The Project Gutenberg EBook of The Uses of Diversity, by G. K. Chesterton This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: The Uses of Diversity A book of essays Author: G. K. Chesterton Release Date: August 4, 2019 [EBook #60057] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE USES OF DIVERSITY *** Produced by Tim Lindell, Christopher Wright and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) THE USES OF DIVERSITY BY THE SAME AUTHOR CHARLES DICKENS ALL THINGS CONSIDERED TREMENDOUS TRIFLES ALARMS AND DISCURSIONS A MISCELLANY OF MEN THE BALLAD OF THE WHITE HORSE THE USES OF DIVERSITY A BOOK OF ESSAYS BY G. K. CHESTERTON METHUEN & CO. LTD 36 ESSEX STREET W.C. LONDON First Published in 1920 CONTENTS PAGE ON SERIOUSNESS 1 LAMP-POSTS 7 THE SPIRITS 13 TENNYSON 18 THE DOMESTICITY OF DETECTIVES 24 GEORGE MEREDITH 30 THE IRISHMAN 34 IRELAND AND THE DOMESTIC DRAMA 39 THE JAPANESE 44 CHRISTIAN SCIENCE 49 THE LAWLESSNESS OF LAWYERS 54 OUR LATIN RELATIONS 61 ON PIGS AS PETS 66 THE ROMANCE OF ROSTAND 71 WISHES 75 THE FUTURISTS 80 THE EVOLUTION OF EMMA 85 THE PSEUDO-SCIENTIFIC BOOKS 91 THE HUMOUR OF KING HEROD 96 THE SILVER GOBLETS 101 THE DUTY OF THE HISTORIAN 106 QUESTIONS OF DIVORCE 112 MORMONISM 121 PAGEANTS AND DRESS 126 ON STAGE COSTUME 132 THE YULE LOG AND THE DEMOCRAT 138 MORE THOUGHTS ON CHRISTMAS 144 DICKENS AGAIN 149 TAFFY 154 “EGO ET SHAVIUS MEUS” 159 THE PLAN FOR A NEW UNIVERSE 164 GEORGE WYNDHAM 171 FOUR STUPIDITIES 177 ON HISTORICAL NOVELS 182 ON MONSTERS 186 THE USES OF DIVERSITY THE USES OF DIVERSITY I On Seriousness DO NOT LIKE SERIOUSNESS. I THINK IT IS IRRELIGIOUS. OR, IF YOU PREFER THE PHRASE, IT IS THE FASHION OF ALL FALSE RELIGIONS. THE MAN WHO TAKES EVERYTHING SERIOUSLY IS THE MAN WHO MAKES AN IDOL OF EVERYTHING: HE BOWS DOWN TO WOOD AND STONE UNTIL HIS LIMBS ARE AS ROOTED AS THE ROOTS OF THE TREE OR HIS HEAD AS FALLEN AS THE STONE SUNKEN BY THE ROADSIDE. IT HAS OFTEN BEEN DISCUSSED WHETHER ANIMALS CAN LAUGH. THE HYENA IS SAID TO LAUGH: BUT IT IS RATHER IN THE SENSE IN WHICH THE M.P. IS SAID TO UTTER “AN IRONICAL CHEER.” AT THE BEST, THE HYENA UTTERS AN IRONICAL LAUGH. BROADLY, IT IS TRUE THAT ALL ANIMALS EXCEPT MAN ARE SERIOUS. AND I THINK IT IS FURTHER DEMONSTRATED BY THE FACT THAT ALL HUMAN BEINGS WHO CONCERN THEMSELVES IN A CONCENTRATED WAY WITH ANIMALS ARE ALSO SERIOUS; SERIOUS IN A SENSE FAR BEYOND THAT OF HUMAN BEINGS CONCERNED WITH ANYTHING ELSE. HORSES ARE SERIOUS; THEY HAVE LONG, SOLEMN FACES. BUT HORSEY MEN ARE ALSO SERIOUS—JOCKEYS OR TRAINERS OR GROOMS: THEY ALSO HAVE LONG, SOLEMN FACES. DOGS ARE SERIOUS: THEY HAVE EXACTLY THAT COMBINATION OF MODERATE CONSCIENTIOUSNESS WITH MONSTROUS CONCEIT WHICH IS THE MAKE-UP OF MOST MODERN RELIGIONS. BUT, HOWEVER SERIOUS DOGS MAY BE, THEY CAN HARDLY BE MORE SERIOUS THAN DOG-FANCIERS—OR DOG-STEALERS. DOG-STEALERS, INDEED, HAVE TO BE PARTICULARLY SERIOUS, BECAUSE THEY HAVE TO COME BACK AND SAY THEY HAVE FOUND THE DOG. THE FAINTEST SHADE OF IRONY, NOT TO SAY LEVITY, ON THEIR FEATURES, WOULD EVIDENTLY BE FATAL TO THEIR PLANS. I WILL NOT CARRY THE COMPARISON THROUGH ALL THE KINGDOMS OF NATURAL HISTORY: BUT IT IS TRUE OF ALL WHO FIX THEIR AFFECTION OR INTELLIGENCE ON THE LOWER ANIMALS. CATS ARE AS SERIOUS AS THE SPHINX, WHO MUST HAVE BEEN SOME KIND OF CAT, TO JUDGE BY THE ATTITUDE. BUT THE RICH OLD LADIES WHO LOVE CATS ARE QUITE EQUALLY SERIOUS, ABOUT CATS AND ABOUT THEMSELVES. SO ALSO THE ANCIENT EGYPTIANS WORSHIPPED CATS, ALSO CROCODILES AND BEETLES AND ALL KINDS OF THINGS; BUT THEY WERE ALL SERIOUS AND MADE THEIR WORSHIPPERS SERIOUS. EGYPTIAN ART WAS INTENTIONALLY HARSH, CLEAR, AND CONVENTIONAL; BUT IT COULD VERY VIVIDLY REPRESENT MEN DRIVING, HUNTING, FIGHTING, FEASTING, PRAYING. YET I THINK YOU WILL PASS ALONG MANY CORRIDORS OF THAT COLOURED AND ALMOST CRUEL ART BEFORE YOU SEE A MAN LAUGHING. THEIR GODS DID NOT ENCOURAGE THEM TO LAUGH. I AM TOLD BY HOUSEWIVES THAT BEETLES SELDOM LAUGH. CATS DO NOT LAUGH—EXCEPT THE CHESHIRE CAT (WHICH IS NOT FOUND IN EGYPT); AND EVEN HE CAN ONLY GRIN. AND CROCODILES DO NOT LAUGH. They weep. This comparison between the sacred animals of Egypt and the pet animals of to-day is not so far-fetched as it may seem TO SOME PEOPLE. THERE IS A HEALTHY AND AN UNHEALTHY LOVE OF ANIMALS: AND THE NEAREST DEFINITION OF THE DIFFERENCE IS THAT the UNHEALTHY LOVE OF ANIMALS IS SERIOUS. I AM QUITE PREPARED TO LOVE A RHINOCEROS, WITH REASONABLE PRECAUTIONS: HE IS, DOUBTLESS, A DELIGHTFUL FATHER TO THE YOUNG RHINOCEROSES. BUT I WILL NOT PROMISE NOT TO LAUGH AT A RHINOCEROS. I WILL NOT WORSHIP THE BEAST WITH THE LITTLE HORN. I WILL NOT ADORE THE GOLDEN CALF; STILL LESS WILL I ADORE THE FATTED CALF. ON THE CONTRARY, I WILL EAT HIM. THERE IS SOME SORT OF JOKE ABOUT EATING AN ANIMAL, OR EVEN ABOUT AN ANIMAL EATING YOU. LET US HOPE WE SHALL PERCEIVE IT AT THE PROPER MOMENT, IF IT EVER OCCURS. BUT I WILL NOT WORSHIP AN ANIMAL. THAT IS, I WILL NOT TAKE an animal quite seriously: and I know why. WHEREVER THERE IS ANIMAL WORSHIP THERE IS HUMAN SACRIFICE. THAT IS, BOTH SYMBOLICALLY AND LITERALLY, A REAL TRUTH OF HISTORICAL EXPERIENCE. SUPPOSE A THOUSAND BLACK SLAVES WERE SACRIFICED TO THE BLACKBEETLE; SUPPOSE A MILLION MAIDENS WERE FLUNG INTO THE NILE TO FEED THE CROCODILE; SUPPOSE THE CAT COULD EAT MEN INSTEAD OF MICE—IT COULD STILL BE NO MORE THAN THAT SACRIFICE OF HUMANITY THAT SO OFTEN MAKES THE HORSE MORE IMPORTANT THAN THE GROOM, OR THE LAP-DOG MORE IMPORTANT EVEN THAN THE LAP. THE ONLY RIGHT VIEW OF THE ANIMAL IS THE COMIC VIEW. BECAUSE THE VIEW IS COMIC IT IS NATURALLY affectionate. And because it is affectionate, it is never respectful. I KNOW NO PLACE WHERE THE TRUE CONTRAST HAS BEEN MORE CANDIDLY, CLEARLY, AND (FOR ALL I KNOW) UNCONSCIOUSLY EXPRESSED THAN IN AN EXCELLENT LITTLE BOOK OF VERSE CALLED Bread and Circuses BY HELEN PARRY