But it is for this especial reason that such an explanation is necessary on the very threshold of the definition of ideals. For owing to that historic fallacy with which I have just dealt, numbers of readers will expect me, when I propound an ideal, to propound a new ideal. Now I have no notion at all of propounding a new ideal. There is no new ideal imaginable by the madness of modern sophists, which will be anything like so startling as fulfilling any one of the old ones. On the day that any copybook maxim is carried out there will be something like an earthquake on the earth. There is only one thing new that can be done under the sun; and that is to look at the sun. If you attempt it on a blue day in June, you will know why men do not look straight at their ideals. There is only one really startling thing to be done with the ideal, and that is to do it. It is to face the flaming logical fact, and its frightful consequences. Christ knew that it would be a more stunning thunderbolt to fulfil the law than to destroy it. It is true of both the cases I have quoted, and of every case. The pagans had always adored purity: Athena, Artemis, Vesta. It was when the virgin martyrs began defiantly to practice purity that they rent them with wild beasts, and rolled them on red-hot coals. The world had always loved the notion of the poor man uppermost; it can be proved by every legend from Cinderella to Whittington, by every poem from the Magnificat to the Marseillaise. The kings went mad against France not because she idealized this ideal, but because she realized it. Joseph of Austria and Catherine of Russia quite agreed that the people should rule; what horrified them was that the people did. The French Revolution, therefore, is the type of all true revolutions, because its ideal is as old as the Old Adam, but its fulfilment almost as fresh, as miraculous, and as new as the New Jerusalem.
But in the modern world we are primarily confronted with the extraordinary spectacle of people turning to new ideals because they have not tried the old. Men have not got tired of Christianity; they have never found enough Christianity to get tired of. Men have never wearied of political justice; they have wearied of waiting for it.
Now, for the purpose of this book, I propose to take only one of these old ideals; but one that is perhaps the oldest. I take the principle of domesticity: the ideal house; the happy family, the holy family of history. For the moment it is only necessary to remark that it is like the church and like the republic, now chiefly assailed by those who have never known it, or by those who have failed to fulfil it. Numberless modern women have rebelled against domesticity in theory because they have never known it in practice. Hosts of the poor are driven to the workhouse without ever having known the house. Generally speaking, the cultured class is shrieking to be let out of the decent home, just as the working class is shouting to be let into it.
Now if we take this house or home as a test, we may very generally lay the simple spiritual foundations or the idea. God is that which can make something out of nothing. Man (it may truly be said) is that which can make something out of anything. In other words, while the joy of God be unlimited creation, the special joy of man is limited creation, the combination of creation with limits. Man's pleasure, therefore, is to possess conditions, but also to be partly possessed by them; to be half-controlled by the flute he plays or by the field he digs. The excitement is to get the utmost out of given conditions; the conditions will stretch, but not indefinitely. A man can write an immortal sonnet on an old envelope, or hack a hero out of a lump of rock. But hacking a sonnet out of a rock would be a laborious business, and making a hero out of an envelope is almost out of the sphere of practical politics. This fruitful strife with limitations, when it concerns some airy entertainment of an educated class, goes by the name of Art. But the mass of men have neither time nor aptitude for the invention of invisible or abstract beauty. For the mass of men the idea of artistic creation can only be expressed by an idea unpopular in present discussions -- the idea of property. The average man cannot cut clay into the shape of a man; but he can cut earth into the shape of a garden; and though he arranges it with red geraniums and blue potatoes in alternate straight lines, he is still an artist; because he has chosen. The average man cannot paint the sunset whose colors be admires; but he can paint his own house with what color he chooses, and though he paints it pea green with pink spots, he is still an artist; because that is his choice. Property is merely the art of the democracy. It means that every man should have something that he can shape in his own image, as he is shaped in the image of heaven. But because he is not God, but only a graven image of God, his self-expression must deal with limits; properly with limits that are strict and even small.
I am well aware that the word |property| has been defied in our time by the corruption of the great capitalists. One would think, to hear people talk, that the Rothchilds and the Rockefellers were on the side of property. But obviously they are the enemies of property; because they are enemies of their own limitations. They do not want their own land; but other people's. When they remove their neighbor's landmark, they also remove their own. A man who loves a little triangular field ought to love it because it is triangular; anyone who destroys the shape, by giving him more land, is a thief who has stolen a triangle. A man with the true poetry of possession wishes to see the wall where his garden meets Smith's garden; the hedge where his farm touches Brown's. He cannot see the shape of his own land unless he sees the edges of his neighbor's. It is the negation of property that the Duke of Sutherland should have all the farms in one estate; just as it would be the negation of marriage if he had all our wives in one harem.