Sunday, November 17, 2019
A Research Paper on G.K. Chesterton and The Man Who Was Thursday Essay Example for Free
A Research Paper on G.K. Chesterton and The Man Who Was Thursday Essay While doing research on G.K. Chesterton and his literary masterpiece, I came upon this article on Gilbert Magazine in which his answer to the question â€Å"What is the difference between progress and growth?†was posted. To this question, he answered: The fatal metaphor of progress, which means leaving things behind us, has utterly obscured the real idea of growth, which means leaving things inside of us.            First of all, I didnt even know he has a magazine. Secondly, since I have never heard of him before, I ask myself why on earth has it taken so long for me to discover such an amazing man? His statement above is just one of the marvelous pithy quotations of a man who never earned a doctorate and, in fact, never even attended a university. I have read some of them and I am amazed at how he can say something about everything and says it better than everybody else.            It is with utter delight that I am taking this journey to the discovery and uncovering of a genius – a journalist, a debater, an artist, a happy man – for in discovering him, I discover passion, wisdom, and myself. G.K. Chesterton: A Poet, Storyteller, and Ironist            G.K. Chesterton cannot be summed up in one sentence. Nor in one paragraph. With all the fine biographies I have encountered that have been written of him, I dont know if the Gilbert Keith Chesterton has really been captured between the covers of those books. In the first place, how could one simplify a man of such complex talents? He was very good at expressing himself, but more importantly, he had something very good to express – the reason why he was one of the greatest thinkers and writers of the 20th century and a champion of the Roman Catholic religion. K. Chesterton is alive and kicking today in a way that most of his contemporaries are not precisely because he enunciated clearly and forcefully the fundamental principles in the light of which issues, whether of today or of yesterday, can be confronted intelligently, and he has dedicated this extraordinary intellect and creative power to the reform of English government and society. Literary types would laud him for his poetry and novels and detective stories and plays; social critics would approve him for his prescient admonitions about eugenics and nihilism and socialism; champions of domestic democracy would like his doctrine of distributism; philosophers would be challenged by his insights and quips; the fundamentalist Christian would defend him for defending Christianity, and the Catholic Christian would enjoy the enjoyment Chesterton derived from his Catholicism. This is a multifaceted man.            Gilbert was a day boy at St. Paul’s. The masters rated him as an under-achiever, but he earned some recognition as a writer and debater. Although he never went to college, he proved that genius cannot be tied down to the rules of the academy, nor need we be subservient to the prejudices of the academy in evaluating genius. Chesterton, in fact, chose to be a journalist, because in that role he could think most profoundly, powerfully, cogently, and effectively.            He was vitally concerned with the injustices of Great Britain to its dependencies. He progressed from newspaper to public debate. He used logic, laughter, paradox, and his own winning personality to show that imperialism was destroying English patriotism.            In 1900 he published his first literary works, two volumes of poetry. In 1900 he met Hilaire Belloc, and in 1901 he married Frances Blogg. These events were two of the great influences in his life. From 1904 to 1936 Chesterton published nearly a dozen novels, the most important being The Napoleon of Notting Hill (1904) and The Man Who Was Thursday (1908). In 1911 Chesterton created the ‘‘Father Brown’’ detective stories. During his literary career he published 90 books and numerous articles. He poured out a wealth of lighthearted essays, historical sketches, and metaphysical and polemical works, together with such well-known poems as ‘‘The Ballad of the White Horse,’’ ‘‘Lepanto,’’ and the drinking songs from The Flying Inn. Among his major critical works are studies of Robert Browning (1903) and Charles Dickens (1906). Prodigiously talented, Chesterton also illustrated a number of Belloc’s light works.            Chesterton spoke of himself as primarily a journalist. He contributed to and helped edit Eye Witness and New Witness. He edited G. K.’s Weekly, which advocated distributism, the social philosophy developed by Belloc. Chesterton’s overriding concern with political and social injustice is reflected in Heretics (1905) and Orthodoxy (1909), perhaps his most important work.            I could say that Chesterton was not a philosopher in the sense of one who, like Plato or Aristotle, Aquinas or Bonaventure, Descartes or Kant, Hegel or Kierkegaard, made original contributions to the history of human reflection on the reality of the real. We can, however, say that he made two remarkable contributions which are still immensely worthwhile today: (1) he was unmatched in his ability to satirize the philosophical foibles of his day; and (2) although his philosophy was not unique his manner of expressing it was unique; one cannot read him, even today, without being again and again suddenly pulled up short. In view of his perennial concern with ideas and with ideas that count, with ultimates he has to be called a philosopher, not merely, however, as a lover of wisdom, but as one who possessed a certain kind of intuitive wisdom.            