavily.
I threw down my mallet. "I can't stand this," I said. "My ball has gone right three times. These things are not of this world."
"Pick your mallet up ," said Parkinson, "have another go."
"I tell you I daren't. If I made another hoop like that I should see all the devils dancing there on the blessed grass."
"Why devils?" asked Parkinson; "they may be only fairies making fun of you. They are sending you the 'Perfect Game,' which is no game."
I looked about me. The garden was full of a burning darkness, in which the faint glimmers had the look of fire. I stepped across the grass as if it burnt me, picked up the mallet, and hit the ball somewhere--somewhere where another ball might be. I heard the dull click of the balls touching, and ran into the house like one pursued.
Chapter V
Chapter V: The Extraordinary Cabman From time to time I have introduced into this newspaper column the narration of incidents that have really occurred. I do not mean to insinuate that in this respect it stands alone among newspaper columns. I mean only that I have found that my meaning was better expressed by some practical parable out of daily life than by any other method; therefore I propose to narrate the incident of the extraordinary cabman, which occurred to me only three days ago, and which, slight as it apparently is, aroused in me a moment of genuine emotion bordering upon despair.
On the day that I met the strange cabman I had been lunching in a little restaurant in Soho in company with three or four of my best friends. My best friends are all either bottomless sceptics or quite uncontrollable believers, so our discussion at luncheon turned upon the most ultimate and terrible ideas. And the whole argument worked out ultimately to this: that the question is whether a man can be certain of anything at all. I think he can be certain, for if (as I said to my friend, furiously brandishing an empty bottle) it is impossible intellectually to entertain certainty, what is this certainty which it is impossible to entertain? If I have never experienced such a thing as certainty I cannot even say that a thing is not certain. Similarly, if I have never experienced such a thing as green I cannot even say that my nose is not green. It may be as green as possible for all I know, if I have really no experience of greenness. So we shouted at each other and shook the room; because metaphysics is the only thoroughly emotional thing. And the difference between us was very deep, because it was a difference as to the object of the whole thing called broad-mindedness or the opening of the intellect. For my friend said that he opened his intellect as the sun opens the fans of a palm tree, opening for opening's sake, opening infinitely for ever. But I said that I opened my intellect as I opened my mouth, in order to shut it again on something solid. I was doing it at the moment. And as I truly pointed out, it would look uncommonly silly if I went on opening my mouth infinitely, for ever and ever.
. . . . .
Now