The Everlasting Man

by G.K. Chesterton

There are two ways of getting home; and one of them is to stay there. The other is to walk round the whole world till we come back to the same place;

Like every book I never wrote, it is by far the best book I have ever written.

The point of this book, in other words, is that the next best thing to being really inside Christendom is to be really outside it. And a particular point of it is that the popular critics of Christianity are not really outside it.

As for the general view that the Church was discredited by the War—they might as well say that the Ark was discredited by the Flood. When the world goes wrong, it proves rather that the Church is right. The Church is justified, not because her children do not sin, but because they do.

They still live in the shadow of the faith and have lost the light of the faith.

Now the best relation to our spiritual home is to be near enough to love it. But the next best is to be far enough away not to hate it. It is the contention of these pages that while the best judge of Christianity is a Christian, the next best judge would be something more like a Confucian.

The worst judge of all is the man now most ready with his judgments; the ill-educated Christian turning gradually into the ill-tempered agnostic, entangled in the end of a feud of which he never understood the beginning, blighted with a sort of hereditary boredom with he knows not what, and already weary of hearing what he has never heard. He does not judge ...

Their anti-clericalism has become an atmosphere, an atmosphere of negation and hostility from which they cannot escape.

But with this we come to the final and vital point. I shall try to show in these pages that when we do make this imaginative effort to see the whole thing from the outside, we find that it really looks like what is traditionally said about it inside. It is exactly when the boy gets far enough off to see the giant that he sees that he really is a giant. It is exactly when we do at last see the Christian Church afar under those clear and level eastern skies that we see that it is really the Church of Christ. To put it shortly, the moment we are really impartial about it, we know why people are partial to it.

I have noticed that most modern history is driven to something like sophistry, first to soften the sharp transition from animals to men, and then to soften the sharp transition from heathens to Christians. Now the more we really read in a realistic spirit of those two transitions the sharper we shall find them to be. It is because the critics are not detached that they do not see this detachment; it is because they are not looking at things in a dry light that they cannot see the difference between black and white. It is because they are in a particular mood of reaction and revolt that they have a motive for making out that all the white is dirty grey and the black not so black as it is painted. I do not say there are not human excuses for their revolt; I do not say it is not in some ways sympathetic; what I say is that it is not in any way scientific.

An iconoclast may be indignant; an iconoclast may be justly indignant; but an iconoclast is not impartial.

it is stark hypocrisy to pretend that nine-tenths of the higher critics and scientific evolutionists and professors of comparative religion are in the least impartial. Why should they be impartial, what is being impartial, when the whole world is at war a...

when its fundamentals are doubted, as at present, we must try to recover the candour and wonder of the child; the unspoilt realism and objectivity of innocence.

Or if we cannot do that, we must try at least to shake off the cloud of mere custom and see the thing as new, if only by seeing it as unnatural. Things that may well be familiar so long as familiarity breeds affection had much better become unfamiliar when familiarity breeds contempt.

For in connection with things so great as are here considered, whatever our view of them, contempt must be a mistake. Indeed contempt must be an illusion. We must invoke the most wild and soaring sort of i...

just as seeing the horse as a prehistoric prodigy ultimately led back to, and not away from, an admiration for the mastery of man, so the really detached consideration of the curious career of man will lead back to, and not away from, the ancient faith in the dark designs of God. In other words, it is exactly when we do see how queer the quadruped is that we praise the man who mounts him; and exactly when we do see how queer the biped is that we praise the Providence that made him.

In short, it is the purpose of this introduction to maintain this thesis: that it is exactly when we do regard man as an animal that we know he is not an animal.

If Christianity were only a new oriental fashion, it would never be reproached with being an old and oriental faith.

I do not believe in dwelling upon the distances that are supposed to dwarf the world; I think there is even something a trifle vulgar about this idea of trying to rebuke spirit by size.

the first idea is not feasible, that of making the earth a strange planet so as to make it significant, I will not stoop to the other trick of making it a small planet in order to make it insignificant.

Nobody can imagine how nothing could turn into something. Nobody can get an inch nearer to it by explaining how something could turn into something else. It is really far more logical to start by saying ‘In the beginning God created heaven and earth’ even if you only mean ‘In the beginning some unthinkable power began some unthinkable process.’ For God is by its nature a name of mystery, and nobody ever supposed that man could imagine how a world was created any more than he could create one. But evolution really is mistaken for explanation. It has the fatal quality of leaving on many minds the impression that they do understand it and everything else; just as many of them live under a sort of illusion that they have read the Origin of Species.

