Title: The Humour of Homer and Other Essays
Author: Butler, Samuel, 1835-1902
Language: English
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The Humour of Homer and Other Essays



Introduction
By R. A. Streatfeild


The nucleus of this book is the collection of essays by Samuel
Butler, which was originally published by Mr. Grant Richards in 1904
under the title Essays on Life, Art and Science, and reissued by Mr.
Fifield in 1908.  To these are now added another essay, entitled
"The Humour of Homer," a biographical sketch of the author kindly
contributed by Mr. Henry Festing Jones, which will add materially to
the value of the edition, and a portrait in photogravure from a
photograph taken in 1889--the period of the essays.

[Photograph of Samuel Butler.  Caption reads:  From a photograph
made by Pizzetta in Varallo in 1889.  Emery Walker Ltd., ph. sc.
butler.jpg]

"The Humour of Homer" was originally delivered as a lecture at the
Working Men's College in Great Ormond Street on the 30th January,
1892, the day on which Butler first promulgated his theory of the
Trapanese origin of the Odyssey in a letter to the Athenaeum.  Later
in the same year it was published with some additional matter by
Messrs. Metcalfe and Co. of Cambridge.  For the next five years
Butler was engaged upon researches into the origin and authorship of
the Odyssey, the results of which are embodied in his book The
Authoress of the "Odyssey," originally published by Messrs. Longman
in 1897.  Butler incorporated a good deal of "The Humour of Homer"
into The Authoress of the "Odyssey," but the section relating to the
Iliad naturally found no place in the later work.  For the sake of
this alone "The Humour of Homer" deserves to be better known.
Written as it was for an artisan audience and professing to deal
only with one side of Homer's genius, "The Humour of Homer" must
not, of course, be taken as an exhaustive statement of Butler's
views upon Homeric questions.  It touches but lightly on important
points, particularly regarding the origin and authorship of the
Odyssey, which are treated at much greater length in The Authoress
of the "Odyssey."

Nevertheless, "The Humour of Homer" appears to me to have a special
value as a kind of general introduction to Butler's more detailed
study of the Odyssey.  His attitude towards the Homeric poems is
here expressed with extraordinary freshness and force.  What that
attitude was is best explained by his own words:  "If a person would
understand either the Odyssey or any other ancient work, he must
never look at the dead without seeing the living in them, nor at the
living without thinking of the dead.  We are too fond of seeing the
ancients as one thing and the moderns as another."  Butler did not
undervalue the philological and archaeological importance of the
Iliad and the Odyssey, but it was mainly as human documents that
they appealed to him.  This, I am inclined to suspect, was the root
of the objection of academic critics to him and his theories.  They
did not so much resent the suggestion that the author of the Odyssey
was a woman; they could not endure that he should be treated as a
human being.

Of the remaining essays two were originally delivered as lectures;
the others appeared first in The Universal Review in 1888, 1889 and
1890.  I should perhaps explain why two other essays which also
appeared in The Universal Review are not included in this
collection.  The first of these, entitled "L'Affaire Holbein-
Rippel," relates to a drawing of Holbein's "Danse des Paysans" in
the Basle Museum, which is usually described as a copy, but which
Butler believed to be the work of Holbein himself.  This essay
requires to be illustrated in so elaborate a manner that it was
impossible to include it in a book of this size.  The second essay,
which is a sketch of the career of the sculptor Tabachetti, was
published as the first section of an article, entitled "A Sculptor
and a Shrine," of which the second part is here given under the
title "The Sanctuary of Montrigone."  The section devoted to the
sculptor contains all that Butler then knew about Tabachetti, but
since it was written various documents have come to light,
principally through the investigations of Cavaliere Francesco Negri,
of Casale Monferrato, which negative some of Butler's conclusions.
Had Butler lived, I do not doubt that he would have revised his
essay in the light of Cavaliere Negri's discoveries, the value of
which he fully recognized.  As it stands the essay requires so much
revision that I have decided to omit it altogether and to postpone
giving English readers a full account of Tabachetti's career until a
second edition of Butler's "Ex Voto," in which Tabachetti's work is
discussed in detail, is required.  Meanwhile I have given a brief
summary of the main facts of Tabachetti's life in a note (p. 195) to
the essay on "Art in the Valley of Saas."  Anyone who desires
further details concerning the sculptor and his work will find them
in Cavaliere Negri's pamphlet "Il Santuario di Crea" (Alessandria,
1902).

The three essays grouped together under the title The Deadlock in
Darwinism may be regarded as a postscript to Butler's four books on
evolution, viz. Life and Habit, Evolution Old and New, Unconscious
Memory, and Luck or Cunning?  When these essays were first published
in book form in 1904, I ventured to give a brief summary of Butler's
position with regard to the main problem of evolution.  I need now
only refer readers to Mr. Festing Jones's biographical sketch and,
for fuller details, to the masterly introduction contributed by
Professor Marcus Hartog to the new edition of Unconscious Memory (A.
C. Fifield, 1910), and recently reprinted in his Problems of Life
and Reproduction (John Murray, 1913), in which Butler's work in the
field of biology and his share in the various controversies
connected with the study of evolution are discussed with the
authority of a specialist.

