The Path to Rome Part 1

The Path to Rome.

by Hilaire Belloc.

PRAISE OF THIS BOOK

To every honest reader that may purchase, hire, or receive this book, and to the reviewers also (to whom it is of triple profit), greeting--and whatever else can be had for nothing.

If you should ask how this book came to be written, it was in this way. One day as I was wandering over the world I came upon the valley where I was born, and stopping there a moment to speak with them all--when I had argued politics with the grocer, and played the great lord with the notary-public, and had all but made the carpenter a Christian by force of rhetoric--what should I note (after so many years) but the old tumble-down and gaping church, that I love more than mother-church herself, all sc.r.a.ped, white, rebuilt, n.o.ble, and new, as though it had been finished yesterday. Knowing very well that such a change had not come from the skinflint populace, but was the work of some just artist who knew how grand an ornament was this shrine (built there before our people stormed Jerusalem), I entered, and there saw that all within was as new, accurate, and excellent as the outer part; and this pleased me as much as though a fortune had been left to us all; for one's native place is the sh.e.l.l of one's soul, and one's church is the kernel of that nut.

Moreover, saying my prayers there, I noticed behind the high altar a statue of Our Lady, so extraordinary and so different from all I had ever seen before, so much the spirit of my valley, that I was quite taken out of myself and vowed a vow there to go to Rome on Pilgrimage and see all Europe which the Christian Faith has saved; and I said, 'I will start from the place where I served in arms for my sins; I will walk all the way and take advantage of no wheeled thing; I will sleep rough and cover thirty miles a day, and I will hear Ma.s.s every morning; and I will be present at high Ma.s.s in St Peter's on the Feast of St Peter and St Paul.'

Then I went out of the church still having that Statue in my mind, and I walked again farther into the world, away from my native valley, and so ended some months after in a place whence I could fulfil my vow; and I started as you shall hear. All my other vows I broke one by one.

For a f.a.ggot must be broken every stick singly. But the strict vow I kept, for I entered Rome on foot that year in time, and I heard high Ma.s.s on the Feast of the Apostles, as many can testify--to wit: Monsignor this, and Chamberlain the other, and the Bishop of _so-and-so--o--polis in partibus infidelium;_ for we were all there together.

And why (you will say) is all this put by itself in what Anglo-Saxons call a Foreword, but gentlemen a Preface? Why, it is because I have noticed that no book can appear without some such thing tied on before it; and as it is folly to neglect the fas.h.i.+on, be certain that I read some eight or nine thousand of them to be sure of how they were written and to be safe from generalizing on too frail a basis.

And having read them and discovered first, that it was the custom of my contemporaries to belaud themselves in this prolegomenaical ritual (some saying in a few words that they supplied a want, others boasting in a hundred that they were too grand to do any such thing, but most of them baritoning their apologies and chanting their excuses till one knew that their pride was toppling over)--since, I say, it seemed a necessity to extol one's work, I wrote simply on the lintel of my diary, _Praise of this Book,_ so as to end the matter at a blow. But whether there will be praise or blame I really cannot tell, for I am riding my pen on the snaffle, and it has a mouth of iron.

Now there is another thing book writers do in their Prefaces, which is to introduce a ma.s.s of nincomp.o.o.ps of whom no one ever heard, and to say 'my thanks are due to such and such' all in a litany, as though any one cared a farthing for the rats! If I omit this believe me it is but on account of the mult.i.tude and splendour of those who have attended at the production of this volume. For the stories in it are copied straight from the best authors of the Renaissance, the music was written by the masters of the eighteenth century, the Latin is Erasmus' own; indeed, there is scarcely a word that is mine. I must also mention the Nine Muses, the Three Graces; Bacchus, the Maenads, the Panthers, the Fauns; and I owe very hearty thanks to Apollo.

Yet again, I see that writers are for ever anxious of their style, thinking (not saying)--

'True, I used "and which" on page 47, but Martha Brown the stylist gave me leave;' or:

'What if I do end a sentence with a preposition? I always follow the rules of Mr Twist in his "'Tis Thus 'Twas Spoke", Odd's Body an' I do not!'