But this notion of something smooth and slow, like the ascent of a slope, is a great part of the illusion. It is an illogicality as well as an illusion; for slowness has really nothing to do with the question.

An event is not any more intrinsically intelligible or unintelligible because of the pace at which it moves. For a man who does not believe in a miracle, a slow mirac...

Yet there runs through all the rationalistic treatment of history this curious and confused idea that difficulty is avoided, or even mystery eliminated, by dwelling on mere delay or on something dilatory in the processes of things.

The ultimate question is why they go at all; and anybody who really understands that question will know that it always has been and always will be a religious question; or at any rate a philosophical or metaphysical question.

Man is not merely an evolution but rather a revolution. That he has a backbone or other parts upon a similar pattern to birds and fishes is an obvious fact, whatever be the meaning of the fact. But if we attempt to regard him, as it were, as a quadruped standing on his hind legs, we shall find what follows far more fantastic and subversive than if he were standing on his head.

the more we really look at man as an animal, the less he will look like one.

The cave-man may have been a brute, but there is no reason why he should have been more brutal than the brutes.

The old epic poets at least knew how to tell a story, possibly a tall story but never a twisted story, never a story tortured out of its own shape to fit theories and philosophies invented centuries afterwards.

Under whatever archaic limitations, they showed that love of the long sweeping or the long wavering line which any man who has ever drawn or tried to draw will recognise; and about which no artist will allow himself to be contradicted by any scientist.

They showed the experimental and adventurous spirit of the artist, the spirit that does not avoid but attempts difficult things;

In this and twenty other details it is clear that the artist had watched animals with a certain interest and presumably a certain pleasure. In that sense it would seem that he was not only an artist but a naturalist; the sort of naturalist who is really natural.

the cave-man as commonly presented to us is simply a myth or rather a muddle; for a myth has at least an imaginative outline of truth. The whole of the current way of talking is simply a confusion and a misunderstanding, founded on no sort of scientific evidence and valued only as an excuse for a very modern mood of anarchy. If any gentleman wants to knock a woman about, he can surely be a cad without taking away the character of the cave-man, about whom we know next to nothing except what we can gather from a few harmless and pleasing pictures on a wall.

The common sense of the child could confine itself to learning from the facts what the facts have to teach; and the pictures in the cave are very nearly all the facts there are. So far as that evidence goes, the child would be justified in assuming that a man had represented animals with rock and red ochre for the same reason as he himself was in the habit of trying to represent animals with charcoal and red chalk. The man had drawn a stag just as the child had drawn a horse; because it was fun. The man had drawn a stag with his head turned as the child had drawn a pig with his eyes shut; because it was difficult.

The child and the man, being both human, would be united by the brotherhood of men; and the brotherhood of men is even nobler when it bridges the abyss of ages than when it bridges only the chasm of class. But anyhow he would see no evidence of the cave-man of crude evolutionism; because there is none to be seen. If somebody told him that the pictures had all been drawn by St. Francis of Assisi out of pure and saintly love of animals, there would be nothing in the cave to contradict it.

I have conceived a child as standing in the cave; and it is easy to conceive any child, modern or immeasurably remote, as making a living gesture as if to pat the painted beasts upon the wall. In that gesture there is a foreshadowing, as we shall see later, of another cavern and another child.

The childish common sense would keep the most evolutionary child from expecting to see anything like that; yet in the traces of the rude and recently evolved ancestors of humanity he would have seen exactly that. It must surely strike him as strange that men so remote from him should be so near, and that beasts so near to him should be so remote.

That is the simplest lesson to learn in the cavern of the coloured pictures; only it is too simple to be learnt. It is the simple truth that man does differ from the brutes in kind and not in degree; and the proof of it is here; that it sounds like a truism to say that the most primitive man drew a picture of a monkey and that it sounds like a joke to say that the most intelligent monkey drew a picture of a man. Something of division and disproportion has appeared; and it is unique. Art is the signature of man.

The evolutionist stands staring in the painted cavern at the things that are too large to be seen and too simple to be understood.

He tries to deduce all sorts of other indirect and doubtful things from the details of the pictures, because he cannot see the primary significance of the whole; thin and theoretical deductions about the absence of religion or the presence of superstition; about tribal government and hunting and human sacrifice and heaven knows what.

