GK Chesterton, one of Christendom’s most gifted writers, explores three ‘notes of Christmas’ in his essay: ‘Christmas Boods” in it he reflects on ‘A Christmas Caroll’ by famed author Charles Dickens. In this essay, he highlights three qualities of the story that particularly rings true to the gospel carol that gets played out in Dicken’s tale.
1. The first quality is what may be called the dramatic quality.
The happiness is not a state; it is a crisis.
All the old customs surrounding the celebration of the birth of Christ are made by human instinct so as to insist and re-insist upon this crucial quality. Everything is so arranged that the whole household may feel, if possible, as a household does when a child is actually being born in it. The thing is a vigil and a vigil with a definite limit. People sit up at night until they hear the bells ring. Or they try to sleep at night in order to see their presents the next morning. Everywhere there is a limitation, a restraint; at one moment the door is shut, at the moment after it is opened. The hour has come or it has not come; the parcels are undone or they are not undone; there is no evolution of Christmas presents. This sharp and theatrical quality in pleasure, which human instinct and the mother wit of the world has wisely put into the popular celebrations of Christmas, is also a quality which is essential in such romantic literature as Dickens wrote. In romantic literature, the hero and heroine must indeed be happy, but they must also be unexpectedly happy. This is the first connecting link between literature and the old religious feast; this is the first connecting link between Dickens and Christmas.
2. The Second Note is that Christmas occurs in the winter.
The second element to be found in all such festivity and all such romance is the element which is represented as well as it could be represented by the mere fact that Christmas occurs in the winter.
It is the element not merely of contrast, but actually of antagonism. It preserves everything that was best in the merely primitive or pagan view of such ceremonies or such banquets. If we are carousing, at least we are warriors carousing. We hang above us, as it were, the shields and battle-axes with which we must do battle with the giants of the snow and hail.
All comfort must be based on discomfort. Man chooses when he wishes to be most joyful the very moment when the whole material universe is most sad. It is this contradiction and mystical defiance which gives a quality of manliness and reality to the old winter feasts which is not characteristic of the sunny felicities of the Earthly Paradise. And this curious element has been carried out even in all the trivial jokes and tasks that have always surrounded such occasions as these. The object of the jovial customs was not to make everything artificially easy: on the contrary, it was rather to make everything artificially difficult.
Idealism is not only expressed by shooting an arrow at the stars; the fundamental principle of idealism is also expressed by putting a leg of mutton at the top of a greasy pole. There is in all such observances a quality which can be called only the quality of divine obstruction. For instance, in the game of snapdragon (that admirable occupation), the conception is that raisins taste much nicer if they are brands saved from the burning.
About all Christmas things, there is something a little nobler, if only nobler in form and theory, than mere comfort; even holly is prickly. It is not hard to see the connection of this kind of historic instinct with a romantic writer like Dickens. The healthy novelist must always play snapdragon with his principal characters; he must always be snatching the hero and heroine like raisins out of the fire.
3. The third great Christmas Note is the element of the grotesque.
The grotesque is the natural expression of joy; and all the Utopias and new Edens of the poets fail to give a real impression of enjoyment, very largely because they leave out the grotesque. A man in most modern Utopias cannot really be happy; he is too dignified. A man in Morris’s Earthly Paradise cannot really be enjoying himself; he is too decorative. When real human beings have real delights they tend to express them entirely in grotesques — I might almost say entirely in goblins. On Christmas Eve one may talk about ghosts so long as they are turnip ghosts. But one would not be allowed (I hope, in any decent family) to talk on Christmas Eve about astral bodies. The boar’s head of old Yule-time was as grotesque as the donkey’s head of Bottom the Weaver. But there is only one set of goblins quite wild enough to express the wild goodwill of Christmas. Those goblins are the characters of Dickens.
Arcadian poets and Arcadian painters have striven to express happiness by means of beautiful figures. Dickens understood that happiness is best expressed by ugly figures. In beauty, perhaps, there is something allied to sadness; certainly, there is something akin to joy in the grotesque, nay, in the uncouth. There is something mysteriously associated with happiness not only in the corpulence of Falstaff and the corpulence of Tony Weller, but even in the red nose of Bardolph or the red nose of Mr. Stiggins. A thing of beauty is an inspiration forever — a matter of meditation forever. It is rather a thing of ugliness that is strictly a joy forever.”
If you have an ear tuned to heaven’s gospel music, you can hear these notes that Chesterton and Dickens play in their great works of art. A Christmas Carol is a revelatory tale of a man forced to face who he is and who he needs to become. It includes the transformative power of an encounter with the world beyond and yet within our world.
It includes elements of miracle, mystery, and redemption wrapped up in the everyday happenings of friendships, coworkers, city people of various backgrounds and means, sad narratives, poor ones and striking examples of the grotesque, unkind and cold indifference.