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via The Metaphysical Peregrine by rob on 9/29/10~ "LETTERS FROM EUROPE" - by Rob (Wind Rose Hotel) ~
Here is an example of his, so to speak, "bivalent attitude" toward Islam. There is in Islam "a paradox which is perhaps a permanent menace," he wrote in his 1917 Lord Kitchener...
The great creed born in the desert creates a kind of ecstasy out of the very emptiness of its own land, and even, one may say, out of the emptiness of its own theology. It affirms, with no little sublimity, something that is not merely the singleness but rather the solitude of God. There is the same extreme simplification in the solitary figure of the Prophet; and yet this isolation perpetually reacts into its own opposite. A void is made in the heart of Islam which has to be filled up again and again by a mere repetition of the revolution that founded it. There are no sacraments; the only thing that can happen is a sort of apocalypse, as unique as the end of the world; so the apocalypse can only be repeated and the world end again and again. There are no priests; and yet this equality can only breed a multitude of lawless prophets almost as numerous as priests. The very dogma that there is only one Mahomet produces an endless procession of Mahomets. Of these the mightiest in modern times were the man whose name was Ahmed, and whose more famous title was the Mahdi; and his more ferocious successor Abdullahi, who was generally known as the Khalifa. These great fanatics, or great creators of fanaticism, succeeded in making a militarism almost as famous and formidable as that of the Turkish Empire on whose frontiers it hovered, and in spreading a reign of terror such as can seldom be organised except by civilisation…
Islam as "the great creed born in the desert." That's the key argument he makes to explain both what is wrong and what is the sublimity hidden in the heart of the religion of Muhammad. Two faces (what is sublime and what is "a permanent menace") of the same coin—a Weltanschauung which is son of the desert and which generates both great mystics and huge fanatics and creators of fanaticism.
But it was not until 1919 that Chesterton had the opportunity of making this perfectly clear to himself, when he left his home in Beaconsfield, and traveled backward through time to the place which is sacred to the three "religions of the Book." And his 1920 The New Jerusalem, is just a philosophical travelogue of his journey across Europe, across the desert, to Palestine.
Chesterton saw Islam as the Way of the Desert. The desert being a place of loss of perspective, and Islam personifying that loss of perspective. When the mind has grown used to the monotony of the desert, he wrote, a curious change takes place:
It may sound strange to say that monotony of its nature becomes novelty. But if any one will try the common experiment of saying some ordinary word such as "moon" or "man" about fifty times, he will find that the expression has become extraordinary by sheer repetition. A man has become a strange animal with a name as queer as that of the gnu; and the moon something monstrous like the moon-calf. Something of this magic of monotony is effected by the monotony of deserts; and the traveller feels as if he had entered into a secret, and was looking at everything from another side. Something of this simplification appears, I think, in the religions of the desert, especially in the religion of Islam. It explains something of the super-human hopes that fill the desert prophets concerning the future; it explains something also about their barbarous indifference to the past.
We think of the desert and its stones as old; but in one sense they are unnaturally new. They are unused, and perhaps unusable. They might be the raw material of a world; only they are so raw as to be rejected. It is not easy to define this quality of something primitive, something not mature enough to be fruitful. Indeed there is a hard simplicity about many Eastern things that is as much crude as archaic. A palm-tree is very like a tree drawn by a child—or by a very futurist artist. Even a pyramid is like a mathematical figure drawn by a schoolmaster teaching children; and its very impressiveness is that of an ultimate Platonic abstraction. There is something curiously simple about the shape in which these colossal crystals of the ancient sands have been cast. It is only when we have felt something of this element, not only of simplicity, but of crudity, and even in a sense of novelty, that we can begin to understand both the immensity and the insufficiency of that power that came out of the desert, the great religion of Mahomet.
And here is a generous eulogy of Islam:
In the red circle of the desert, in the dark and secret place, the prophet discovers the obvious things. I do not say it merely as a sneer, for obvious things are very easily forgotten; and indeed every high civilisation decays by forgetting obvious things.