When all is said, the main fact that the record of the reindeer men attests, along with all other records, is that the reindeer man could draw and the reindeer could not. If the reindeer man was as much an animal as the reindeer, it was all the more extraordinary that he could do what all other animals could not. If he was an ordinary product of biological growth, like any other beast or bird, then it is all the more extraordinary that he was not in the least like any other beast or bird. He seems rather more supernatural as a natural product than as a supernatural one.

For in the plain matter like the pictures there is in fact not a trace of any such development or degree. Monkeys did not begin pictures and men finish them; Pithecanthropus did not draw a reindeer badly and Homo Sapiens draw it well. The higher animals did not draw better and better portraits; the dog did not paint better in his best period than in his early bad manner as a jackal; the wild horse was not an Impressionist and the race-horse a Post-Impressionist. All we can say of this notion of reproducing things in shadow or representative shape is that it exists nowhere in nature except in man; and that we cannot even talk about it without treating man as something separate from nature. In other words, every sane sort of history must begin with man as man, a thing standing absolute and alone. How he came there, or indeed how anything else came there, is a thing for theologians and philosophers and scientists and not for historians.

This creature was truly different from all other creatures; because he was a creator as well as a creature.

It means that somehow or other a new thing had appeared in the cavernous night of nature, a mind that is like a mirror. It is like a mirror because it is truly a thing of reflection. It is like a mirror because in it alone all the other shapes can be seen like shining shadows in a vision. Above all, it is like a mirror because it is the only thing of its kind. Other things may resemble it or resemble each other in various ways; other things may excel it or excel each other in various ways; just as in the furniture of a room a table may be round like a mirror or a cupboard may be larger than a mirror. But the mirror is the only thing that can contain them all. Man is the microcosm; man is the measure of all things; man is the image of God. These are the only real lessons to be learnt in the cave, and it is time to leave it for the open road.

The simplest truth about man is that he is a very strange being; almost in the sense of being a stranger on the earth.

In all sobriety, he has much more of the external appearance of one bringing alien habits from another land than of a mere growth of this one. He has an unfair advantage and an unfair disadvantage. He cannot sleep in his own skin; he cannot trust his own instincts. He is at once a creator moving miraculous hands and fingers and a kind of cripple. He is wrapped in artificial bandages called clothes; he is propped on artificial crutches called furniture. His mind has the same doubtful liberties and the same wild limitations. Alone among the animals, he is shaken with the beautiful madness called laughter; as if he had caught sight of some secret in the very shape of the universe hidden from the universe itself. Alone among the animals he feels the need of averting his thought from the root realities of his own bodily being; of hiding them as in the presence of some higher possibility which creates the mystery of shame. Whether we praise these things as natural to man or abuse them as artificial in nature, they remain in the same sense unique.

It is not natural to see man as a natural product. It is not common sense to call man a common object of the country or the seashore. It is not seeing straight to see him as an animal. It is not sane. It sins against the light; against that broad daylight of proportion which is the principle of all reality. It is reached by stretching a point, by making out a case, by artificially selecting a certain light and shade, by bringing into prominence the lesser or lower things which may happen to be similar. The solid thing standing in the sunlight, the thing we can walk round and see from all sides, is quite different.

If we imagine that an inhuman or impersonal intelligence could have felt from the first the general nature of the non-human world sufficiently to see that things would evolve in whatever way they did evolve, there would have been nothing whatever in all that natural world to prepare such a mind for such an unnatural novelty.

The very fact that a bird can get as far as building a nest, and cannot get any farther, proves that he has not a mind as man has a mind; it proves it more completely than if he built nothing at all. If he built nothing at all, he might possibly be a philosopher of the Quietist or Buddhistic school, indifferent to all but the mind within. But when he builds as he does build and is satisfied and sings aloud with satisfaction, then we know there is really an invisible veil like a pane of glass between him and us, like the window on which a bird will beat in vain.

Suppose that one bird out of a thousand birds began to do one of the thousand things that man had already done even in the morning of the world; and we can be quite certain that the onlooker would not regard such a bird as a mere evolutionary variety of the other birds; he would regard it as a very fearful wild-fowl indeed; possibly as a bird of ill-omen, certainly as an omen. That bird would tell the augurs, not of something that would happen, but of something that had happened. That something would be the appearance of a mind with a new dimension of depth; a mind like that of man. If there be no God, no other mind could conceivably have foreseen it.