Gabriel Syme, the protagonist and title character of The Man Who Was Thursday, is no normal detective: he’s also a poet. Even when he’s supposed to be busy saving the world, Syme spends much of his time contemplating the meaning of humanity and the beauty of the environment. In fact, G. K. Chesterton’s broader interest in the nature and purpose of art is apparent from the very beginning of the novel, which describes the neighborhood of Saffron Park as “a frail but finished work of art” and then narrates a debate between Syme and Lucian Gregory about the meaning of poetry. Syme believes that poetry is a way to create meaning by imposing a linguistic structure on the world, while Gregory believes that poetry creates beauty by refusing to fit into structure—or even destroying it. But, through his rich descriptions and frequent comparisons between things in the environment and works of art, Chesterton proposes a different theory altogether: art’s purpose is not to change or destroy the world, but merely to faithfully capture and communicate its beauty.
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The Purpose of Art Quotes in 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 was fantastic, and even its ground plan was wild. […] It had to be considered not so much as a workshop for artists, but as a frail but finished work of art. A man who stepped into its social atmosphere felt as if he had stepped into a written comedy.
“An anarchist is an artist. The man who throws a bomb is an artist, because he prefers a great moment to everything. He sees how much more valuable is one burst of blazing light, one peal of perfect thunder, than the mere common bodies of a few shapeless policemen. An artist disregards all governments, abolishes all conventions. The poet delights in disorder only.”
[…]
“The rare, strange thing is to hit the mark; the gross, obvious thing is to miss it. We feel it is epical when man with one wild arrow strikes a distant bird. Is it not also epical when man with one wild engine strikes a distant station? Chaos is dull; because in chaos the train might indeed go anywhere, to Baker Street, or to Bagdad. But man is a magician, and his whole magic is in this, that he does say Victoria, and lo! it is Victoria.”
Gabriel Syme was not merely a detective who pretended to be a poet; he was really a poet who had become a detective. Nor was his hatred of anarchy hypocritical. He was one of those who are driven early in life into too conservative an attitude by the bewildering folly of most revolutionists. He had not attained it by any tame tradition. His respectability was spontaneous and sudden, a rebellion against rebellion.
[…]
Being surrounded with every conceivable kind of revolt from infancy Gabriel had to revolt into something so he revolted into the only thing left—sanity. But there was just enough in him of the blood of these fanatics to make even his protest for common sense a little too fierce to be sensible.
“I will tell you,” said the policeman slowly. “This is the situation. The head of one of our departments, one of the most celebrated detectives in Europe, has long been of opinion that a purely intellectual conspiracy would soon threaten the very existence of civilization. He is certain that the scientific and artistic worlds are silently bound in a crusade against the Family and the State. He has, therefore, formed a special corps of policemen, policemen who are also philosophers. It is their business to watch the beginnings of this conspiracy.”
A barrel-organ in the street suddenly sprang with a jerk into a jovial tune. Syme stood up taut, as if it had been a bugle before the battle. He found himself filled with a supernatural courage that came from nowhere. The jingling music seemed full of the vivacity, the vulgarity, and the irrational valour of the poor, who in all those unclean streets were all clinging to the decencies and the charities of Christendom. […] He did feel himself as the ambassador of all these common and kindly people in the street, who every day marched into battle to the music of the barrel-organ. And this high pride in being human had lifted him unaccountably to an infinite height above the monstrous men around him.
He felt a strange and vivid value in all the earth around him, in the grass under his feet; he felt the love of life in all living things. He could almost fancy that he heard the grass growing; he could almost fancy that even as he stood fresh flowers were springing up and breaking into blossom in the meadow—flowers blood-red and burning gold and blue, fulfilling the whole pageant of the spring. And whenever his eyes strayed for a flash from the calm, staring, hypnotic eyes of the Marquis, they saw the little tuft of almond tree against the skyline. He had the feeling that if by some miracle he escaped he would be ready to sit for ever before that almond tree, desiring nothing else in the world.
Was he wearing a mask? Was anyone wearing a mask? Was anyone anything? This wood of witchery in which men’s faces turned black and white by turns, in which their figures first swelled into sunlight and then faded into formless night, this mere chaos of chiaroscuro (after the clear daylight outside) seemed to Syme a perfect symbol of the world in which he had been moving for three days. […] Was not everything, after all, like this bewildering woodland, this dance of dark and light? Everything only a glimpse, the glimpse always unforeseen, and always forgotten. For Gabriel Syme had found in the heart of that sun-splashed wood what many modern painters had found there. He had found the thing which the modern people call Impressionism, which is another name for that final scepticism which can find no floor to the universe.
“Do you see this lantern?” cried Syme in a terrible voice. “Do you see the cross carved on it, and the flame inside? You did not make it. You did not light it. Better men than you, men who could believe and obey, twisted the entrails of iron and preserved the legend of fire. There is not a street you walk on, there is not a thread you wear, that was not made as this lantern was, by denying your philosophy of dirt and rats. You can make nothing. You can only destroy. You will destroy mankind; you will destroy the world. Let that suffice you. Yet this one old Christian lantern you shall not destroy. It shall go where your empire of apes will never have the wit to find it.”
“Listen to me,” cried Syme with extraordinary emphasis. “Shall I tell you the secret of the whole world? It is that we have only known the back of the world. We see everything from behind, and it looks brutal. That is not a tree, but the back of a tree. That is not a cloud, but the back of a cloud. Cannot you see that everything is stooping and hiding a face? If we could only get round in front—”
