A poor man is a man who has not got much money. This may seem a simple and unnecessary description, but in… — G. Chesterton
A poor man is a man who has not got much money. This may seem a simple and unnecessary description, but in the face of a great mass of modern fact and fiction, it seems very necessary indeed; most of our realists and sociologists talk about a poor man as if he were an octopus or an alligator. There is no more need to study the psychology of poverty than to study the psychology of bad temper, or the psychology of vanity, or the psychology of animal spirits. A man ought to know something of the emotions of an insulted man, not by being insulted, but simply by being a man. And he ought to know something of the emotions of a poor man, not by being poor, but simply by being a man. Therefore, in any writer who is describing poverty, my first objection to him will be that he has studied his subject. A democrat would have imagined it.
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And it is not very difficult to see where we have really to look for it. The people (as I tactfully pointed out to them) who really take the name of the Lord in vain are the clergymen themselves. The thing which is fundamentally and really frivolous is not a careless joke. The thing which is fundamentally and really frivolous is a careless solemnity. If Mr. McCabe really wishes to know what sort of guarantee of reality and solidity is afforded by the mere act of what is called talking seriously, let him spend a happy Sunday in going the round of the pulpits. Or, better still, let him drop in at the House of Commons or the House of Lords. Even Mr. McCabe would admit that these men are solemn—more solemn than I am. And even Mr. McCabe, I think, would admit that these men are frivolous—more frivolous than I am. Why should Mr. McCabe be so eloquent about the danger arising from fantastic and paradoxical writers? Why should he be so ardent in desiring grave and verbose writers? There are not so very many fantastic and paradoxical writers. But there are a gigantic number of grave and verbose writers; and it is by the efforts of the grave and verbose writers that everything that Mr. McCabe detests (and everything that I detest, for that matter) is kept in existence and energy. How can it have come about that a man as intelligent as Mr. McCabe can think that paradox and jesting stop the way? It is solemnity that is stopping the way in every department of modern effort.
Whistler could produce art; and in so far he was a great man. But he could not forget art; and in so far he was only a man with the artistic temperament. There can be no stronger manifestation of the man who is a really great artist than the fact that he can dismiss the subject of art; that he can, upon due occasion, wish art at the bottom of the sea.
The men who have really been the bold artists, the realistic artists, the uncompromising artists, are the men who have turned out, after all, to be writing "with a purpose."