EDEN, THE DAUGHTER OF JUDGE PARRY, WHO HAS INHERITED BOTH THE HUMOUR AND THE HUMANITY IN SPITE OF WHICH HER FATHER SUCCEEDED AS A MODERN MAGISTRATE. THERE ARE A GREAT MANY OTHER THINGS THAT MIGHT BE PRAISED IN THE BOOK, BUT I SHOULD SELECT FOR PRAISE THE SANE LOVE OF ANIMALS. THERE IS, FOR INSTANCE, A LITTLE POEM ON A CAT FROM THE COUNTRY WHO HAS COME TO LIVE IN A FLAT IN BATTERSEA (EVERYBODY AT SOME TIME OF THEIR LIVES HAS LIVED OR WILL LIVE IN A FLAT IN BATTERSEA, EXCEPT, PERHAPS, THE “PRISONER OF THE VATICAN”), AND THE VERSES HAVE A TENDERNESS, WITH A TWIST OF THE GROTESQUE, WHICH SEEMS TO ME THE EXACTLY APPROPRIATE tone about domestic pets: And now you’re here. Well, it may be The sun does rise in Battersea Although to-day be dark; Life is not shorn of loves and hates While there are sparrows on the slates And keepers in the Park. And you yourself will come to learn The ways of London; and in turn Assume your Cockney cares Like other folk that live in flats, Chasing your purely abstract rats Upon the concrete stairs. THAT IS LIKE HOOD AT HIS BEST; BUT IT IS, MOREOVER, PENETRATED WITH A PROFOUND AND TRUE APPRECIATION OF THE FUNDAMENTAL IDEA THAT ALL LOVE OF THE CAT MUST BE FOUNDED ON THE absurdity OF THE CAT, AND ONLY THUS CAN A MORBID IDOLATRY BE AVOIDED. PERHAPS THOSE WHO APPEARED TO BE WITCHES WERE THOSE OLD LADIES WHO TOOK THEIR CATS TOO SERIOUSLY. THE CAT IN THIS BOOK IS CALLED “FOUR-PAWS,” WHICH IS AS JOLLY AS A GARGOYLE. BUT THE NAME OF THE CAT MUST BE SOMETHING FAMILIAR AND EVEN JEERING, IF IT BE ONLY TOM OR TABBY OR TOPSY: SOMETHING THAT SHOWS MAN IS NOT AFRAID OF IT. OTHERWISE THE NAME OF the cat will be Pasht. BUT WHEN THE SAME POET COMES ACCIDENTALLY ACROSS AN EXAMPLE OF THE INSANE SERIOUSNESS ABOUT ANIMALS THAT SOME MODERN “HUMANITARIANS” EXHIBIT, SHE TURNS AGAINST THE ANIMAL-LOVER AS NATURALLY AND INSTINCTIVELY AS SHE TURNS TO THE ANIMAL. A WRITER ON A SOCIETY PAPER HAD MENTIONED SOME RICH WOMAN WHO HAD APPEARED ON CUP DAY “GOWNED” IN SOME WAY OR OTHER, AND INSERTED THE TEARFUL PARENTHESIS THAT “SHE HAS JUST LOST A DEAR DOG IN LONDON.” THE REAL ANIMAL- lover instantly recognizes the wrong note, and dances on the dog’s grave with a derision as unsympathetic as Swift: Dear are my friends, and yet my heart still light is, Undimmed the eyes that see our set depart, Snatched from the Season by appendicitis Or something quite as smart. But when my Chin-Chin drew his latest breath On Marie’s outspread apron, slow and wheezily, I simply sniffed, I could not take his death So Pekineasily.... ... Grief courts these ovations, And many press my sable-suèded hand, Noting the blackest of Lucile’s creations Inquire, and understand. It is that balance of instincts that is the essence of all satire: however fantastic satire may be, it must always be potentially RATIONAL AND FUNDAMENTALLY MODERATE, FOR IT MUST BE READY TO HIT BOTH TO RIGHT AND TO LEFT AT OPPOSITE EXTRAVAGANCES. AND the two extravagances WHICH EXIST ON THE EDGES OF OUR HARASSED AND SECRETIVE SOCIETY TO-DAY ARE CRUELTY TO ANIMALS AND WORSHIP OF ANIMALS. THEY BOTH COME FROM TAKING ANIMALS TOO SERIOUSLY: THE CRUEL MAN MUST HATE THE ANIMAL; THE CRANK must worship the animal, and perhaps fear it. Neither knows how to love it. I Lamp-Posts N CONTEMPLATING SOME COMMON OBJECT OF THE MODERN STREET, SUCH AS AN OMNIBUS OR A LAMP-POST, IT IS SOMETIMES WELL WORTH WHILE TO STOP AND THINK ABOUT WHY SUCH COMMON OBJECTS ARE REGARDED AS COMMONPLACE. IT IS WELL WORTH WHILE TO TRY TO GRASP WHAT IS THE SIGNIFICANCE OF THEM—OR RATHER, THE QUALITY IN MODERNITY WHICH MAKES THEM SO OFTEN SEEM NOT SO MUCH SIGNIFICANT AS INSIGNIFICANT. IF YOU STOP THE OMNIBUS WHILE YOU STOP TO THINK ABOUT IT, YOU WILL BE UNPOPULAR. EVEN IF YOU TRY TO GRASP THE LAMP-POST IN YOUR EFFORT TO GRASP ITS SIGNIFICANCE, YOU WILL ALMOST CERTAINLY BE MISUNDERSTOOD. NEVERTHELESS, THE PROBLEM IS A REAL ONE, AND NOT WITHOUT BEARING UPON THE MOST POIGNANT POLITICS AND ETHICS OF TO-DAY. IT IS CERTAINLY NOT THE THINGS THEMSELVES, THE IDEA AND UPSHOT OF THEM, THAT ARE REMOTE FROM POETRY OR EVEN MYSTICISM. THE IDEA OF A CROWD OF HUMAN STRANGERS TURNED INTO COMRADES FOR A JOURNEY IS FULL OF THE OLDEST PATHOS AND PIETY OF HUMAN LIFE. THAT PROFOUND FEELING OF MORTAL FRATERNITY AND FRAILTY, WHICH TELLS US WE ARE INDEED ALL IN THE SAME BOAT, IS NOT THE LESS TRUE IF EXPRESSED IN THE FORMULA THAT WE ARE ALL IN THE SAME BUS. AS FOR THE IDEA OF THE LAMP-POST, THE IDEA OF THE FIXED BEACON OF THE BRANCHING THOROUGHFARES, THE TERRESTRIAL STAR OF THE TERRESTRIAL TRAVELLER, IT NOT ONLY COULD BE, BUT ACTUALLY IS, the subject of countless songs. NOR IS IT EVEN TRUE THAT THERE IS SOMETHING SO TRIVIAL OR UGLY ABOUT THE NAMES OF THE THINGS AS TO MAKE THEM COMMONPLACE IN ALL CONNEXIONS. THE WORD “LAMP” IS ESPECIALLY BELOVED BY THE MORE DECORATIVE AND POETIC WRITERS; IT IS A SYMBOL, AND VERY FREQUENTLY A TITLE. IT IS TRUE THAT IF RUSKIN HAD CALLED HIS ELOQUENT WORK “THE SEVEN LAMP-POSTS OF ARCHITECTURE” THE EFFECT, TO A DELICATE EAR, WOULD NOT HAVE BEEN QUITE THE SAME. BUT EVEN THE WORD “POST” IS IN NO SENSE IMPOSSIBLE IN POETRY; IT CAN BE FOUND WITH A FINE MILITARY RING IN PHRASES LIKE “THE LAST POST” OR “DYING AT HIS POST.” I REMEMBER, INDEED, HEARING, WHEN A SMALL CHILD, THE LINE IN MACAULAY’S “ARMADA” ABOUT “WITH LOOSE REIN AND BLOODY SPUR RODE INLAND MANY A POST,” AND BEING PUZZLED AT THE PICTURE OF A PILLAR-BOX OR A LAMP-POST DISPLAYING SO MUCH ACTIVITY. BUT CERTAINLY IT IS NOT THE MERE SOUND OF THE WORD THAT MAKES IT UNWORKABLE IN THE LITERATURE OF WONDER OR BEAUTY. “OMNIBUS” MAY SEEM AT FIRST SIGHT A MORE DIFFICULT THING TO SWALLOW—IF I MAY BE ALLOWED A SOMEWHAT GIGANTESQUE FIGURE OF SPEECH. THIS, IT MAY BE SAID, IS A COCKNEY AND UNGAINLY MODERN WORD, AS IT IS CERTAINLY A COCKNEY AND UNGAINLY MODERN THING. BUT EVEN THIS IS NOT