Now this is a pusillanimity of theirs (the book writers) that they think style power, and yet never say as much in their Prefaces. Come, let me do so... Where are you? Let me marshal you, my regiments of words!

Rabelais! Master of all happy men! Are you sleeping there pressed into desecrated earth under the doss-house of the Rue St Paul, or do you not rather drink cool wine in some elysian Chinon looking on the Vienne where it rises in Paradise? Are you sleeping or drinking that you will not lend us the staff of Friar John wherewith he slaughtered and bashed the invaders of the vineyards, who are but a parable for the mincing pedants and bloodless thin-faced rogues of the world?

Write as the wind blows and command all words like an army! See them how they stand in rank ready for a.s.sault, the jolly, swaggering fellows!

First come the Neologisms, that are afraid of no man; fresh, young, hearty, and for the most part very long-limbed, though some few short and strong. There also are the Misprints to confuse the enemy at his onrush. Then see upon the flank a company of picked Ambiguities covering what shall be a feint by the squadron of Anachronisms led by old Anachronos himself; a terrible chap with nigglers and a great murderer of fools.

But here see more deeply ma.s.sed the ten thousand Egotisms s.h.i.+ning in their armour and roaring for battle. They care for no one. They stormed Convention yesterday and looted the cellar of Good-Manners, who died of fear without a wound; so they drank his wine and are to-day as strong as lions and as careless (saving only their Captain, Monologue, who is lantern-jawed).

Here are the Aposiopaesian Auxiliaries, and Dithyramb that killed Punctuation in open fight; Parenthesis the giant and champion of the host, and Anacoluthon that never learned to read or write but is very handy with his sword; and Metathesis and Hendiadys, two Greeks. And last come the n.o.ble Gallicisms prancing about on their light horses: cavalry so sudden that the enemy sicken at the mere sight of them and are overcome without a blow. Come then my hearties, my lads, my indefatigable repet.i.tions, seize you each his own trumpet that hangs at his side and blow the charge; we shall soon drive them all before us headlong, howling down together to the Picrocholian Sea.

So! That was an interlude. Forget the clamour.

But there is another matter; written as yet in no other Preface: peculiar to this book. For without rhyme or reason, pictures of an uncertain kind stand in the pages of the chronicle. Why?

_Because it has become so cheap to photograph on zinc._

In old time a man that drew ill drew not at all. He did well. Then either there were no pictures in his book, or (if there were any) they were done by some other man that loved him not a groat and would not have walked half a mile to see him hanged. But now it is so easy for a man to scratch down what he sees and put it in his book that any fool may do it and be none the worse--many others shall follow. This is the first.

Before you blame too much, consider the alternative. Shall a man march through Europe dragging an artist on a cord? G.o.d forbid!

Shall an artist write a book? Why no, the remedy is worse than the disease.

Let us agree then, that, if he will, any pilgrim may for the future draw (if he likes) that most difficult subject, snow hills beyond a grove of trees; that he may draw whatever he comes across in order to enliven his mind (for who saw it if not he? And was it not his loneliness that enabled him to see it?), and that he may draw what he never saw, with as much freedom as you readers so very continually see what you never draw. He may draw the morning mist on the Grimsel, six months afterwards; when he has forgotten what it was like: and he may frame it for a masterpiece to make the good draughtsman rage.

The world has grown a boy again this long time past, and they are building hotels (I hear) in the place where Acedes discovered the Water of Youth in a hollow of the hill Epistemonoscoptes.

Then let us love one another and laugh. Time pa.s.ses, and we shall soon laugh no longer--and meanwhile common living is a burden, and earnest men are at siege upon us all around. Let us suffer absurdities, for that is only to suffer one another.

Nor let us be too hard upon the just but anxious fellow that sat down dutifully to paint the soul of Switzerland upon a fan.