R. A. STREATFEILD.  July, 1913.



Sketch of the Life of Samuel Butler
Author of Erewhon
(1835-1902)
by Henry Festing Jones


Note


This sketch of Butler's life, together with the portrait which forms
the frontispiece to this volume, first appeared in December, 1902,
in The Eagle, the magazine of St. John's College, Cambridge.  I
revised the sketch and read it before the British Homoeopathic
Association at 43 Russell Square, London, W.C., on the 9th February,
1910; some of Butler's music was performed by Miss Grainger Kerr,
Mr. R. A. Streatfeild, Mr. J. A. Fuller Maitland, and Mr. H. J. T.
Wood, the secretary of the Association.  I again revised it and read
it before the Historical Society of St. John's College, Cambridge,
in the combination room of the college on the 16th November, 1910;
the Master (Mr. R. F. Scott), who was also Vice-Chancellor of the
University, was in the chair, and a vote of thanks was proposed by
Professor William Bateson, F.R.S.

As the full Memoir of Butler on which I am engaged is not yet ready
for publication, I have again revised the sketch, and it is here
published in response to many demands for some account of his life.

H. F. J.
August, 1913.


Sketch of the Life of Samuel Butler
Author of Erewhon (1835-1902)


Samuel Butler was born on the 4th December, 1835, at the Rectory,
Langar, near Bingham, in Nottinghamshire.  His father was the Rev.
Thomas Butler, then Rector of Langar, afterwards one of the canons
of Lincoln Cathedral, and his mother was Fanny Worsley, daughter of
John Philip Worsley of Arno's Vale, Bristol, sugar-refiner.  His
grandfather was Dr. Samuel Butler, the famous headmaster of
Shrewsbury School, afterwards Bishop of Lichfield.  The Butlers are
not related either to the author of Hudibras, or to the author of
the Analogy, or to the present Master of Trinity College, Cambridge.

Butler's father, after being at school at Shrewsbury under Dr.
Butler, went up to St. John's College, Cambridge; he took his degree
in 1829, being seventh classic and twentieth senior optime; he was
ordained and returned to Shrewsbury, where he was for some time
assistant master at the school under Dr. Butler.  He married in 1832
and left Shrewsbury for Langar.  He was a learned botanist, and made
a collection of dried plants which he gave to the Town Museum of
Shrewsbury.

Butler's childhood and early life were spent at Langar among the
surroundings of an English country rectory, and his education was
begun by his father.  In 1843, when he was only eight years old, the
first great event in his life occurred; the family, consisting of
his father and mother, his two sisters, his brother and himself,
went to Italy.  The South-Eastern Railway stopped at Ashford, whence
they travelled to Dover in their own carriage; the carriage was put
on board the steamboat, they crossed the Channel, and proceeded to
Cologne, up the Rhine to Basle and on through Switzerland into
Italy, through Parma, where Napoleon's widow was still reigning,
Modena, Bologna, Florence, and so to Rome.  They had to drive where
there was no railway, and there was then none in all Italy except
between Naples and Castellamare.  They seemed to pass a fresh
custom-house every day, but, by tipping the searchers, generally got
through without inconvenience.  The bread was sour and the Italian
butter rank and cheesy--often uneatable.  Beggars ran after the
carriage all day long and when they got nothing jeered at the
travellers and called them heretics.  They spent half the winter in
Rome, and the children were taken up to the top of St. Peter's as a
treat to celebrate their father's birthday.  In the Sistine Chapel
they saw the cardinals kiss the toe of Pope Gregory XVI, and in the
Corso, in broad daylight, they saw a monk come rolling down a
staircase like a sack of potatoes, bundled into the street by a man
and his wife.  The second half of the winter was spent in Naples.
This early introduction to the land which he always thought of and
often referred to as his second country made an ineffaceable
impression upon him.

In January, 1846, he went to school at Allesley, near Coventry,
under the Rev. E. Gibson.  He seldom referred to his life there,
though sometimes he would say something that showed he had not
forgotten all about it.  For instance, in 1900 Mr. Sydney C.
Cockerell, now the Director of the Fitzwilliam Museum, Cambridge,
showed him a medieval missal, laboriously illuminated.  He found
that it fatigued him to look at it, and said that such books ought
never to be made.  Cockerell replied that such books relieved the
tedium of divine service, on which Butler made a note ending thus:

Give me rather a robin or a peripatetic cat like the one whose
loss the parishioners of St. Clement Danes are still deploring.
When I was at school at Allesley the boy who knelt opposite me at
morning prayers, with his face not more than a yard away from
mine, used to blow pretty little bubbles with his saliva which he
would send sailing off the tip of his tongue like miniature soap
bubbles; they very soon broke, but they had a career of a foot or
two.  I never saw anyone else able to get saliva bubbles right
away from him and, though I have endeavoured for some fifty years
and more to acquire the art, I never yet could start the bubble
off my tongue without its bursting.  Now things like this really
do relieve the tedium of church, but no missal that I have ever
seen will do anything except increase it.

In 1848 he left Allesley and went to Shrewsbury under the Rev. B. H.
Kennedy.  Many of the recollections of his school life at Shrewsbury
are reproduced for the school life of Ernest Pontifex at
Roughborough in The Way of All Flesh, Dr. Skinner being Dr. Kennedy.

During these years he first heard the music of Handel; it went
straight to his heart and satisfied a longing which the music of
other composers had only awakened and intensified.  He became as one
of the listening brethren who stood around "when Jubal struck the
chorded shell" in the Song for Saint Cecilia's Day:

Less than a god, they thought, there could not dwell
Within the hollow of that shell
That spoke so sweetly and so well.