TRUE. THE WORD “OMNIBUS” IS A VERY NOBLE WORD WITH A VERY NOBLE MEANING AND EVEN TRADITION. IT IS DERIVED FROM AN ANCIENT AND ADAMANTINE TONGUE WHICH HAS ROLLED IT WITH VERY AUTHORITATIVE THUNDERS: quod ubique, quod semper, quod ab omnibus. IT IS A WORD REALLY MORE HUMAN AND UNIVERSAL THAN REPUBLIC OR DEMOCRACY. A MAN MIGHT very consistently build A TEMPLE FOR ALL THE TRIBES OF MEN, A TEMPLE OF THE LARGEST PATTERN AND THE LOVELIEST DESIGN, AND THEN CALL IT AN OMNIBUS. IT IS TRUE THAT THE DIGNITY OF THIS DESCRIPTION HAS REALLY BEEN SOMEWHAT DIMINISHED BY THE ILLOGICAL HABIT OF CLIPPING THE WORD DOWN TO THE LAST AND LEAST IMPORTANT PART OF IT. BUT THAT IS ONLY ONE OF MANY MODERN EXAMPLES IN WHICH REAL VULGARITY IS NOT IN DEMOCRACY, BUT RATHER IN THE LOSS OF DEMOCRACY. IT IS ABOUT AS DEMOCRATIC TO CALL AN omnibus a bus as it would be to call a democrat a rat. ANOTHER WAY OF EXPLAINING THE CLOUD OF COMMONPLACE INTERPRETATION UPON MODERN THINGS IS TO TRACE IT TO THAT SPIRIT WHICH OFTEN CALLS ITSELF SCIENCE BUT WHICH IS MORE OFTEN MERE REPETITION. IT IS PROVERBIAL THAT A CHILD, LOOKING OUT OF THE NURSERY WINDOW, REGARDS THE LAMP-POST AS PART OF A FAIRY-TALE OF WHICH THE LAMPLIGHTER IS THE FAIRY. THAT LAMP-POST CAN BE TO A BABY ALL THAT THE MOON COULD POSSIBLY BE TO A LOVER OR A POET. NOW, IT IS PERFECTLY TRUE THAT THERE IS NOWADAYS A SPIRIT OF CHEAP INFORMATION WHICH IMAGINES THAT IT SHOOTS BEYOND THIS SHINING POINT, WHEN IT MERELY TELLS US THAT THERE ARE NINE HUNDRED LAMP-POSTS IN THE TOWN, ALL EXACTLY ALIKE. IT IS EQUALLY TRUE THAT THERE IS A SPIRIT OF CHEAP SCIENCE, WHICH IS EQUALLY COCKSURE OF ITS CONCLUSIVENESS WHEN IT TELLS US THAT THERE ARE SO MANY THOUSAND MOONS AND SUNS, ALL MUCH MORE ALIKE THAN WE MIGHT HAVE BEEN DISPOSED TO FANCY. AND WE CAN SAY OF BOTH THESE CALCULATIONS THAT THERE IS NOTHING REALLY COMMONPLACE EXCEPT THE MIND OF THE CALCULATOR. THE BABY IS MUCH MORE RIGHT ABOUT THE FLAMING LAMP THAN THE STATISTICIAN who counts the posts in the STREET; AND THE LOVER IS MUCH MORE REALLY RIGHT ABOUT THE MOON THAN THE ASTRONOMER. HERE THE PART IS CERTAINLY GREATER THAN THE WHOLE, FOR IT IS MUCH BETTER TO BE TIED TO ONE WONDERFUL THING THAN TO ALLOW A MERE CATALOGUE OF WONDERFUL THINGS TO DEPRIVE YOU OF THE CAPACITY TO WONDER. IT IS DOUBTLESS TRUE, TO A DEFINITE EXTENT, THAT A CERTAIN SAMENESS IN THE MECHANICAL MODERN CREATIONS MAKES THEM ACTUALLY LESS ATTRACTIVE THAN THE FREER RECURRENCES OF NATURE; OR, IN OTHER WORDS, THAT TWENTY LAMP-POSTS REALLY ARE MUCH MORE LIKE EACH OTHER THAN TWENTY TREES. NEVERTHELESS, EVEN THIS CHARACTER WILL NOT COVER THE WHOLE GROUND, FOR MEN DO NOT CEASE TO FEEL THE MYSTERY OF NATURAL THINGS EVEN WHEN THEY REPRODUCE THEMSELVES ALMOST COMPLETELY, AS IN THE CASE OF PITCH DARKNESS OR A VERY HEAVY SLEEP. THE MERE FACT THAT WE HAVE SEEN A LAMP-POST VERY OFTEN, AND THAT IT GENERALLY LOOKED VERY MUCH THE SAME AS BEFORE, WOULD NOT OF itself prevent us from appreciating its elfin fire, any more than it prevents the child. FINALLY, THERE IS A NEGLECTED SIDE OF THIS PSYCHOLOGICAL PROBLEM WHICH IS, I THINK, ONE ASPECT OF THE MYSTERY OF THE MORALITY OF WAR. IT IS NOT ALTOGETHER AN ACCIDENT THAT, WHILE THE LONDON LAMP-POST HAS ALWAYS BEEN MILD AND UNDISTINGUISHED, THE PARIS LAMP-POST HAS BEEN MORE HISTORIC BECAUSE IT HAS BEEN MORE HORRIBLE. IT HAS BEEN A YET MORE REVOLUTIONARY SUBSTITUTE FOR THE GUILLOTINE—YET MORE REVOLUTIONARY, BECAUSE IT WAS THE GUILLOTINE OF THE MOB, AS DISTINCT EVEN FROM THE GUILLOTINE OF THE REPUBLIC. THEY HANGED ARISTOCRATS UPON IT, INCLUDING (UNLESS MY MEMORY MISLEADS ME) THAT EXCEEDINGLY UNPLEASANT ARISTOCRAT WHO PROMULGATED THE MEASURE OF WAR ECONOMY KNOWN AS “LET THEM EAT GRASS.” HENCE IT HAPPENED THAT THERE HAS BEEN IN PARIS A FANATICAL AND FLAMBOYANT POLITICAL NEWSPAPER ACTUALLY CALLED La Lanterne, A PAPER FOR EXTREME JACOBINS. IF THERE WERE A PAPER IN LONDON CALLED THE Lamp-Post, I CAN ONLY IMAGINE IT AS A PAPER FOR CHILDREN. AS FOR MY OTHER EXAMPLE, I DO NOT KNOW WHETHER EVEN THE FRENCH REVOLUTION COULD MANAGE TO do anything with the omnibus; but the Jacobins were quite capable of using it as a tumbril. IN SHORT, I SUSPECT THAT COCKNEY THINGS HAVE BECOME COMMONPLACE BECAUSE THERE HAS BEEN SO LONG LACKING IN THEM A CERTAIN SAVOUR OF SACRIFICE AND PERIL, WHICH THERE HAS BEEN IN THE NURSERY TALE, FOR ALL ITS INNOCENCE, AND WHICH THERE HAS been in the Parisian street, for all its iniquity. THE NEW WONDER THAT HAS CHANGED THE WORLD BEFORE OUR EYES IS THAT ALL THIS CRUDE AND VULGAR MODERN CLOCKWORK IS MOST TRULY BEING USED FOR A HEROIC END. IT IS MOST EMPHATICALLY BEING USED FOR THE SLAYING OF A DRAGON. IT IS BEING USED, MUCH MORE UNQUESTIONABLY THAN THE LANTERN OF PARIS, TO MAKE AN END OF A TYRANT. IT WAS A CANT PHRASE IN OUR CHEAPER LITERATURE OF LATE TO SAY THAT THE NEW TIME WILL MAKE THE ROMANCE OF WAR MECHANICAL. IS IT NOT MORE PROBABLE THAT IT WILL MAKE THE MECHANISM OF WAR ROMANTIC? AS I SAID AT THE BEGINNING, THE THINGS THEMSELVES ARE NOT REPULSIVELY PROSAIC; IT WAS THEIR ASSOCIATIONS THAT MADE THEM SO; AND TO-DAY THEIR ASSOCIATIONS ARE AS SPLENDID AS ANY THAT EVER BLAZONED A SHIELD OR EMBROIDERED A BANNER. MUCH OF WHAT MADE THE VIOLATION OF BELGIUM SO VIOLENT A CHALLENGE TO EVERY CONSCIENCE LAY unconsciously in THE FACT THAT THE COUNTRY WHICH HAD THUS BECOME TRAGIC HAD OFTEN BEEN REGARDED AS COMMONPLACE. THE UNPARDONABLE SIN WAS COMMITTED IN A PLACE OF LAMP-POSTS AND OMNIBUSES. IN SIMILAR PLACES HAS BEEN PREPARED THE JUST WRATH AND REPARATION; AND A LEGEND OF IT WILL SURELY LINGER EVEN IN THE OMNIBUS THAT HAS CARRIED HEROES TO THE MOUTH OF hell, and even in the lamp-post whose lamp has been darkened against the dragon of the sky. T The Spirits HE MAGAZINES CONTINUE TO ABOUND IN ARTICLES ABOUT SPIRITUALISM. THOSE ARTICLES WHICH EXPOSE AND EXPLODE SPIRITUALISM ARE CERTAINLY