When that first Proverb-Maker who has imposed upon all peoples by his epigrams and his fallacious half-truths, his empiricism and his wanton appeals to popular ignorance, I say when this man (for I take it he was a man, and a wicked one) was pa.s.sing through France he launched among the French one of his pestiferous phrases, _'Ce n'est que le premier pas qui coute'_ and this in a rolling-in-the-mouth self-satisfied kind of a manner has been repeated since his day at least seventeen million three hundred and sixty-two thousand five hundred and four times by a great ma.s.s of Ushers, Parents, Company Officers, Elder Brothers, Parish Priests, and authorities in general whose office it may be and whose pleasure it certainly is to jog up and disturb that native slumber and inertia of the mind which is the true breeding soil of Revelation.

For when boys or soldiers or poets, or any other blossoms and prides of nature, are for lying steady in the shade and letting the Mind commune with its Immortal Comrades, up comes Authority busking about and eager as though it were a duty to force the said Mind to burrow and sweat in the matter of this very perishable world, its temporary habitation.

'Up,' says Authority, 'and let me see that Mind of yours doing something practical. Let me see Him mixing painfully with circ.u.mstance, and botching up some Imperfection or other that shall at least be a Reality and not a silly Fantasy.'

Then the poor Mind comes back to Prison again, and the boy takes his horrible Homer in the real Greek (not Church's book, alas!); the Poet his rough hairy paper, his headache, and his cross-nibbed pen; the Soldier abandons his inner picture of swaggering about in ordinary clothes, and sees the dusty road and feels the hard places in his boot, and shakes down again to the steady pressure of his pack; and Authority is satisfied, knowing that he will get a smattering from the Boy, a rubbishy verse from the Poet, and from the Soldier a long and thirsty march. And Authority, when it does this commonly sets to work by one of these formulae: as, in England north of Trent, by the manifestly false and boastful phrase, 'A thing begun is half ended', and in the south by 'The Beginning is half the Battle'; but in France by the words I have attributed to the Proverb-Maker, _'Ce n'est que le premier pas qui coute'._

By this you may perceive that the Proverb-Maker, like every other Demagogue, Energumen, and Disturber, dealt largely in metaphor--but this I need hardly insist upon, for in his vast collection of published and unpublished works it is amply evident that he took the silly pride of the half-educated in a constant abuse of metaphor.

There was a st.u.r.dy boy at my school who, when the master had carefully explained to us the nature of metaphor, said that so far as he could see a metaphor was nothing but a long Greek word for a lie. And certainly men who know that the mere truth would be distasteful or tedious commonly have recourse to metaphor, and so do those false men who desire to acquire a subtle and unjust influence over their fellows, and chief among them, the Proverb-Maker. For though his name is lost in the great s.p.a.ce of time that has pa.s.sed since he flourished, yet his character can be very clearly deduced from the many literary fragments he has left, and that is found to be the character of a pusillanimous and ill-bred usurer, wholly lacking in foresight, in generous enterprise, and chivalrous enthusiasm--in matters of the Faith a prig or a doubter, in matters of adventure a poltroon, in matters of Science an ignorant Parrot, and in Letters a wretchedly bad rhymester, with a vice for alliteration; a wilful liar (as, for instance, '_The longest way round is the shortest way home_'), a startling miser (as, _'A penny saved is a penny earned'_), one ignorant of largesse and human charity (as, '_Waste not, want not_'), and a shocking boor in the point of honour (as, _'Hard words break no bones'_--he never fought, I see, but with a cudgel).

But he had just that touch of slinking humour which the peasants have, and there is in all he said that exasperating quality for which we have no name, which certainly is not accuracy, and which is quite the opposite of judgement, yet which catches the mind as brambles do our clothes, causing us continually to pause and swear. For he mixes up unanswerable things with false conclusions, he is perpetually letting the cat out of the bag and exposing our tricks, putting a colour to our actions, disturbing us with our own memory, indecently revealing corners of the soul. He is like those men who say one unpleasant and rude thing about a friend, and then take refuge from their disloyal and false action by pleading that this single accusation is true; and it is perhaps for this abominable logicality of his and for his malicious cunning that I chiefly hate him: and since he himself evidently hated the human race, he must not complain if he is hated in return.