This was the second great event in his life, and henceforward Italy
and Handel were always present at the bottom of his mind as a kind
of double pedal to every thought, word, and deed.  Almost the last
thing he ever asked me to do for him, within a few days of his
death, was to bring Solomon that he might refresh his memory as to
the harmonies of "With thee th' unsheltered moor I'd trace."  He
often tried to like the music of Bach and Beethoven, but found
himself compelled to give them up--they bored him too much.  Nor was
he more successful with the other great composers; Haydn, for
instance, was a sort of Horace, an agreeable, facile man of the
world, while Mozart, who must have loved Handel, for he wrote
additional accompaniments to the Messiah, failed to move him.  It
was not that he disputed the greatness of these composers, but he
was out of sympathy with them, and never could forgive the last two
for having led music astray from the Handel tradition and paved the
road from Bach to Beethoven.  Everything connected with Handel
interested him.  He remembered old Mr. Brooke, Rector of Gamston,
North Notts, who had been present at the Handel Commemoration in
1784, and his great-aunt, Miss Susannah Apthorp, of Cambridge, had
known a lady who had sat upon Handel's knee.  He often regretted
that these were his only links with "the greatest of all composers."

Besides his love for Handel he had a strong liking for drawing, and,
during the winter of 1853-4, his family again took him to Italy,
where, being now eighteen, he looked on the works of the old masters
with intelligence.

In October, 1854, he went into residence at St. John's College,
Cambridge.  He showed no aptitude for any particular branch of
academic study, nevertheless he impressed his friends as being
likely to make his mark.  Just as he used reminiscences of his own
schooldays at Shrewsbury for Ernest's life at Roughborough, so he
used reminiscences of his own Cambridge days for those of Ernest.
When the Simeonites, in The Way of All Flesh, "distributed tracts,
dropping them at night in good men's letter boxes while they slept,
their tracts got burnt or met with even worse contumely."  Ernest
Pontifex went so far as to parody one of these tracts and to get a
copy of the parody "dropped into each of the Simeonites' boxes."
Ernest did this in the novel because Butler had done it in real
life.  Mr. A. T. Bartholomew, of the University Library, has found,
among the Cambridge papers of the late J. Willis Clark's collection,
three printed pieces belonging to the year 1855 bearing on the
subject.  He speaks of them in an article headed "Samuel Butler and
the Simeonites," and signed A. T. B. in the Cambridge Magazine, 1st
March, 1913; the first is "a genuine Simeonite tract; the other two
are parodies.  All three are anonymous.  At the top of the second
parody is written 'By S. Butler, March 31.'"  The article gives
extracts from the genuine tract and the whole of Butler's parody.

Besides parodying Simeonite tracts, Butler wrote various other
papers during his undergraduate days, some of which, preserved by
one of his contemporaries, who remained a lifelong friend, the Rev.
Canon Joseph M'Cormick, now Rector of St. James's, Piccadilly, are
reproduced in The Note-Books of Samuel Butler (1912).

He also steered the Lady Margaret first boat, and Canon M'Cormick
told me of a mishap that occurred on the last night of the races in
1857.  Lady Margaret had been head of the river since 1854, Canon
M'Cormick was rowing 5, Philip Pennant Pearson (afterwards P.
Pennant) was 7, Canon Kynaston, of Durham (whose name formerly was
Snow), was stroke, and Butler was cox.  When the cox let go of the
bung at starting, the rope caught in his rudder lines, and Lady
Margaret was nearly bumped by Second Trinity.  They escaped,
however, and their pursuers were so much exhausted by their efforts
to catch them that they were themselves bumped by First Trinity at
the next corner.  Butler wrote home about it:

11 March, 1857.  Dear Mamma:  My foreboding about steering was on
the last day nearly verified by an accident which was more
deplorable than culpable the effects of which would have been
ruinous had not the presence of mind of No. 7 in the boat rescued
us from the very jaws of defeat.  The scene is one which never
can fade from my remembrance and will be connected always with
the gentlemanly conduct of the crew in neither using opprobrious
language nor gesture towards your unfortunate son but treating
him with the most graceful forbearance; for in most cases when an
accident happens which in itself is but slight, but is visited
with serious consequences, most people get carried away with the
impression created by the last so as to entirely forget the
accidental nature of the cause and if we had been quite bumped I
should have been ruined, as it is I get praise for coolness and
good steering as much as and more than blame for my accident and
the crew are so delighted at having rowed a race such as never
was seen before that they are satisfied completely.  All the
spectators saw the race and were delighted; another inch and I
should never have held up my head again.  One thing is safe, it
will never happen again.

The Eagle, "a magazine supported by members of St. John's College,"
issued its first number in the Lent term of 1858; it contains an
article by Butler "On English Composition and Other Matters," signed
"Cellarius":

Most readers will have anticipated me in admitting that a man
should be clear of his meaning before he endeavours to give it
any kind of utterance, and that, having made up his mind what to
say, the less thought he takes how to say it, more than briefly,
pointedly and plainly, the better.

From this it appears that, when only just over twenty-two, Butler
had already discovered and adopted those principles of writing from
which he never departed.