CALCULATED TO MAKE CONVERTS TO THAT NOVEL CREED; BUT FORTUNATELY THE BALANCE IS REDRESSED BY THE ARTICLES WHICH DEFEND AND EXPOUND SPIRITUALISM, WHICH WILL PROBABLY MAKE ANY THOUGHTFUL CONVERT HASTILY RECANT HIS CONVERSION. I BELIEVE MYSELF THAT NOTHING BUT ADVANTAGE CAN ACCRUE TO SPIRITUALISM FROM ALL CRITICISMS FOUNDED ON MATERIALISM. I THINK THERE IS A MYSTICAL MINIMUM IN HUMAN HISTORY AND EXPERIENCE, WHICH IS AT ONCE TOO OBSCURE TO BE EXPLAINED AND TOO OBVIOUS TO BE EXPLAINED AWAY. IT MAY BE ADMITTED THAT A MIRACLE IS RARER THAN A MURDER; BUT THEY ARE MADE OBSCURE BY SOMEWHAT SIMILAR CAUSES. THUS A MEDIUM WILL INSIST ON A DARK ROOM; AND A MURDERER IS SAID TO HAVE A SLIGHT PREFERENCE FOR A DARK NIGHT. A MEDIUM IS CRITICIZED FOR NOT SUBMITTING TO A SUFFICIENT NUMBER OF SCIENTIFIC AND IMPARTIAL JUDGES; AND A MURDERER SELDOM COLLECTS ANY CONSIDERABLE NUMBER OF IMPARTIAL WITNESSES TO TESTIFY TO HIS PERFORMANCE. MANY SUPERNATURAL STORIES REST ON THE EVIDENCE OF ROUGH UNLETTERED MEN, LIKE FISHERMEN AND PEASANTS; AND MOST CRIMINAL TRIALS DEPEND ON THE DETAILED TESTIMONY OF QUITE UNEDUCATED PEOPLE. IT MAY BE REMARKED THAT WE NEVER THROW A DOUBT ON THE VALUE OF IGNORANT EVIDENCE WHEN IT IS A QUESTION OF A JUDGE HANGING A MAN, BUT ONLY WHEN IT IS A QUESTION OF A SAINT HEALING HIM. MORBID AND HYSTERICAL PEOPLE IMAGINE ALL SORTS OF GHOSTS AND DEMONS THAT DO NOT EXIST. MORBID AND HYSTERICAL PEOPLE ALSO IMAGINE ALL SORTS OF CRIMES AND CONSPIRACIES THAT DO NOT EXIST. A GREAT MANY SPIRITUAL COMMUNICATIONS MAY BE AUTO-SUGGESTIONS; AND A GREAT MANY APPARENT MURDERS MAY BE SUICIDES. BUT THERE IS A LIMIT TO the probability of self-destruction; so there is of self-deception. NOW I THINK IT WELL WORTH WHILE TO CONCENTRATE OUR COMMON SENSE, NOT ON WHERE THESE MESSAGES COME FROM, OR WHY THEY COME, BUT SIMPLY ON THE MESSAGES. LET US CONSIDER THE THING ITSELF ABOUT WHICH THERE IS NO DOUBT AT ALL. LET US CONSIDER, NOT WHETHER SPIRITS CAN SPEAK TO US, OR HOW THEY SPEAK, BUT SIMPLY WHAT THEY SAY, OR ARE SUPPOSED TO SAY. IF SPIRITS IN HEAVEN, OR SCOUNDRELS ON EARTH, OR FIENDS SOMEWHERE ELSE, HAVE BROUGHT US A NEW RELIGION, LET US LOOK AT THE NEW RELIGION ON ITS OWN MERITS. WELL, THIS IS THE SORT OF THING THE SPIRITS ARE SUPPOSED TO WRITE DOWN, AND VERY POSSIBLY do write down: “YOU MAKE DEATH AN IMPENETRABLE FOG, WHILE IT IS A MERE GOLDEN MIST, TORN EASILY ASIDE BY THE SHAFTS OF FAITH, AND REVEALING LIFE AS NOT ONLY CONTINUOUS BUT AS NOT CUT IN TWO BY A GREAT CHANGE. I CANNOT EXPRESS MYSELF AS I WISH.... IT IS MORE LIKE LEAVING PRISON FOR FREEDOM AND HAPPINESS. NOT THAT YOUR PRESENT LIFE LACKS JOY; IT IS ALL JOY, BUT YOU HAVE TO FIGHT WITH IMPERFECTIONS. HERE, WE HAVE TO STRUGGLE ONLY WITH LACK OF DEVELOPMENT. THERE IS NO EVIL—ONLY DIFFERENT degrees of spirit.” THE INTERROGATOR, MR. BASIL KING, WHO NARRATES HIS EXPERIENCES IN AN INTERESTING ARTICLE IN Nash’s Magazine, PROCEEDS TO ASK WHETHER THE LACK OF DEVELOPMENT IS DUE TO THE HIGHLY PRACTICAL THING WE CALL SIN. TO THIS THE SPIRIT REPLIES: “THEY COME OVER WITH THE EVIL, AS IT WERE, CUT OUT, AND LEAVING BLANKS IN THEIR SOULS. THESE HAVE BY DEGREES TO BE FILLED WITH good.” NOW I WILL WAIVE THE POINT WHETHER DEATH IS A MIST OR A FOG OR A FRONT DOOR OR A FIRE-ESCAPE OR ANY OTHER PHYSICAL METAPHOR; BEING SATISFIED WITH THE FACT THAT IT IS THERE, AND NOT TO BE REMOVED BY METAPHORS. BUT WHAT AMUSES ME ABOUT THE SPIRIT IS THAT FOR HIM IT IS BOTH THERE AND NOT THERE. DEATH IS NON-EXISTENT IN ONE SENTENCE, AND OF THE MOST STARTLING IMPORTANCE SIX SENTENCES AFTERWARDS. THE SPIRIT IS POSITIVE THAT OUR EXISTENCE IS not CUT IN TWO BY A GREAT CHANGE, AT THE MOMENT OF DEATH. BUT THE SPIRIT IS EQUALLY POSITIVE, A LITTLE LOWER DOWN, THAT THE WHOLE OF OUR HUMAN EVIL IS INSTANTLY AND UTTERLY CUT OUT OF US, AND ALL AT THE MOMENT OF DEATH. IF A MAN SUDDENLY AND SUPERNATURALLY LOSES ABOUT THREE-QUARTERS OF HIS ORDINARY CHARACTER, MIGHT IT NOT BE DESCRIBED AS “A GREAT CHANGE”? WHY DOES SO ENORMOUS A CONVULSION HAPPEN AT THE EXACT MOMENT OF DEATH, IF DEATH IS NON-EXISTENT AND NOT TO BE CONSIDERED? THE SPIRITUALIST IS HERE CONTRADICTING HIMSELF, NOT ONLY BY MAKING DEATH VERY DECIDEDLY A GREAT CHANGE, BUT BY ACTUALLY MAKING IT A GREATER CHANGE THAN DANTE OR ST. FRANCIS THOUGHT IT WAS. A CHRISTIAN WHO THINKS THE SOUL CARRIES ITS SINS TO PURGATORY MAKES LIFE MUCH MORE “CONTINUOUS” THAN THIS SPIRITUALIST, WHO SAYS THAT DEATH, AND DEATH ALONE, ALTERS A MAN AS BY A BLAST OF MAGIC. THE ARTICLE BEARS THE MODEST TITLE OF “THE ABOLISHING OF DEATH”; AND THE SPIRIT DOES SAY THAT THIS IS POSSIBLE, EXCEPT WHEN HE FORGETS AND SAYS THE OPPOSITE. HE SELDOM CONTRADICTS HIMSELF MORE THAN TWICE IN A PARAGRAPH. BUT SINCE HE SAYS CLEARLY THAT DEATH ABOLISHES SIN, AND EQUALLY CLEARLY THAT HE ABOLISHES DEATH, IT BECOMES AN INTERESTING SPECULATION WHAT HAPPENS NEXT, and especially what happens to sin: a subject of interest to many of us. MR. BASIL KING ASKED THE SPIRIT, WHO HAD TOLD HIM THAT ANIMALS ARE HUMAN, WHETHER IT IS WRONG TO DESTROY ANIMAL LIFE. IT MAY BE REMARKED THAT THE QUESTIONS MR. KING ASKS ARE ALWAYS MUCH MORE ACUTE THAN THE ANSWERS HE GETS. THE ANSWER about the killing of animals is this: “You can never DESTROY LIFE. LIFE IS THE ABSOLUTE POWER WHICH OVERRULES ALL ELSE. THERE CAN BE NO CESSATION. IT IS IMPOSSIBLE.” AND THAT IS ALL; AND FOR A MAN CONSIDERING WHETHER HE SHALL OR SHALL NOT KILL A TOM- CAT, IT DOES NOT SEEM VERY HELPFUL. LOGICALLY, IF IT MEANS ANYTHING, IT WOULD SEEM TO MEAN THAT YOU MAY DO ANYTHING TO THE CAT, FOR ITS NINE LIVES ARE REALLY AN INFINITE SERIES. IN SHORT, YOU CAN KILL IT BECAUSE YOU CANNOT KILL IT. BUT IT IS OBVIOUS THAT IF A MAN RELIES ON THIS REASON FOR KILLING HIS CAT, IT IS AN EQUALLY GOOD REASON FOR KILLING HIS CREDITOR. CREDITORS ALSO ARE IMMORTAL (A SOLEMN THOUGHT); CREDITORS ALSO PASS THROUGH