But a second later he challenges those whom he has just praised:
But it is true that in such a solitude men tend to take very simple ideas as if they were entirely new ideas. There is a love of concentration which comes from the lack of comparison. The lonely man looking at the lonely palm-tree does see the elementary truths about the palm-tree; and the elementary truths are very essential. Thus he does see that though the palm-tree may be a very simple design, it was not he who designed it. It may look like a tree drawn by a child, but he is not the child who could draw it. He has not command of that magic slate on which the pictures can come to life, or of that magic green chalk of which the green lines can grow. He sees at once that a power is at work in whose presence he and the palm-tree are alike little children. In other words, he is intelligent enough to believe in God; and the Moslem, the man of the desert, is intelligent enough to believe in God. But his belief is lacking in that humane complexity that comes from comparison.
And a few lines below he says:
[Islam] was content with the idea that it had a great truth; as indeed it had a colossal truth. It was so huge a truth that it was hard to see it was a half-truth.
What does he mean by that? Let's follow his reasoning:
Islam was a movement; that is why it has ceased to move. For a movement can only be a mood. It may be a very necessary movement arising from a very noble mood, but sooner or later it must find its level in a larger philosophy, and be balanced against other things. Islam was a reaction towards simplicity; it was a violent simplification, which turned out to be an over-simplification. Stevenson has somewhere one of his perfectly picked phrases for an empty-minded man; that he has not one thought to rub against another while he waits for a train. The Moslem had one thought, and that a most vital one; the greatness of God which levels all men. But the Moslem had not one thought to rub against another, because he really had not another. It is the friction of two spiritual things, of tradition and invention, or of substance and symbol, from which the mind takes fire. The creeds condemned as complex have something like the secret of sex; they can breed thoughts.
The philosophy of the desert can only begin over again. It cannot grow; it cannot have what Protestants call progress and Catholics call development.
The highest message of Mahomet is a piece of divine tautology. The very cry that God is God is a repetition of words, like the repetitions of wide sands and rolling skies. The very phrase is like an everlasting echo, that can never cease to say the same sacred word; and when I saw afterwards the mightiest and most magnificent of all the mosques of that land, I found that its inscriptions had the same character of a deliberate and defiant sameness.
The ancient Arabic alphabet and script is itself at once so elegant and so exact that it can be used as a fixed ornament, like the egg and dart pattern or the Greek key. It is as if we could make a heraldry of handwriting, or cover a wall-paper with signatures. But the literary style is as recurrent as the decorative style; perhaps that is why it can be used as a decorative style. Phrases are repeated again and again like ornamental stars or flowers. Many modern people, for example, imagine that the Athanasian Creed is full of vain repetitions; but that is because people are too lazy to listen to it, or not lucid enough to understand it. The same terms are used throughout, as they are in a proposition of Euclid. But the steps are all as differentiated and progressive as in a proposition of Euclid. But in the inscriptions of the Mosque whole sentences seem to occur, not like the steps of an argument, but rather like the chorus of a song. This is the impression everywhere produced by this spirit of the sandy wastes; this is the voice of the desert, though the muezzin cries from the high turrets of the city. Indeed one is driven to repeating oneself about the repetition, so overpowering is the impression of the tall horizons of those tremendous plains, brooding upon the soul with all the solemn weight of the self-evident. [Italics mine]
Isn't that a wonderful explanation of the (abyssal) difference between them and us, whose minds have been nurtured by Greek rationality and Judaic-Christian values? This difference is also why, compared with its millennial rival, Christendom, the world of Islam had become poor, weak, and ignorant. In his What Went Wrong, Bernard Lewis asks, but does not answer, the following questions: "Why did the discoverers of America sail from Spain and not a Muslim Atlantic port, where such voyages were indeed attempted in earlier times? Why did the great scientific breakthrough occur in Europe and not, as one might reasonably have expected, in the richer, more advanced, and in most respects more enlightened realm of Islam?" One might say, Just read The New Jerusalem to get the right answers to these questions and a few others.