In the fifth number of the Eagle is an article, "Our Tour," also
signed "Cellarius"; it is an account of a tour made in June, 1857,
with a friend whose name he Italianized into Giuseppe Verdi, through
France into North Italy, and was written, so he says, to show how
they got so much into three weeks and spent only 25 pounds; they did
not, however, spend quite so much, for the article goes on, after
bringing them back to England, "Next day came safely home to dear
old St. John's, cash in hand 7d." {19}

Butler worked hard with Shilleto, an old pupil of his grandfather,
and was bracketed 12th in the Classical Tripos of 1858.  Canon
M'Cormick told me that he would no doubt have been higher but for
the fact that he at first intended to go out in mathematics; it was
only during the last year of his time that he returned to the
classics, and his being so high as he was spoke well for the
classical education of Shrewsbury.

It had always been an understood thing that he was to follow in the
footsteps of his father and grandfather and become a clergyman;
accordingly, after taking his degree, he went to London and began to
prepare for ordination, living and working among the poor as lay
assistant under the Rev. Philip Perring, Curate of St. James's,
Piccadilly, an old pupil of Dr. Butler at Shrewsbury. {20}  Placed
among such surroundings, he felt bound to think out for himself many
theological questions which at this time were first presented to
him, and, the conclusion being forced upon him that he could not
believe in the efficacy of infant baptism, he declined to be
ordained.

It was now his desire to become an artist; this, however, did not
meet with the approval of his family, and he returned to Cambridge
to try for pupils and, if possible, to get a fellowship.  He liked
being at Cambridge, but there were few pupils and, as there seemed
to be little chance of a fellowship, his father wished him to come
down and adopt some profession.  A long correspondence took place in
the course of which many alternatives were considered.  There are
letters about his becoming a farmer in England, a tutor, a
homoeopathic doctor, an artist, or a publisher, and the
possibilities of the army, the bar, and diplomacy.  Finally it was
decided that he should emigrate to New Zealand.  His passage was
paid, and he was to sail in the Burmah, but a cousin of his received
information about this vessel which caused him, much against his
will, to get back his passage money and take a berth in the Roman
Emperor, which sailed from Gravesend on one of the last days of
September, 1859.  On that night, for the first time in his life, he
did not say his prayers.  "I suppose the sense of change was so
great that it shook them quietly off.  I was not then a sceptic; I
had got as far as disbelief in infant baptism, but no further.  I
felt no compunction of conscience, however, about leaving off my
morning and evening prayers--simply I could no longer say them."

The Roman Emperor, after a voyage every incident of which interested
him deeply, arrived outside Port Lyttelton.  The captain shouted to
the pilot who came to take them in:

"Has the Robert Small arrived?"

"No," replied the pilot, "nor yet the Burmah."

And Butler, writing home to his people, adds the comment:  "You may
imagine what I felt."

The Burmah was never heard of again.

He spent some time looking round, considering what to do and how to
employ the money with which his father was ready to supply him, and
determined upon sheep-farming.  He made several excursions looking
for country, and ultimately took up a run which is still called
Mesopotamia, the name he gave it because it is situated among the
head-waters of the Rangitata.

It was necessary to have a horse, and he bought one for 55 pounds,
which was not considered dear.  He wrote home that the horse's name
was "Doctor":  "I hope he is a Homoeopathist."  From this, and from
the fact that he had already contemplated becoming a homoeopathic
doctor himself, I conclude that he had made the acquaintance of Dr.
Robert Ellis Dudgeon, the eminent homoeopathist, while he was doing
parish work in London.  After his return to England Dr. Dudgeon was
his medical adviser, and remained one of his most intimate friends
until the end of his life.  Doctor, the horse, is introduced into
Erewhon Revisited; the shepherd in Chapter XXVI tells John Higgs
that Doctor "would pick fords better than that gentleman could, I
know, and if the gentleman fell off him he would just stay stock
still."

Butler carried on his run for about four and a half years, and the
open-air life agreed with him; he ascribed to this the good health
he afterwards enjoyed.  The following, taken from a notebook he kept
in the colony and destroyed, gives a glimpse of one side of his life
there; he preserved the note because it recalled New Zealand so
vividly.

April, 1861.  It is Sunday.  We rose later than usual.  There are
five of us sleeping in the hut.  I sleep in a bunk on one side of
the fire; Mr. Haast, {22} a German who is making a geological
survey of the province, sleeps upon the opposite one; my bullock-
driver and hut-keeper have two bunks at the far end of the hut,
along the wall, while my shepherd lies in the loft among the tea
and sugar and flour.  It was a fine morning, and we turned out
about seven o'clock.

The usual mutton and bread for breakfast with a pudding made of
flour and water baked in the camp oven after a joint of meat--
Yorkshire pudding, but without eggs.  While we were at breakfast
a robin perched on the table and sat there a good while pecking
at the sugar.  We went on breakfasting with little heed to the
robin, and the robin went on pecking with little heed to us.
After breakfast Pey, my bullock-driver, went to fetch the horses
up from a spot about two miles down the river, where they often
run; we wanted to go pig-hunting.

I go into the garden and gather a few peascods for seed till the
horses should come up.  Then Cook, the shepherd, says that a fire
has sprung up on the other side of the river.  Who could have lit
it?  Probably someone who had intended coming to my place on the
preceding evening and has missed his way, for there is no track
of any sort between here and Phillips's.  In a quarter of an hour
he lit another fire lower down, and by that time, the horses
having come up, Haast and myself--remembering how Dr. Sinclair
had just been drowned so near the same spot--think it safer to
ride over to him and put him across the river.  The river was
very low and so clear that we could see every stone.  On getting
to the river-bed we lit a fire and did the same on leaving it;
our tracks would guide anyone over the intervening ground.