A GOLDEN MIST TORN EASILY ASIDE BY THE SHAFTS OF FAITH, AND HAVE ALL THE EVIL OF THEIR SOULS (INCLUDING, LET US HOPE, THEIR AVARICE) CUT OUT OF THEM WITH THE AXE OF DEATH, WITHOUT NOTICING ANYTHING IN PARTICULAR. IN SHORT, MR. BASIL KING, WHEN HE ASKS A REASONABLE QUESTION ABOUT A REAL MORAL QUESTION, THE RELATIONS OF MAN AND THE ANIMALS, GETS NO REPLY EXCEPT A HOTCH-POTCH OF WORDS WHICH MIGHT MEAN ANARCHY AND MAY MEAN ANYTHING. FROM BEGINNING TO END THE SPIRIT NEVER ANSWERS ANY REAL QUESTION ON WHICH THE REAL RELIGIONS OF MANKIND HAVE BEEN OBLIGED TO LEGISLATE AND TO TEACH. THE ONLY PRACTICAL DEDUCTION WOULD BE THAT IT IS no DISADVANTAGE TO HAVE SINNED IN THIS LIFE; AS IN THE OTHER CASE THAT IT IS no DISGRACE TO KILL EITHER A CREDITOR OR A CAT. IF IT MEANS ANYTHING, IT MEANS that; and if it is spirits and not spifflications, the spirits mean that: and I do not desire their further acquaintance. I Tennyson HAVE BEEN GLANCING OVER TWO OR THREE OF THE APPRECIATIONS OF TENNYSON APPROPRIATE TO HIS CENTENARY, AND HAVE BEEN STRUCK WITH A CURIOUS TONE OF COLDNESS TOWARDS HIM IN ALMOST ALL QUARTERS. NOW THIS IS REALLY A VERY PECULIAR THING. FOR IT IS A CASE OF COLDNESS TO QUITE BRILLIANT AND UNQUESTIONABLE LITERARY MERIT. WHETHER TENNYSON WAS A GREAT POET I SHALL NOT DISCUSS. I UNDERSTAND THAT ONE HAS TO WAIT ABOUT EIGHT HUNDRED YEARS BEFORE DISCUSSING THAT; AND MY ONLY COMPLAINT AGAINST THE PRINTERS OF MY ARTICLES IS THAT THEY WILL NOT WAIT EVEN FOR MUCH SHORTER PERIODS. BUT THAT TENNYSON WAS A POET IS AS SOLID AND CERTAIN AS THAT ROBERTS IS A BILLIARD-PLAYER. THAT TENNYSON WAS AN ASTONISHINGLY GOOD POET IS AS SOLID AND CERTAIN AS THAT ROBERTS IS AN ASTONISHINGLY GOOD BILLIARD-PLAYER. EVEN IN THESE MATTERS OF ART THERE ARE SOME THINGS ANALOGOUS TO MATTERS OF FACT. IT IS NO GOOD DISPUTING ABOUT TASTES—PARTLY BECAUSE SOME TASTES ARE BEYOND DISPUTE. IF anyone tells me that There is fallen a splendid tear From the passion-flower at the gate; or that Tears from the depth of some divine despair IS NOT FINE POETRY, I AM QUITE PREPARED TO TREAT HIM AS I WOULD ONE WHO SAID THAT GRASS WAS NOT GREEN OR THAT I WAS NOT CORPULENT. AND BY ALL COMMON CHANCES TENNYSON OUGHT TO BE PRESERVED AS A PLEASURE—A SENSUOUS PLEASURE IF YOU LIKE, BUT CERTAINLY A GENUINE ONE. THERE IS NO MORE REASON FOR DROPPING TENNYSON THAN FOR DROPPING VIRGIL. WE DO NOT MIND VIRGIL’S VIEW OF AUGUSTUS, NOR NEED WE MIND TENNYSON’S VIEW OF QUEEN VICTORIA. BEAUTY IS UNANSWERABLE, IN A POEM AS MUCH AS IN A WOMAN. THERE WERE VICTORIAN WRITERS WHOSE ART IS NOT PERFECTLY APPRECIABLE APART FROM THEIR ENTHUSIASM. KINGSLEY’S Yeast IS A FINE BOOK, BUT NOT QUITE SO FINE A BOOK AS IT SEEMED WHEN ONE’S OWN SOCIAL PASSIONS WERE STILL YEASTY. BROWNING AND COVENTRY PATMORE ARE JUSTLY ADMIRED, BUT THEY ARE MOST ADMIRED WHERE THEY ARE MOST AGREED WITH. BUT “ST. AGNES’ EVE” IS AN UNIMPEACHABLY BEAUTIFUL POEM, WHETHER ONE BELIEVES IN ST. AGNES OR DETESTS HER. ONE WOULD THINK THAT A MAN WHO HAD THUS LEFT INDUBITABLY GOOD VERSE WOULD RECEIVE NATURAL AND STEADY GRATITUDE, LIKE A MAN WHO LEFT INDUBITABLY GOOD WINE TO HIS NEPHEW, OR INDUBITABLY GOOD PICTURES TO THE NATIONAL PORTRAIT GALLERY. NEVERTHELESS, AS I HAVE SAID, THE TONE OF ALL THE PAPERS, MODERNIST OR OLD-FASHIONED, HAS BEEN MAINLY FRIGID. WHAT IS THE meaning of this? I WILL ASK PERMISSION TO ANSWER THIS QUESTION BY ABRUPTLY AND EVEN BRUTALLY CHANGING THE SUBJECT. MY REMARKS MUST, FIRST OF ALL, SEEM IRRELEVANT EVEN TO EFFRONTERY; THEY SHALL PROVE THEIR RELEVANCE LATER ON. IN TURNING THE PAGES OF ONE OF THE PAPERS CONTAINING SUCH A LIGHT AND UNSYMPATHETIC TREATMENT OF TENNYSON, MY EYE CATCHES THE FOLLOWING SENTENCE: “BY THE LIGHT OF MODERN SCIENCE AND THOUGHT, WE ARE IN A POSITION TO SEE THAT EACH NORMAL HUMAN BEING IN SOME WAY REPEATS HISTORICALLY THE LIFE OF THE HUMAN RACE.” THIS IS A VERY TYPICAL MODERN ASSERTION; THAT IS, IT IS AN ASSERTION FOR WHICH THERE IS NOT AND NEVER HAS BEEN A SINGLE SPOT OR SPECK OF PROOF. WE KNOW PRECIOUS LITTLE ABOUT WHAT THE LIFE OF THE HUMAN RACE HAS BEEN; AND NONE OF OUR SCIENTIFIC CONJECTURES ABOUT IT BEAR THE REMOTEST RESEMBLANCE TO THE ACTUAL GROWTH OF A CHILD. ACCORDING TO THIS THEORY, A BABY BEGINS BY CHIPPING FLINTS AND RUBBING STICKS TOGETHER TO FIND FIRE. ONE SO OFTEN SEES BABIES DOING THIS. ABOUT THE AGE OF FIVE THE CHILD, BEFORE THE DELIGHTED EYES OF HIS PARENTS, FOUNDS A VILLAGE COMMUNITY. BY THE TIME HE IS ELEVEN IT HAS BECOME A SMALL CITY STATE, THE REPLICA OF ANCIENT ATHENS. ENCOURAGED BY THIS, THE BOY PROCEEDS, AND BEFORE HE IS FOURTEEN HAS FOUNDED THE ROMAN EMPIRE. BUT NOW HIS PARENTS HAVE A SERIOUS SET-BACK. HAVING WATCHED HIM SO FAR, NOT ONLY WITH PLEASURE, BUT WITH A VERY NATURAL SURPRISE, THEY MUST STRENGTHEN THEMSELVES TO ENDURE THE SPECTACLE OF DECAY. THEY HAVE NOW TO WATCH THEIR CHILD GOING THROUGH THE DECLINE OF THE WESTERN EMPIRE AND THE DARK AGES. THEY SEE THE INVASION OF THE HUNS AND THAT OF THE NORSEMEN CHASING EACH OTHER ACROSS HIS EXPRESSIVE FACE. HE SEEMS A LITTLE HAPPIER AFTER HE HAS “REPEATED” THE BATTLE OF CHALONS AND THE UNSUCCESSFUL SIEGE OF PARIS; AND BY the time he comes to the twelfth century, his boyish face is as bright as it was of old when he was “repeating” Pericles or CAMILLUS. I HAVE NO SPACE TO FOLLOW THIS REMARKABLE DEMONSTRATION OF HOW HISTORY REPEATS ITSELF IN THE YOUTH; HOW HE GROWS DISMAL AT TWENTY- THREE TO REPRESENT THE END OF MEDIÆVALISM, BRIGHTENS BECAUSE THE RENAISSANCE IS COMING, DARKENS AGAIN WITH THE DISPUTES OF THE LATER REFORMATION, BROADENS PLACIDLY THROUGH THE THIRTIES AS THE RATIONAL EIGHTEENTH CENTURY, TILL AT LAST, ABOUT FORTY-THREE, HE GIVES A GREAT YELL AND BEGINS TO BURN THE HOUSE DOWN, AS A SYMBOL OF THE FRENCH Revolution. Such (we shall all agree) is the ordinary development of a boy. NOW, SERIOUSLY, DOES ANYONE BELIEVE A WORD OF SUCH