The Importance of Ecumenical Dialogue

The Importance of Ecumenical Dialogue
"Oh PLEASE say I'm the Archbishop of Canterbury!"

Saturday, 4 February 2012

GK's Weekly, The Thing, If They Had Believed


ONE of the things our enemies do not know is the real case for their own side. It is always for me a great matter of pride that the proudest, the most genuine and the most unanswerable boast, that the Protestants of England could ever make, was made for them by a Catholic. Very few of the Protestants, of his time at any rate, would have had the historical enlargement or enlightenment to make it. For it was said by Newman, when that great master of English was surveying the glorious triumphs of our tongue from Bacon and Milton, to Swift and Burke, and he reminded us firmly that, though we convert England to the true faith a thousand times over, "English literature will always HAVE BEEN Protestant."

That generous piece of candour might well be represented as even too generous; but I think it is very wise for us to be too generous. It is not entirely, or at least not exclusively true. The name of Chaucer is alone enough to show that English literature was English a long time before it was Protestant. Even a Protestant, if he were also English, could ask for nobody more entirely English than Chaucer. He was, in the essential national temper, very much more English than Milton. As a matter of fact, the argument is no stronger for Chaucer than it is for Shakespeare. But in the case of Shakespeare the argument is long and complicated, as conducted by partisans; though sufficiently simple and direct for people with a sense of reality. I believe that recent discoveries, as recorded in a book by a French lady, have very strongly confirmed the theory that Shakespeare died a Catholic. But I need no books and no discoveries to prove to me that he had lived a Catholic, or more probably, like the rest of us, tried unsuccessfully to live a Catholic; that he thought like a Catholic and felt like a Catholic and saw every question as a Catholic sees it. The proofs of this would be matter for a separate essay; if indeed so practical an impression can be proved at all. It is quite self-evident to me that he was a certain real and recognisable Renaissance type of Catholic; like Cervantes; like Ronsard. But if I were asked offhand for a short explanation, I could only say that I know he was a Catholic from the passages which are now used to prove he was an agnostic.

But that is another and much more subtle question, which is not the question I proposed to myself in starting this essay. In starting it, I proposed to grant the whole sound and solid truth of Newman's admission; that there has indeed arisen out of the disunion of Europe a great and glorious English Protestant literature; and to make some further speculations upon the point. And I think that nothing could make clearer to the modern English, the one supreme thing that they don't know (which is what our
religion really is and why we think it real) than to put this rather interesting historical question. What difference would it have made to the great masters of English literature, if they had been Catholics?

Of course, the question cannot be strictly and scientifically answered; because nobody knows what difference would be made to anybody by any change in the circumstances of his life. But taking the matter broadly, as a question of ideas or even of doctrines it is worth asking as a matter of religious history. How far did the great Protestant writers depend on Protestantism?

I have no intention of discussing it adequately here; and indeed this is not so much an essay as an essay to suggest an essay. It is, in fact, a delicate indication, to people more learned than myself, that I am in possession of a very good title and subject for an essay. But at least it will be safe to say that the common or conventional impression among English people on this point is wildly wrong. It is wrong because it imagines that purely Protestant ideas were in some vague way the same as liberal and emancipated ideas. And it is wrong in a more special sense, because it is founded on the utterly false history, which supposes that the Renaissance was the same as the Reformation. It would be very difficult to say what English literature owes to the Reformation as distinct from the Renaissance. There is the splendid sincerity that inspired the plain English of Bunyan; but even Bunyan was a sort of exception that proved the rule. He was a Puritan; but he was emphatically not a Puritan of the Puritans. He was a man actually suspected by his fellow Puritans, because he was not so much a Puritan as a Christian. It was remarked at the time, and it has often been remarked since, that his theory is not very sectarian by the standard of seventeenth century sects. Among the Calvinists he was so much of a moderate, that thousands must have read his great book without thinking about Calvinism at all. And if we take the great scenes in his great book, the battle with Apollyon, the Mission of Greatheart, the death of Valiant-for-the-Truth, when all the trumpets sounded on the other side--there is really no reason whatever why they should not have been written by a Catholic. I do not affirm that they WOULD have been written by a Catholic, if the course of history had left the common people Catholics; for that is a question which nobody can possibly answer one way or the other. But I am speaking strictly of doctrines in their relation to ideas and images; and there is no possible reason why a Catholic should be prevented by his Catholicism from writing such a story of the pilgrimage of Man and the fight to attain to God.