Besides his occupation with the sheep, he found time to play the
piano, to read and to write.  In the library of St. John's College,
Cambridge, are two copies of the Greek Testament, very fully
annotated by him at the University and in the colony.  He also read
the Origin of Species, which, as everyone knows, was published in
1859.  He became "one of Mr. Darwin's many enthusiastic admirers,
and wrote a philosophic dialogue (the most offensive form, except
poetry and books of travel into supposed unknown countries, that
even literature can assume) upon the Origin of Species" (Unconscious
Memory, close of Chapter I).  This dialogue, unsigned, was printed
in the Press, Canterbury, New Zealand, on 20th December, 1862.  A
copy of the paper was sent to Charles Darwin, who forwarded it to a,
presumably, English editor with a letter, now in the Canterbury
Museum, New Zealand, speaking of the dialogue as "remarkable from
its spirit and from giving so clear and accurate an account of Mr.
D's theory."  It is possible that Butler himself sent the newspaper
containing his dialogue to Mr. Darwin; if so he did not disclose his
name, for Darwin says in his letter that he does not know who the
author was.  Butler was closely connected with the Press, which was
founded by James Edward FitzGerald, the first Superintendent of the
Province, in May, 1861; he frequently contributed to its pages, and
once, during FitzGerald's absence, had charge of it for a short
time, though he was never its actual editor.  The Press reprinted
the dialogue and the correspondence which followed its original
appearance on 8th June, 1912.

On 13th June, 1863, the Press printed a letter by Butler signed
"Cellarius" and headed "Darwin among the Machines," reprinted in The
Note-Books of Samuel Butler (1912).  The letter begins:

"Sir:  There are few things of which the present generation is more
justly proud than of the wonderful improvements which are daily
taking place in all sorts of mechanical appliances"; and goes on to
say that, as the vegetable kingdom was developed from the mineral,
and as the animal kingdom supervened upon the vegetable, "so now, in
the last few ages, an entirely new kingdom has sprung up of which we
as yet have only seen what will one day be considered the
antediluvian types of the race."  He then speaks of the minute
members which compose the beautiful and intelligent little animal
which we call the watch, and of how it has gradually been evolved
from the clumsy brass clocks of the thirteenth century.  Then comes
the question:  Who will be man's successor?  To which the answer is:
We are ourselves creating our own successors.  Man will become to
the machine what the horse and the dog are to man; the conclusion
being that machines are, or are becoming, animate.  In 1863 Butler's
family published in his name A First Year in Canterbury Settlement,
which, as the preface states, was compiled from his letters home,
his journal and extracts from two papers contributed to the Eagle.
These two papers had appeared in the Eagle as three articles
entitled "Our Emigrant" and signed "Cellarius."  The proof sheets of
the book went out to New Zealand for correction and were sent back
in the Colombo, which was as unfortunate as the Burmah, for she was
wrecked.  The proofs, however, were fished up, though so nearly
washed out as to be almost undecipherable.  Butler would have been
just as well pleased if they had remained at the bottom of the
Indian Ocean, for he never liked the book and always spoke of it as
being full of youthful priggishness; but I think he was a little
hard upon it.  Years afterwards, in one of his later books, after
quoting two passages from Mr. Grant Allen and pointing out why he
considered the second to be a recantation of the first, he wrote:
"When Mr. Allen does make stepping-stones of his dead selves he
jumps upon them to some tune."  And he was perhaps a little inclined
to treat his own dead self too much in the same spirit.

Butler did very well with the sheep, sold out in 1864 and returned
via Callao to England.  He travelled with three friends whose
acquaintance he had made in the colony; one was Charles Paine Pauli,
to whom he dedicated Life and Habit.  He arrived in August, 1864, in
London, where he took chambers consisting of a sitting-room, a
bedroom, a painting-room and a pantry, at 15 Clifford's Inn, second
floor (north).  The net financial result of the sheep-farming and
the selling out was that he practically doubled his capital, that is
to say he had about 8000 pounds.  This he left in New Zealand,
invested on mortgage at 10 per cent, the then current rate in the
colony; it produced more than enough for him to live upon in the
very simple way that suited him best, and life in the Inns of Court
resembles life at Cambridge in that it reduces the cares of
housekeeping to a minimum; it suited him so well that he never
changed his rooms, remaining there thirty-eight years till his
death.

He was now his own master and able at last to turn to painting.  He
studied at the art school in Streatham Street, Bloomsbury, which had
formerly been managed by Henry Sass, but, in Butler's time, was
being carried on by Francis Stephen Gary, son of the Rev. Henry
Francis Gary, who had been a school-fellow of Dr. Butler at Rugby
and is well known as the translator of Dante and the friend of
Charles Lamb.  Among his fellow-students was Mr. H. R. Robertson,
who told me that the young artists got hold of the legend, which is
in some of the books about Lamb, that when Francis Stephen Gary was
a boy and there was a talk at his father's house as to what
profession he should take up, Lamb, who was present, said:

"I should make him an apo-po-pothe-Cary."

They used to repeat this story freely among themselves, being, no
doubt, amused by the Lamb-like pun, but also enjoying the malicious
pleasure of hinting that it might have been as well for their art
education if the advice of the gentle humorist had been followed.
Anyone who wants to know what kind of an artist F. S. Cary was can
see his picture of Charles and Mary Lamb in the National Portrait
Gallery.  In 1865 Butler sent from London to New Zealand an article
entitled "Lucubratio Ebria," which was published in the Press of
29th July, 1865.  It treated machines from a point of view different
from that adopted in "Darwin among the Machines," and was one of the
steps that led to Erewhon and ultimately to Life and Habit.  The
article is reproduced in The Note-Books of Samuel Butler (1912).