BOSH? DOES ANYONE THINK THAT A CHILD WILL REPEAT THE PERIODS OF HUMAN HISTORY? DOES ANYONE EVER ALLOW FOR A DAUGHTER IN THE STONE AGE, OR EXCUSE A SON BECAUSE HE IS IN THE FOURTH CENTURY B.C. YET THE WRITER WHO LAYS DOWN THIS SPLENDID AND STAGGERING LIE CALMLY SAYS THAT “BY THE LIGHT OF MODERN SCIENCE AND THOUGHT WE ARE IN A POSITION TO see” THAT IT IS TRUE. “SEEING” IS A STRONG WORD TO USE OF OUR CONVICTION THAT ICEBERGS ARE IN THE NORTH, OR THAT THE EARTH GOES ROUND THE SUN. YET ANYBODY CAN USE IT OF ANY CASUAL OR CRAZY BIOLOGICAL FANCY SEEN IN SOME NEWSPAPER OR SUGGESTED IN SOME DEBATING CLUB. THIS IS THE ROOTED WEAKNESS OF OUR TIME. SCIENCE, which means exactitude, has become the mother of all inexactitude. THIS IS THE FAILURE OF THE EPOCH, AND THIS EXPLAINS THE PARTIAL FAILURE OF TENNYSON. HE WAS par excellence THE POET OF POPULAR SCIENCE—THAT IS, OF ALL SUCH CLOUDY AND ILL-CONSIDERED ASSERTIONS AS THE ABOVE. HE WAS THE PERFECTLY EDUCATED MAN OF CLASSICS AND THE HALF-EDUCATED MAN OF SCIENCE. NO ONE DID MORE TO ENCOURAGE THE COLOSSAL BLUNDER THAT THE SURVIVAL OF THE FITTEST MEANS THE SURVIVAL OF THE BEST. ONE MIGHT AS WELL SAY THAT THE SURVIVAL OF THE FITTEST MEANS THE SURVIVAL OF THE FATTEST. TENNYSON’S POSITION HAS GROWN SHAKY BECAUSE IT RESTED NOT ON ANY CLEAR DOGMAS OLD OR NEW, BUT ON TWO OR THREE TEMPORARY, WE MIGHT SAY DESPERATE, COMPROMISES OF HIS OWN DAY. HE GRASPED AT EVOLUTION, NOT BECAUSE IT WAS DEFINITE, BUT BECAUSE IT WAS INDEFINITE; NOT BECAUSE IT WAS DARING, BUT BECAUSE IT WAS SAFE. IT GAVE HIM THE HOPE THAT MAN MIGHT ONE DAY BE AN ANGEL, AND ENGLAND A FREE DEMOCRACY; BUT IT SOOTHED HIM WITH THE ASSURANCE THAT NEITHER OF THESE ALARMING THINGS WOULD HAPPEN JUST YET. VIRGIL USED HIS VERBAL FELICITIES TO DESCRIBE THE ETERNAL IDEA OF THE ROMAN IMPERIUM. TENNYSON USED HIS VERBAL FELICITIES FOR THE ACCIDENTAL EQUILIBRIUM OF THE BRITISH CONSTITUTION. “TO SPARE THE HUMBLE AND WAR DOWN THE PROUD,” IS A PERMANENT IDEA FOR THE POLICING OF THIS PLANET. BUT THAT FREEDOM SHOULD “SLOWLY BROADEN DOWN FROM PRECEDENT TO PRECEDENT” MERELY HAPPENS TO BE THE POLICY OF THE ENGLISH UPPER CLASS; IT HAS NO VITAL SANCTION; IT MIGHT BE MUCH BETTER TO BROADEN QUICKLY. ONE CAN WRITE GREAT POETRY ABOUT A TRUTH OR EVEN ABOUT A FALSEHOOD, BUT HARDLY ABOUT A LEGAL FICTION. THE MISANTHROPIC IDEA, AS IN BYRON, IS NOT A TRUTH, BUT IT IS ONE OF THE IMMORTAL LIES. AS LONG AS HUMANITY EXISTS, HUMANITY CAN BE HATED. WHEREVER ONE SHALL GATHER BY HIMSELF, BYRON IS IN THE MIDST OF HIM. IT IS A COMMON AND RECURRENT MOOD TO REGARD MAN AS A HOPELESS YAHOO. BUT IT IS NOT A NATURAL MOOD TO REGARD MAN AS A HOPEFUL YAHOO, AS THE EVOLUTIONISTS DID, AS A CREATURE CHANGING BEFORE ONE’S EYES FROM BESTIAL TO BEAUTIFUL, A CREATURE WHOSE TAIL HAS JUST DROPPED OFF WHILE HE IS STARING AT A FAR-OFF DIVINE EVENT. THIS PARTICULAR COMPROMISE BETWEEN CONTEMPT AND HOPE WAS AN ACCIDENT OF TENNYSON’S TIME, AND, LIKE HIS LIBERAL CONSERVATISM, WILL PROBABLY NEVER BE FOUND AGAIN. HIS WEAKNESS WAS NOT BEING OLD-FASHIONED OR NEW-FASHIONED, BUT BEING FASHIONABLE. HIS FEET WERE SET ON THINGS TRANSITORY AND UNTENABLE, COMPROMISES AND COMPACTS OF SILENCE. YET HE WAS SO PERFECT A POET THAT I FANCY HE WILL STILL BE able to stand, even upon such clouds. I The Domesticity of Detectives HAVE JUST BEEN ENTERTAINING MYSELF WITH THE LAST SENSATIONAL STORY BY THE AUTHOR OF The Yellow Room, WHICH WAS PROBABLY THE BEST DETECTIVE TALE OF OUR TIME, EXCEPT MR. BENTLEY’S ADMIRABLE NOVEL, Trent’s Last Case. THE NAME OF THE AUTHOR OF The Yellow Room IS GASTON LEROUX; I HAVE SOMETIMES WONDERED WHETHER IT IS THE ALTERNATIVE nom de plume OF THE WRITER CALLED MAURICE LEBLANC WHO GIVES US THE STORIES ABOUT ARSÈNE LUPIN, THE GENTLEMAN BURGLAR. THERE WOULD BE SOMETHING VERY SYMMETRICAL IN THE INVERSION BY WHICH THE RED GENTLEMAN ALWAYS WRITES ABOUT A DETECTIVE, AND THE WHITE GENTLEMAN ALWAYS WRITES ABOUT A CRIMINAL. BUT I HAVE NO SERIOUS REASON TO SUPPOSE THE RED AND WHITE COMBINATION TO BE ANYTHING BUT A COINCIDENCE; AND THE TALES ARE OF TWO RATHER DIFFERENT TYPES. THOSE OF GASTON THE RED ARE MORE STRICTLY OF THE TYPE OF THE MYSTERY STORY, IN THE SENSE OF RESOLVING A SINGLE AND CENTRAL MYSTERY. THOSE OF MAURICE THE WHITE ARE MORE PROPERLY ADVENTURE STORIES, IN THE SENSE OF RESOLVING A RAPID SUCCESSION OF IMMEDIATE DIFFICULTIES. THIS IS INHERENT IN THE POSITION OF THE HERO; THE DETECTIVE IS ALWAYS OUTSIDE THE EVENT, WHILE THE CRIMINAL IS INSIDE THE EVENT. SOME WOULD EXPRESS IT BY SAYING THAT THE POLICEMAN IS ALWAYS OUTSIDE THE HOUSE WHEN THE BURGLAR IS INSIDE THE HOUSE. BUT THERE IS ONE VERY FRENCH QUALITY WHICH BOTH THESE FRENCH WRITERS SHARE, EVEN WHEN THEIR WRITING IS VERY FAR FROM THEIR BEST. IT IS A SPIRIT OF DEFINITION WHICH IS ITSELF NOT EASY TO DEFINE. TO SAY IT IS SCIENTIFIC WILL ONLY SUGGEST THAT IT IS SLOW. IT IS MUCH TRUER TO SAY IT IS MILITARY; THAT IS, IT IS SOMETHING THAT HAS TO BE BOTH SCIENTIFIC AND SWIFT. IT CAN BE SEEN IN MUCH GREATER FRENCHMEN, AS COMPARED WITH MEN STILL GREATER WHO WERE NOT FRENCHMEN. JULES VERNE AND H. G. WELLS, FOR INSTANCE, BOTH WROTE FAIRY-TALES OF SCIENCE; MR. WELLS HAS MUCH THE LARGER MIND AND INTEREST IN LIFE; BUT HE OFTEN LACKS ONE POWER WHICH JULES VERNE POSSESSES SUPREMELY—THE POWER OF GOING TO THE POINT. VERNE IS VERY FRENCH IN HIS RIGID RELEVANCY; WELLS IS VERY ENGLISH IN HIS RICH IRRELEVANCE. HE IS THERE AS ENGLISH AS DICKENS, THE BEST PASSAGES IN WHOSE STORIES ARE THE STOPPAGES, AND EVEN STOPGAPS. IN A TRULY FRENCH TALE THERE ARE NO STOPPAGES; EVERY WORD, HOWEVER DULL, IS DELIBERATE, OR DIRECTED TOWARDS THE END. THE COMPARISON COULD BE CARRIED FURTHER BACK AMONG THE CLASSICS. THE ROMANCE OF DUMAS MAY SEEM A MERE RIOT OF SWORDS AND FEATHERS; IT IS OFTEN SPOKEN OF AS A MERE REVEL IN ADVENTURE AND VARIETY; THE MADNESS OF ROMANCE. BUT IT IS NOT A MERE