Take, for instance, this phrase that set me writing, _'Ce nest que le premier pas qui coute'_. It is false. Much after a beginning is difficult, as everybody knows who has crossed the sea, and as for the first _step_ a man never so much as remembers it; if there is difficulty it is in the whole launching of a thing, in the first ten pages of a book, or the first half-hour of listening to a sermon, or the first mile of a walk. The first step is undertaken lightly, pleasantly, and with your soul in the sky; it is the five-hundredth that counts. But I know, and you know, and he knew (worse luck) that he was saying a th.o.r.n.y and catching thing when he made up that phrase.

It worries one of set purpose. It is as though one had a voice inside one saying:

'I know you, you will never begin anything. Look at what you might have done! Here you are, already twenty-one, and you have not yet written a dictionary. What will you do for fame? Eh? Nothing: you are intolerably lazy--and what is worse, it is your fate. Beginnings are insuperable barriers to you. What about that great work on The National Debt? What about that little lyric on Winchelsea that you thought of writing six years ago? Why are the few lines still in your head and not on paper? Because you can't begin. However, never mind, you can't help it, it's your one great flaw, and it's fatal. Look at Jones! Younger than you by half a year, and already on the _Evening Yankee_ taking bribes from Company Promoters! And where are you?' &c., &c.--and so forth.

So this threat about the heavy task of Beginning breeds discouragement, anger, vexation, irritability, bad style, pomposity and infinitives split from helm to saddle, and metaphors as mixed as the Carlton. But it is just true enough to remain fast in the mind, caught, as it were, by one finger. For all things (you will notice) are very difficult in their origin, and why, no one can understand.

_Omne Trinum_: they are difficult also in the shock of maturity and in their ending. Take, for instance, the Life of Man, which is the Difficulty of Birth, the Difficulty of Death, and the Difficulty of the Grand Climacteric.

LECTOR. What is the Grand Climacteric?

AUCTOR. I have no time to tell you, for it would lead us into a discussion on Astrology, and then perhaps to a question of physical science, and then you would find I was not orthodox, and perhaps denounce me to the authorities.

I will tell you this much; it is the moment (not the year or the month, mind you, nor even the hour, but the very second) when a man is grown up, when he sees things as they are (that is, backwards), and feels solidly himself. Do I make myself clear? No matter, it is the Shock of Maturity, and that must suffice for you.

But perhaps you have been reading little brown books on Evolution, and you don't believe in Catastrophes, or Climaxes, or Definitions? Eh?

Tell me, do you believe in the peak of the Matterhorn, and have you doubts on the points of needles? Can the sun be said truly to rise or set, and is there any exact meaning in the phrase, 'Done to a turn' as applied to omelettes? You know there is; and so also you must believe in Categories, and you must admit differences of kind as well as of degree, and you must accept exact definition and believe in all that your fathers did, that were wiser men than you, as is easily proved if you will but imagine yourself for but one moment introduced into the presence of your ancestors, and ask yourself which would look the fool. Especially must you believe in moments and their importance, and avoid with the utmost care the Comparative Method and the argument of the Slowly Acc.u.mulating Heap. I hear that some scientists are already beginning to admit the reality of Birth and Death--let but some brave few make an act of Faith in the Grand Climacteric and all shall yet be well.

Well, as I was saying, this Difficulty of Beginning is but one of three, and is Inexplicable, and is in the Nature of Things, and it is very especially noticeable in the Art of Letters. There is in every book the Difficulty of Beginning, the Difficulty of the Turning-Point (which is the Grand Climacteric of a Book)--

LECTOR. What is that in a Book?

AUCTOR. Why, it is the point where the reader has caught on, enters into the Book and desires to continue reading it.

LECTOR. It comes earlier in some books than in others.

AUCTOR. As you say... And finally there is the Difficulty of Ending.