Butler also studied art at South Kensington, but by 1867 he had
begun to go to Heatherley's School of Art in Newman Street, where he
continued going for many years.  He made a number of friends at
Heatherley's, and among them Miss Eliza Mary Anne Savage.  There
also he first met Charles Gogin, who, in 1896, painted the portrait
of Butler which is now in the National Portrait Gallery.  He
described himself as an artist in the Post Office Directory, and
between 1868 and 1876 exhibited at the Royal Academy about a dozen
pictures, of which the most important was "Mr. Heatherley's
Holiday," hung on the line in 1874.  He left it by his will to his
college friend Jason Smith, whose representatives, after his death,
in 1910, gave it to the nation and it is now in the National Gallery
of British Art.  Mr. Heatherley never went away for a holiday; he
once had to go out of town on business and did not return till the
next day; one of the students asked him how he had got on, saying no
doubt he had enjoyed the change and that he must have found it
refreshing to sleep for once out of London.

"No," said Heatherley, "I did not like it.  Country air has no
body."

The consequence was that, whenever there was a holiday and the
school was shut, Heatherley employed the time in mending the
skeleton; Butler's picture represents him so engaged in a corner of
the studio.  In this way he got his model for nothing.  Sometimes he
hung up a looking-glass near one of his windows and painted his own
portrait.  Many of these he painted out, but after his death we
found a little store of them in his rooms, some of the early ones
very curious.  Of the best of them one is now at Canterbury, New
Zealand, one at St. John's College, Cambridge, and one at the
Schools, Shrewsbury.

This is Butler's own account of himself, taken from a letter to Sir
Julius von Haast; although written in 1865 it is true of his mode of
life for many years:

I have been taking lessons in painting ever since I arrived, I
was always very fond of it and mean to stick to it; it suits me
and I am not without hopes that I shall do well at it.  I live
almost the life of a recluse, seeing very few people and going
nowhere that I can help--I mean in the way of parties and so
forth; if my friends had their way they would fritter away my
time without any remorse; but I made a regular stand against it
from the beginning and so, having my time pretty much in my own
hands, work hard; I find, as I am sure you must find, that it is
next to impossible to combine what is commonly called society and
work.

But the time saved from society was not all devoted to painting.  He
modified his letter to the Press about "Darwin among the Machines"
and, so modified, it appeared in 1865 as "The Mechanical Creation"
in the Reasoner, a paper then published in London by Mr. G. J.
Holyoake.  And his mind returned to the considerations which had
determined him to decline to be ordained.  In 1865 he printed
anonymously a pamphlet which he had begun in New Zealand, the result
of his study of the Greek Testament, entitled The Evidence for the
Resurrection of Jesus Christ as given by the four Evangelists
critically examined.  After weighing this evidence and comparing one
account with another, he came to the conclusion that Jesus Christ
did not die upon the cross.  It is improbable that a man officially
executed should escape death, but the alternative, that a man
actually dead should return to life, seemed to Butler more
improbable still and unsupported by such evidence as he found in the
gospels.  From this evidence he concluded that Christ swooned and
recovered consciousness after his body had passed into the keeping
of Joseph of Arimathaea.  He did not suppose fraud on the part of
the first preachers of Christianity; they sincerely believed that
Christ died and rose again.  Joseph and Nicodemus probably knew the
truth but kept silence.  The idea of what might follow from belief
in one single supposed miracle was never hereafter absent from
Butler's mind.

In 1869, having been working too hard, he went abroad for a long
change.  On his way back, at the Albergo La Luna, in Venice, he met
an elderly Russian lady in whose company he spent most of his time
there.  She was no doubt impressed by his versatility and charmed,
as everyone always was, by his conversation and original views on
the many subjects that interested him.  We may be sure he told her
all about himself and what he had done and was intending to do.  At
the end of his stay, when he was taking leave of her, she said:

"Et maintenant, Monsieur, vous allez creer," meaning, as he
understood her, that he had been looking long enough at the work of
others and should now do something of his own.

This sank into him and pained him.  He was nearly thirty-five, and
hitherto all had been admiration, vague aspiration and despair; he
had produced in painting nothing but a few sketches and studies, and
in literature only a few ephemeral articles, a collection of
youthful letters and a pamphlet on the Resurrection; moreover, to
none of his work had anyone paid the slightest attention.  This was
a poor return for all the money which had been spent upon his
education, as Theobald would have said in The Way of All Flesh.  He
returned home dejected, but resolved that things should be different
in the future.  While in this frame of mind he received a visit from
one of his New Zealand friends, the late Sir F. Napier Broome,
afterwards Governor of Western Australia, who incidentally suggested
his rewriting his New Zealand articles.  The idea pleased him; it
might not be creating, but at least it would be doing something.  So
he set to work on Sundays and in the evenings, as relaxation from
his profession of painting, and, taking his New Zealand article,
"Darwin among the Machines," and another, "The World of the Unborn,"
as a starting point and helping himself with a few sentences from A
First Year in Canterbury Settlement, he gradually formed Erewhon.
He sent the MS. bit by bit, as it was written, to Miss Savage for
her criticism and approval.  He had the usual difficulty about
finding a publisher.  Chapman and Hall refused the book on the
advice of George Meredith, who was then their reader, and in the end
he published it at his own expense through Messrs. Trubner.