RIOT, BUT RATHER A MILITARY REVOLUTION, AND EVEN A DISCIPLINED REVOLUTION; CERTAINLY, A VERY FRENCH REVOLUTION. IT IS NOT A MERE MAD REVEL, BUT A VERY GORGEOUS AND ELABORATE BANQUET PLANNED BY A GREAT COOK; A VERY FRENCH COOK. SCOTT WAS A GREATER MAN THAN DUMAS; AND A GREATER NOVELIST ON THE NOTE OF THE SERIOUS HUMOURS OF HUMANITY. BUT HE WAS NOT SO GREAT A STORY-TELLER, BECAUSE HE HAD LESS OF SOMETHING THAT CAN ONLY BE CALLED THE STRATEGY OF THE SOLDIER. THE THREE MUSKETEERS ADVANCE LIKE AN ARMY; WITH THEIR THREE SERVANTS AND THEIR ONE ALLY, THEY MARCH, MANŒUVRE, DEPLOY, WHEELING INTO POSITIONS AND ALMOST MAKING PATTERNS. THEY ARE ALWAYS PRESENT WHEREVER THEIR AUTHOR WANTS THEM; WHICH IS BY NO MEANS TRUE OF ALL THE CHARACTERS OF ALL THE NOVELISTS. DUMAS, AND NOT SCOTT, OUGHT TO HAVE WRITTEN THE LIFE OF NAPOLEON; DUMAS WAS MUCH NEARER TO NAPOLEON, IN THE FACT THAT THERE was most emphatically method in his madness. Nobody ever called Scott mad; and certainly nobody could ever call him METHODICAL. HE WAS AS INCAPABLE OF THE CONSPIRACY WHICH CARRIED OFF GENERAL MONK IN A BOX AS DUMAS WAS INCAPABLE OF THE CURSE OF MEG MERRILIES OR THE BENEDICTION OF DI VERNON. BUT THERE IS ETERNALLY PRESENT IN THE FRENCHMAN SOMETHING WHICH MAY TRULY BE CALLED PRESENCE OF MIND. THERE TO BE AN ARTIST IS NOT TO BE ABSENT-MINDED, HOWEVER HARMLESS OR HAPPY THE HOLIDAYS OF THE MIND MAY BE. ART IS TO HAVE THE INTELLECT AND ALL ITS INSTRUMENTS ON THE SPOT AND READY TO GO TO THE POINT; AS WHEN, BUT A LITTLE WHILE AGO, A GREAT ARTIST STOOD BY THE BANKS OF THE MARNE AND SAVED THE world with one gesture of living logic—the sword-thrust of the Latin. BUT THOUGH THE STRATEGY OF THE FRENCH STORY IS ALLIED TO THE STRATEGY BY WHICH THE FRENCH ARMY HAS ALWAYS AFFECTED THE LARGER MATTERS OF MANKIND, I DOUBT WHETHER SUCH A STORY OUGHT TO DEAL WITH SUCH MATTERS. I MENTIONED AT THE BEGINNING M. GASTON LEROUX’S LAST MYSTERY STORY BECAUSE I THINK I KNOW WHY IT IS NOT ANYTHING LIKE SO GOOD AS HIS FIRST MYSTERY STORY. THE TRUTH IS THAT THERE ARE TWO TYPES OF SENSATIONAL ROMANCE BETWEEN WHICH OUR WILDER SENSATIONALISTS SEEM TO WAVER; AND I THINK THEY ARE GENERALLY AT THEIR STRONGEST IN DEALING WITH THE FIRST TYPE, AND AT THEIR WEAKEST IN DEALING WITH THE SECOND. FOR THE SAKE OF A CONVENIENT SYMBOL, I MAY CALL THEM RESPECTIVELY THE ROMANCE OF THE YELLOW ROOM AND THE ROMANCE OF THE YELLOW PERIL. WE MIGHT SAY THAT THE GREAT DETECTIVE STORY DEALS WITH SMALL THINGS; WHILE THE SMALL OR SILLY DETECTIVE STORY GENERALLY DEALS WITH GREAT THINGS. IT DEALS WITH DIABOLICAL DIPLOMATISTS DARTING ABOUT BETWEEN VIENNA AND PARIS AND PETROGRAD; WITH VAST COSMOPOLITAN CONSPIRACIES RAMIFYING THROUGH ALL THE CELLARS OF EUROPE; OR WORSE AND MOST WIDESPREAD OF ALL, OCCULT AND MYSTICAL SECRET SOCIETIES FROM CHINA OR TIBET; THE VAST AND VAGUE ORIENTAL TERRORISM WHICH I CALL FOR CONVENIENCE HERE THE YELLOW PERIL. ON THE OTHER HAND, THE GOOD DETECTIVE STORY IS IN ITS NATURE A GOOD DOMESTIC STORY. IT IS STEEPED IN THE SENTIMENT THAT AN ENGLISHMAN’S HOUSE IS HIS CASTLE; EVEN IF, LIKE OTHER CASTLES, IT IS THE SCENE OF A FEW QUIET TORTURES OR ASSASSINATIONS. IN OTHER WORDS, IT IS CONCERNED WITH AN ENCLOSURE, A PLAN OR PROBLEM SET WITHIN CERTAIN DEFINED LIMITS. AND THAT IS WHERE THE FRENCH WRITER’S FIRST STORY WAS A MODEL FOR ALL SUCH WRITERS; AND WHERE IT OUGHT TO HAVE BEEN, BUT HAS NOT BEEN A MODEL FOR HIMSELF. THE POINT ABOUT THE YELLOW ROOM IS THAT IT WAS A ROOM; THAT IS, IT WAS A BOX, LIKE THE BOX IN WHICH DUMAS KIDNAPPED GENERAL MONK. THE WRITER DEALT WITH THE QUADRATE OR SQUARE WHICH MRS. BATTLE LOVED; THE VERY PLAN OF THE PROBLEM LOOKED LIKE A PROBLEM IN THE FOURTH BOOK OF EUCLID. HE POSTED FOUR MEN ON FOUR SIDES OF A SPACE AND A MURDER WAS DONE IN THE MIDDLE OF THEM; TO ALL APPEARANCE, IN SPITE OF THEM; IN REALITY, BY ONE OF THEM. NOW A SENSATIONAL NOVELIST OF THE MORE COSMOPOLITAN SORT COULD, OF COURSE, HAVE FILLED THE STORY WITH A SWARM OF CHINESE MAGICIANS WHO HAD THE POWER OF WALKING THROUGH BRICK WALLS, OR OF INDIAN MESMERISTS WHO COULD MURDER A MAN MERELY BY MEDITATING ABOUT HIM ON THE PEAKS OF THE HIMALAYAS; OR MERELY BY SO HUMAN AND HUMDRUM A TRIFLE AS A SECRET SOCIETY OF GERMAN SPIES WHICH HAD MADE A LABYRINTH OF SECRET TUNNELS UNDER ALL THE PRIVATE HOUSES IN THE WORLD. THESE ROMANTIC POSSIBILITIES ARE INFINITE; AND BECAUSE THEY ARE INFINITE THEY ARE REALLY UNROMANTIC. THE REAL ROMANCE OF DETECTION WORKS INWARDS TOWARDS THE HOUSEHOLD GODS, EVEN IF THEY ARE HOUSEHOLD DEVILS. ONE OF THE BEST OF THE SHERLOCK HOLMES STORIES TURNS ENTIRELY ON A TRIVIAL POINT OF HOUSEKEEPING: THE PROVISION OF CURRY FOR THE DOMESTIC DINNER. CURRY IS, I BELIEVE, CONNECTED WITH THE EAST; AND COULD HAVE BEEN MADE THE EXCUSE FOR INFINITIES OF SHAM OCCULTISM AND ORIENTAL TORMENTS. THE AUTHOR COULD HAVE BROUGHT IN A MILLION YELLOW COOKS TO POISON A YELLOW CONDIMENT. BUT THE AUTHOR KNEW HIS BUSINESS MUCH BETTER; AND DID NOT LET WHAT IS CALLED INFINITY, AND SHOULD RATHER BE CALLED ANARCHY, INVADE THE QUIET SECLUSION OF THE BRITISH CRIMINAL’S HOME. HE DID NOT LET THE LOGIC OF THE YELLOW ROOM BE DESTROYED BY THE PHILOSOPHY OF THE YELLOW PERIL. THAT IS WHY I LAMENT THE FACT THAT THE INGENIOUS FRENCH ARCHITECT OF THE ORIGINAL YELLOW ROOM SEEMS TO HAVE MADE AN OUTWARD STEP IN THIS DIRECTION; NOT, INDEED, TOWARDS THE PLAINS OF TIBET, BUT TOWARDS THE HARDLY LESS BARBARIC PLAINS OF GERMANY. HIS LAST BOOK, Rouletabille Chez Krupp, CONCERNS THE MANUFACTURE OF A TORPEDO BIG ENOUGH TO SMASH A TOWN; AND AN OBJECT OF THAT SIZE MAY BE A SENSATION, BUT WILL NOT LONG BE A SECRET. IT MAY BE INEVITABLE THAT A FRENCH PATRIOT SHOULD NOW WRITE EVEN HIS DETECTIVE STORIES ABOUT THE WAR; BUT I DO NOT THINK THIS METHOD WILL EVER MAKE THE FRENCH MYSTERY STORY WHAT THE WAR ITSELF HAS BEEN—A FRENCH MASTERPIECE; Gesta Dei per Francos. T George