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 not erecting them at all. A statue may be dignified; but the absence of a statue is always dignified. For my part, I feel there is something national, something wholesomely symbolic, in the fact that there is no statue of Shakspere. There is, of course, one in Leicester Square; but the very place where it stands shows that it was put up by a foreigner for foreigners. There is surely something modest and manly about not attempting to express our greatest poet in the plastic arts in which we do not excel. We honour Shakspere as the Jews honour God—by not daring to make of him a graven image. Our sculpture, our statues, are good enough for bankers and philanthropists, who are our curse: not good enough for him, who is our benediction. Why should we celebrate the very art in which we triumph by the very art in which we fail?

England is most easily understood as the country of amateurs. It is especially the country of amateur soldiers (that is, of Volunteers), of amateur statesmen (that is, of aristocrats), and it is not unreasonable or out of keeping that it should be rather specially the country of a careless and lounging view of literature. Shakspere has no academic monument for the same reason that he had no academic education. He had small Latin and less Greek, and (in the same spirit) 84