Throughout his life, G.K. Chesterton was one of the most colorful and loved personalities of literary England. To his intellectual gifts he added gaiety, wit, and warm humanity that endeared him even to his antagonists. This English author, journalist, and artist was born in London on May 29, 1874. He died at his home in Beaconsfield on June 14, 1936, but it doesnt matter. To those who know him and are passionate readers of his works, his wisdom lives on. To those like me who simply stumbled upon him, he lives again. In our hearts, his wisdom is timeless. The Man Who Was Thursday: A Masterpiece of a Non-Degree Holder Genius            Versatility of topic, address, genre, device, whatever more there is in the heaven and earth of mind and spirit brought to letterssuch is the hallmark and mandate of Chesterton. He can be straightforward and for right, crisp and to the point, or witty, with a certain malice aforethought. He can take the way of irony or simply snort when his patience is exhausted. He can soar with angelic sweep or swoop like a bird of prey. His descriptive hand is as authentic as any, as witness this from the beginning of The Man Who Was Thursday: The suburb of Saffron Park lay on the sunset side of London, as red and ragged as a cloud of sunset. It was built of a bright brick throughout; its skyline fantastic its ground plan wild. More especially this attractive unreality fell upon it about nightfall when the extravagant roofs were dark against the afterglow and the whole insane village seemed as separate as a drifting cloud. This . . . was more strongly true of the many nights of local festivity, when the little gardens were often illuminated, and the big Chinese lanterns glowed in the dwarfish trees like some fierce and monstrous fruit.            The Man Who Was Thursday was the phantasmagoric 1908 novel of eccentric anarchists, philosopher-detectives and a riddle-writing criminal mastermind who just might be God. Subtitled A Nightmare, this masterpiece by G.K. Chesterton better known for his Father Brown detective series mingles theological brainteasing with cloak-and-dagger capers like a cross-country balloon chase and a  bombing conspiracy fomented over jam and crumpets.            This metaphysical thriller spirals out madly from a marvelous premise: a London counterintelligence chief has formed a corps of â€Å"policemen who are also philosophers.†An initiate tells the books hero Gabriel Syme, who is with the British police: The ordinary detective goes to pot-houses to arrest thieves; we go to artistic tea-parties to detect pessimists. The ordinary detective discovers from a ledger or a diary that a crime has been committed. We discover from a book of sonnets that a crime will be committed We say that the most dangerous criminal now is the entirely lawless modern philosopher.            Soon after joining these vigilantes, he was hired by an unknown, unseen man to infiltrate the noted anarchist movement, making him stumble upon an anarchist conspiracy to destroy civilization and morality itself. He starts with a loudmouthed poet of disorder, Gregory, and follows him into a meeting of the anarchists. Gregory is forced to keep Gabriels identity a secret for his own sake, for he himself had led the policeman into their secret hideaway.            The undercover Gabriel manages to get elected as one of the seven top men in the organization, alias Thursday, much to Gregorys silent chagrin. Gabriel meets with the other members of the council, all of who appear to be dark and dreadfully evil most of all the President, the huge mountain of a man called Sunday. Little by little, however, Gabriel realizes that the other five people under Sunday are not at all evil, but all of them spies from the police!            In the process, however, Gabriel succeeds in getting an entire French countryside to think he and his new friends are really anarchists (meanwhile they are thinking, or wondering in disbelief, that the entire countryside is full of anarchists after them). They nearly get lynched. When things are settled, this group of undercover police go back to England to seek out Sunday, whom they soon find is the very man who hired them to infiltrate the council in the first place! Sunday leads them on a strange and wild chase, during which the six philosophize about the nature of their strange antagonist.            Phantasmagoric escapades proliferate, and police pursuit collides with the carnivalesque nature of the universe. They realize that they have been seeing him from behind, and from behind he looks brutal; but the apparent evil was misleading. The journey ends at a palatial estate where the six are treated like kings, and finally see Sunday for who he is The Sabbath, the peace of God. The council of anarchists has turned into a High Council commemorating the Seven Days of Gods Creation.            The purpose of Sunday as the evil anarchist was to bring forth good through the others to urge them on to unnatural virtue. As they were fighting, they were fighting Satan. As the hearers grow indignant at Sundays using them for his purposes and allowing them to go through such trials, the paradoxical Problem of Evil seems somehow resolved. The last question asked of the strange man as he recedes into space is Have you ever suffered? and the answer the Christian knows is whispered from the distance. The last scene sees Gabriel Syme waking from his reverie, and chatting philosophy with the other Poet of Saffron Park, Gregory.             Chesterton offers up one highly colored enigma after another in The Man That Was Thursday. He truly knows how to create an atmosphere of hallucinatory suspense, to use the fantastic and paradoxical and fugitive to glimpse the other side of God. In an article published the day before his death, he called this literary masterpiece of his, â€Å"a very melodramatic sort of moonshine.†I guess thats how we would describe a novel set in a phantasmagoric London where policemen are poets and anarchists camouflage themselves as, well, anarchists. By turns hilarious and terrifying, Chesterton’s The Man Who Was Thursday is a lyrical search for truth in a world where nothing is what it seems.            This is not a book. This is a glorious experience. Works Cited Bloom, Harold. Modern Horror Writers (Writers of English). New York: Chelsea House Publishers, 1994. Chesterton, G.K. The Autobiography of G.K. Chesterton. New York: Sheed Ward, 1936. Chesterton, G.K. The Man Who Was Thursday: A Nightmare. New York: Dodd, Mead Company, 1908. Coren, Michael. Gilbert, The Man Who Was G.K. Chesterton. New York: Paragon House, 1990. Dale, Alzina Stone. The Outline of Sanity: A Biography of G.K. Chesterton. Grand Rapids, Michigan: Eerdmans, 1982. Dale, Alzina Stone. The Art of G.K. Chesterton. Chicago: Loyola University Press, 1985. Ffinch, Michael. G.K. Chesterton. San Francisco: Harper Row, 1986. â€Å"More letters asking Whats the Difference?.†Gilbert Magazine Outlining Sanity. 30 November 2007 http://www.gilbertmagazine.com/page_16.html Titterton, W.R. G.K. Chesterton: A Portrait. Folcroft, Pennsylvania: Folcroft Library
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