Meredith HE DEATH OF GEORGE MEREDITH WAS THE REAL END OF THE NINETEENTH CENTURY, NOT THAT EMPTY DATE THAT CAME AT THE CLOSE OF 1899. THE LAST BOND WAS BROKEN BETWEEN US AND THE PRIDE AND PEACE OF THE VICTORIAN AGE. OUR FATHERS WERE ALL DEAD. WE WERE SUDDENLY ORPHANS: WE ALL FELT STRANGELY AND SADLY YOUNG. A COLD, ENORMOUS DAWN OPENED IN FRONT OF US; WE HAD TO GO ON TO TASKS WHICH OUR FATHERS, FINE AS THEY WERE, DID NOT KNOW, AND OUR FIRST SENSATION WAS THAT of cold and undefended youth. Swinburne was the penultimate, Meredith the ultimate end. IT IS NOT A PHRASE TO CALL HIM THE LAST OF THE VICTORIANS: HE REALLY IS THE LAST. NO DOUBT THIS FINAL PHRASE HAS BEEN USED ABOUT EACH OF THE GREAT VICTORIANS ONE AFTER ANOTHER FROM MATTHEW ARNOLD AND BROWNING TO SWINBURNE AND MEREDITH. NO DOUBT THE PUBLIC HAS GROWN A LITTLE TIRED OF THE POSITIVELY LAST APPEARANCE OF THE NINETEENTH CENTURY. BUT THE END OF GEORGE MEREDITH REALLY WAS THE END OF THAT GREAT EPOCH. NO GREAT MAN NOW ALIVE HAS ITS PECULIAR POWERS OR ITS PECULIAR LIMITS. LIKE ALL GREAT EPOCHS, LIKE ALL GREAT THINGS, IT IS NOT EASY TO DEFINE. WE CAN SEE IT, TOUCH IT, SMELL IT, EAT IT; BUT WE CANNOT STATE IT. IT WAS A TIME WHEN FAITH WAS FIRM WITHOUT BEING DEFINITE. IT WAS A TIME WHEN WE SAW THE NECESSITY OF REFORM WITHOUT ONCE SEEING THE POSSIBILITY OF REVOLUTION. IT WAS A SORT OF EXQUISITE INTERLUDE IN THE INTELLECTUAL DISPUTES: A BEAUTIFUL, ACCIDENTAL TRUCE IN THE ETERNAL WAR OF MANKIND. THINGS COULD MIX IN A MELLOW ATMOSPHERE. ITS GREAT MEN WERE SO RELIGIOUS THAT THEY COULD DO WITHOUT A RELIGION. THEY WERE SO HOPEFULLY AND HAPPILY REPUBLICAN THAT THEY COULD DO WITHOUT A REPUBLIC. THEY ARE ALL DEAD AND DEIFIED; AND IT IS WELL WITH THEM. BUT WE CANNOT GET BACK INTO THAT WELL-POISED pantheism and liberalism. We cannot be content to be merely broad: for us the dilemma sharpens and the ways divide. OF THE MEN LEFT ALIVE THERE ARE MANY WHO CAN BE ADMIRED BEYOND EXPRESSION; BUT NONE WHO CAN BE ADMIRED IN THIS WAY. THE NAME OF THAT POWERFUL WRITER, MR. THOMAS HARDY, WAS OFTEN MENTIONED IN COMPANY WITH THAT OF MEREDITH; BUT THE COUPLING OF THE TWO NAMES IS A PHILOSOPHICAL AND CHRONOLOGICAL MISTAKE. MR. HARDY IS WHOLLY OF OUR OWN GENERATION, WHICH IS A VERY UNPLEASANT THING TO BE. HE IS SHRILL AND NOT MELLOW. HE DOES NOT WORSHIP THE UNKNOWN GOD: HE KNOWS THE GOD (OR THINKS HE KNOWS THE GOD), AND DISLIKES HIM. HE IS NOT A PANTHEIST: HE IS A PANDIABOLIST. THE GREAT AGNOSTICS OF THE VICTORIAN AGE SAID THERE WAS NO PURPOSE IN NATURE. MR. HARDY IS A MYSTIC; HE SAYS THERE IS AN EVIL PURPOSE. ALL THIS IS AS FAR AS POSSIBLE FROM THE PLENITUDE AND RATIONAL OPTIMISM OF MEREDITH. AND WHEN WE HAVE DISPOSED OF MR. HARDY, WHAT OTHER NAME IS THERE THAT CAN EVEN PRETEND TO RECALL THE HEROIC VICTORIAN AGE? THE ROMAN CURSE LIES UPON Meredith like a blessing: “Ultimus suorum moriatur”—he has died the last of his own. THE GREATNESS OF GEORGE MEREDITH EXHIBITS THE SAME PARADOX OR DIFFICULTY AS THE GREATNESS OF BROWNING; THE FACT THAT SIMPLICITY WAS THE CENTRE, WHILE THE UTMOST LUXURIANCE AND COMPLEXITY WAS THE EXPRESSION. HE WAS AS HUMAN AS SHAKESPEARE, AND ALSO AS AFFECTED AS SHAKESPEARE. IT MAY GENERALLY BE REMARKED (I DO NOT KNOW THE CAUSE OF IT) THAT THE MEN WHO HAVE AN ODD OR MAD POINT OF VIEW EXPRESS IT IN PLAIN OR BALD LANGUAGE. THE MEN WHO HAVE A GENIAL AND EVERYDAY POINT OF VIEW EXPRESS IT IN ORNATE AND COMPLICATED LANGUAGE. SWINBURNE AND THOMAS HARDY TALK ALMOST IN WORDS OF ONE SYLLABLE; BUT THE PHILOSOPHICAL UPSHOT CAN BE EXPRESSED IN THE MOST FAMOUS OF ALL WORDS OF ONE SYLLABLE— DAMN. THEIR WORDS ARE COMMON WORDS; BUT THEIR VIEW (THANK GOD) IS NOT A COMMON VIEW. THEY DENOUNCE IN THE STYLE OF A SPELLING-BOOK; WHILE PEOPLE LIKE MEREDITH ARE UNPOPULAR THROUGH THE VERY RICHNESS OF THEIR POPULAR SYMPATHIES. MEN LIKE BROWNING OR LIKE FRANCIS THOMPSON PRAISE GOD IN SUCH A WAY SOMETIMES THAT GOD ALONE COULD POSSIBLY understand the praise. But they mean all men to understand it: they wish every beast and fish and flying thing to take part IN THE APPLAUDING CHORUS OF THE COSMOS. ON THE OTHER HAND, THOSE WHO HAVE BAD NEWS TO TELL ARE MUCH MORE EXPLICIT, AND THE POETS WHOSE OBJECT IT IS TO DEPRESS THE PEOPLE TAKE CARE THAT THEY DO IT. I WILL NOT WRITE ANY MORE ABOUT THOSE POETS, BECAUSE I DO NOT PROFESS TO BE IMPARTIAL OR EVEN TO BE GOOD-TEMPERED ON THE SUBJECT. TO MY THINKING, THE oppression of the people is a terrible sin; but the depression of the people is a far worse one. BUT THE GLORY OF GEORGE MEREDITH IS THAT HE COMBINED SUBTLETY WITH PRIMAL ENERGY: HE CRITICIZED LIFE WITHOUT LOSING HIS APPETITE FOR IT. IN HIM ALONE, BEING A MAN OF THE WORLD DID NOT MEAN BEING A MAN DISGUSTED WITH THE WORLD. AS A RULE, THERE IS NO DIFFERENCE BETWEEN THE CRITIC AND ASCETIC EXCEPT THAT THE ASCETIC SORROWS WITH A HOPE AND THE CRITIC WITHOUT A HOPE. BUT GEORGE MEREDITH LOVED STRAIGHTNESS EVEN WHEN HE PRAISED IT CROOKEDLY: HE ADORED INNOCENCE EVEN WHEN HE ANALYSED IT TORTUOUSLY: HE CARED ONLY FOR UNCONSCIOUSNESS, EVEN WHEN HE WAS UNDULY CONSCIOUS OF IT. HE WAS NEVER SO GOOD AS HE WAS ABOUT VIRGINS AND SCHOOLBOYS. IN ONE CURIOUS POEM, CONTAINING MANY FINE LINES, HE ACTUALLY REBUKES PEOPLE FOR BEING QUAINT OR ECCENTRIC, AND REBUKES THEM QUAINTLY AND ECCENTRICALLY. HE SAYS OF NATURE, THE GREAT EARTH- mother, whom he worshipped: ... She by one sure sign can read, Have they but held her laws and nature dear; They mouth no sentence of inverted wit. More prizes she her beasts than this high breed Wry in the shape she wastes her milk to rear. THAT IS THE MARK OF THE TRULY GREAT MAN: THAT HE SEES THE COMMON MAN AFAR OFF, AND WORSHIPS HIM. THE GREAT MAN TRIES TO BE ORDINARY, AND BECOMES EXTRAORDINARY IN THE PROCESS. BUT THE SMALL MAN TRIES TO BE MYSTERIOUS, AND BECOMES LUCID IN an awful sense—for we can all see through him.