Mr. Sydney C. Cockerell told me that in 1912 Mr. Bertram Dobell,
second-hand bookseller of Charing Cross Road, offered a copy of
Erewhon for 1 pounds 10s.; it was thus described in his catalogue:
"Unique copy with the following note in the author's handwriting on
the half-title:  'To Miss E. M. A. Savage this first copy of Erewhon
with the author's best thanks for many invaluable suggestions and
corrections.'"  When Mr. Cockerell inquired for the book it was
sold.  After Miss Savage's death in 1885 all Butler's letters to her
were returned to him, including the letter he wrote when he sent her
this copy of Erewhon.  He gave her the first copy issued of all his
books that were published in her lifetime, and, no doubt, wrote an
inscription in each.  If the present possessors of any of them
should happen to read this sketch I hope they will communicate with
me, as I should like to see these books.  I should also like to see
some numbers of the Drawing-Room Gazette, which about this time
belonged to or was edited by a Mrs. Briggs.  Miss Savage wrote a
review of Erewhon, which appeared in the number for 8th June, 1872,
and Butler quoted a sentence from her review among the press notices
in the second edition.  She persuaded him to write for Mrs. Briggs
notices of concerts at which Handel's music was performed.  In 1901
he made a note on one of his letters that he was thankful there were
no copies of the Drawing-Room Gazette in the British Museum, meaning
that he did not want people to read his musical criticisms;
nevertheless, I hope some day to come across back numbers containing
his articles.

The opening of Erewhon is based upon Butler's colonial experiences;
some of the descriptions remind one of passages in A First Year in
Canterbury Settlement, where he speaks of the excursions he made
with Doctor when looking for sheep-country.  The walk over the range
as far as the statues is taken from the Upper Rangitata district,
with some alterations; but the walk down from the statues into
Erewhon is reminiscent of the Leventina Valley in the Canton Ticino.
The great chords, which are like the music moaned by the statues,
are from the prelude to the first of Handel's Trois Lecons; he used
to say:

"One feels them in the diaphragm--they are, as it were, the groaning
and labouring of all creation travailing together until now."

There is a place in New Zealand named Erewhon, after the book; it is
marked on the large maps, a township about fifty miles west of
Napier in the Hawke Bay Province (North Island).  I am told that
people in New Zealand sometimes call their houses Erewhon and
occasionally spell the word Erehwon which Butler did not intend; he
treated wh as a single letter, as one would treat th.  Among other
traces of Erewhon now existing in real life are Butler's Stones on
the Hokitika Pass, so called because of a legend that they were in
his mind when he described the statues.

The book was translated into Dutch in 1873 and into German in 1897.

Butler wrote to Charles Darwin to explain what he meant by the "Book
of the Machines":  "I am sincerely sorry that some of the critics
should have thought I was laughing at your theory, a thing which I
never meant to do and should be shocked at having done."  Soon after
this Butler was invited to Down and paid two visits to Mr. Darwin
there; he thus became acquainted with all the family and for some
years was on intimate terms with Mr. (now Sir) Francis Darwin.

It is easy to see by the light of subsequent events that we should
probably have had something not unlike Erewhon sooner or later, even
without the Russian lady and Sir F. N. Broome, to whose promptings,
owing to a certain diffidence which never left him, he was perhaps
inclined to attribute too much importance.  But he would not have
agreed with this view at the time; he looked upon himself as a
painter and upon Erewhon as an interruption.  It had come, like one
of those creatures from the Land of the Unborn, pestering him and
refusing to leave him at peace until he consented to give it bodily
shape.  It was only a little one, and he saw no likelihood of its
having any successors.  So he satisfied its demands and then,
supposing that he had written himself out, looked forward to a
future in which nothing should interfere with the painting.
Nevertheless, when another of the unborn came teasing him he yielded
to its importunities and allowed himself to become the author of The
Fair Haven, which is his pamphlet on the Resurrection, enlarged and
preceded by a realistic memoir of the pseudonymous author, John
Pickard Owen.  In the library of St. John's College, Cambridge, are
two copies of the pamphlet with pages cut out; he used these pages
in forming the MS. of The Fair Haven.  To have published this book
as by the author of Erewhon would have been to give away the irony
and satire.  And he had another reason for not disclosing his name;
he remembered that as soon as curiosity about the authorship of
Erewhon was satisfied, the weekly sales fell from fifty down to only
two or three.  But, as he always talked openly of whatever was in
his mind, he soon let out the secret of the authorship of The Fair
Haven, and it became advisable to put his name to a second edition.

One result of his submitting the MS. of Erewhon to Miss Savage was
that she thought he ought to write a novel, and urged him to do so.
I have no doubt that he wrote the memoir of John Pickard Owen with
the idea of quieting Miss Savage and also as an experiment to
ascertain whether he was likely to succeed with a novel.  The result
seems to have satisfied him, for, not long after The Fair Haven, he
began The Way of All Flesh, sending the MS. to Miss Savage, as he
did everything he wrote, for her approval and putting her into the
book as Ernest's Aunt Alethea.  He continued writing it in the
intervals of other work until her death in February, 1885, after
which he did not touch it.  It was published in 1903 by Mr. R. A.
Streatfeild, his literary executor.