Milton in one way is an even stronger case; since he had much more in him of Shakespeare and the Catholic Renaissance. And I really cannot think of any deep difference that it would have made to his poetry, as poetry, if he had followed other members of his family in the old faith; I do not see that he need have been much altered, except possibly by being a much jollier man. Many will not realise this, because they insist on regarding artistic and intellectual freedom as something that was closed to the Catholic countries and open only to the Protestant. But all history is in flat contradiction to this view. The tide of culture in the seventeenth century flowed from France to England, not from England to France. Milton might have been as central as Moliere and still remained a Catholic man in a Catholic atmosphere. Descartes the Catholic was more truly than Bacon the Protestant, the PHILOSOPHER of rationalist science. The experiments, the new forms, the great names in criticism and philosophy, appeared during the last two or three centuries quite as much in the Catholic countries as in the Protestant, if not rather more. England could have produced a great English literature, as France produced a great French literature, without any change in the ancient European religion.

The real test case, to be considered in some such essay, would be a case like that of Cowper. There you do most emphatically have the Protestant theology; and there you do most emphatically have the English poetry. But the two have precious little to do with each other; until the coming of that dark hour when the theology destroyed the poetry. Poor Cowper's Calvinism drove him mad; and only his poetry managed for some time to keep him sane. But there was nothing whatever either in the poetry or the sanity that could have prevented him from being a Catholic. On the contrary, he was exactly the sort of man who would have been very happy as a Catholic. He was the sort of man to have been devoted to the memory of St. Francis, if he had ever heard of him; and there was nothing to prevent the one any more than the other from keeping pet birds or stroking wild hares out of the woods. It was the brutal blow of Calvin, two centuries before, that broke the heart of that natural saint; and it is not the least of his crimes.

After the time of Cowper, there does indeed begin to appear another type of difficulty; but it is not the presence but rather the absence of Protestant theology. There were elements even in Burns and Byron, there were still more elements in Shelley and Swinburne, which would doubtless have been at issue with their Catholic tradition, if they had had it. But it would not have been a revolt against Catholicism half so much as it was a revolt against Protestantism. In so far as they tended to mere scepticism, they could have found their way to it more quickly from reading Rabelais and Montaigne in a Catholic country than from reading Shakespeare and Milton in a Protestant one. As soon as the Revolution has begun, in a sense as soon as the Romantic Movement has begun, the positive Puritan theology is left behind even more completely than the mediaeval theology. Indeed the Romantics did develop a faint and hazy sympathy, if not with mediaeval theology, at least with mediaeval religion. It is true that Byron or Hugo probably preferred an abbey to be a ruined abbey; but they would not have visited a Baptist chapel even for the pleasure of seeing it ruined. It is true that Scott advised us to see mediaeval Melrose by moonlight; with the delicate implication that the mediaeval religion was moonshine. But he would not in any case have wanted to see Exeter Hall by gaslight; and he would have thought its theology not moonshine but gas. The tributes which he occasionally forces himself to make to the official Puritanism of his own country are, it will be generally agreed, the most sullen and insincere words to be found in his works. On the negative side, therefore, the conclusion is altogether negative. It is very difficult to find, at least after the doubtful case of Bunyan and the deadly case of Cowper, anything that can be called a purely literary inspiration coming from the purely Protestant doctrines. There is plenty of inspiration coming more or less indirectly from Paganism; but after the first excitement, hardly any from Protestantism.

If this is true on the negative side, it is even truer on the positive side. I take it that the imaginative magnificence of Milton's epic, in such matters as the War in Heaven, would have been much more convincing, if it had been modelled more on the profound mediaeval mysteries about the nature of angels and archangels, and less on the merely fanciful Greek myths about giants and gods. PARADISE LOST is an immortal poem; but it has just failed to be an immortal religious poem. Those are most happy in reading Milton who can read him as they would read Hesiod. It is doubtful whether those seeking spiritual satisfaction now read him even as naturally as they would read Crashaw. I suppose nobody will dispute that the pageantry of Scott might have taken on a tenfold splendour if he could have understood the emblems of an everlasting faith as sympathetically as he did the emblems of a dead feudalism. For him it was the habit that made the monk; but the habit would have been quite as picturesque if there had been a real monk inside it; let alone a real mind inside the monk, like the mind of St. Dominic or St. Hugh of Lincoln. "English literature will always have been Protestant"; but it might have been Catholic; without ceasing to be English literature, and perhaps succeeding in producing a deeper literature and a happier England.

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