Soon after The Fair Haven Butler began to be aware that his letter
in the Press, "Darwin among the Machines," was descending with
further modifications and developing in his mind into a theory about
evolution which took shape as Life and Habit; but the writing of
this very remarkable and suggestive book was delayed and the
painting interrupted by absence from England on business in Canada.
He had been persuaded by a college friend, a member of one of the
great banking families, to call in his colonial mortgages and to put
the money into several new companies.  He was going to make thirty
or forty per cent instead of only ten.  One of these companies was a
Canadian undertaking, of which he became a director; it was
necessary for someone to go to headquarters and investigate its
affairs; he went, and was much occupied by the business for two or
three years.  By the beginning of 1876 he had returned finally to
London, but most of his money was lost and his financial position
for the next ten years caused him very serious anxiety.  His
personal expenditure was already so low that it was hardly possible
to reduce it, and he set to work at his profession more
industriously than ever, hoping to paint something that he could
sell, his spare time being occupied with Life and Habit, which was
the subject that really interested him more deeply than any other.

Following his letter in the Press, wherein he had seen machines as
in process of becoming animate, he went on to regard them as living
organs and limbs which we had made outside ourselves.  What would
follow if we reversed this and regarded our limbs and organs as
machines which we had manufactured as parts of our bodies?  In the
first place, how did we come to make them without knowing anything
about it?  But then, how comes anybody to do anything unconsciously?
The answer usually would be:  By habit.  But can a man be said to do
a thing by habit when he has never done it before?  His ancestors
have done it, but not he.  Can the habit have been acquired by them
for his benefit?  Not unless he and his ancestors are the same
person.  Perhaps, then, they are the same person.

In February, 1876, partly to clear his mind and partly to tell
someone, he wrote down his thoughts in a letter to his namesake,
Thomas William Gale Butler, a fellow art-student who was then in New
Zealand; so much of the letter as concerns the growth of his theory
is given in The Note-Books of Samuel Butler (1912) and a resume of
the theory will be found at the end of the last of the essays in
this volume, "The Deadlock in Darwinism."  In September, 1877, when
Life and Habit was on the eve of publication, Mr. Francis Darwin
came to lunch with him in Clifford's Inn and, in course of
conversation, told him that Professor Ray Lankester had written
something in Nature about a lecture by Dr. Ewald Hering of Prague,
delivered so long ago as 1870, "On Memory as a Universal Function of
Organized Matter."  This rather alarmed Butler, but he deferred
looking up the reference until after December, 1877, when his book
was out, and then, to his relief, he found that Hering's theory was
very similar to his own, so that, instead of having something sprung
upon him which would have caused him to want to alter his book, he
was supported.  He at once wrote to the Athenaeum, calling attention
to Hering's lecture, and then pursued his studies in evolution.

Life and Habit was followed in 1879 by Evolution Old and New,
wherein he compared the teleological or purposive view of evolution
taken by Buffon, Dr. Erasmus Darwin, and Lamarck with the view taken
by Charles Darwin, and came to the conclusion that the old was
better.  But while agreeing with the earlier writers in thinking
that the variations whose accumulation results in species were
originally due to intelligence, he could not take the view that the
intelligence resided in an external personal God.  He had done with
all that when he gave up the Resurrection of Jesus Christ from the
dead.  He proposed to place the intelligence inside the creature
("The Deadlock in Darwinism" post).

In 1880 he continued the subject by publishing Unconscious Memory.
Chapter IV of this book is concerned with a personal quarrel between
himself and Charles Darwin which arose out of the publication by
Charles Darwin of Dr. Krause's Life of Erasmus Darwin.  We need not
enter into particulars here, the matter is fully dealt with in a
pamphlet, Charles Darwin and Samuel Butler:  A Step towards
Reconciliation, which I wrote in 1911, the result of a
correspondence between Mr. Francis Darwin and myself.  Before this
correspondence took place Mr. Francis Darwin had made several public
allusions to Life and Habit; and in September, 1908, in his
inaugural address to the British Association at Dublin, he did
Butler the posthumous honour of quoting from his translation of
Hering's lecture "On Memory," which is in Unconscious Memory, and of
mentioning Butler as having enunciated the theory contained in Life
and Habit.

In 1886 Butler published his last book on evolution, Luck or Cunning
as the Main Means of Organic Modification?  His other contributions
to the subject are some essays, written for the Examiner in 1879,
"God the Known and God the Unknown," which were re-published by Mr.
Fifield in 1909, and the articles "The Deadlock in Darwinism" which
appeared in the Universal Review in 1890 and are contained in this
volume; some further notes on evolution will be found in The Note-
Books of Samuel Butler (1912).

It was while he was writing Life and Habit that I first met him.
For several years he had been in the habit of spending six or eight
weeks of the summer in Italy and the Canton Ticino, generally making
Faido his headquarters.  Many a page of his books was written while
resting by the fountain of some subalpine village or waiting in the
shade of the chestnuts till the light came so that he could continue
a sketch.  Every year he returned home by a different route, and
thus gradually became acquainted with every part of the Canton and
North Italy.  There is scarcely a town or village, a point of view,
a building, statue or picture in all this country with which he was
not familiar.  In 1878 he happened to be on the Sacro Monte above
Varese at the time I took my holiday; there I joined him, and nearly
every year afterwards we were in Italy together.

He was always a delightful companion, and perhaps at his gayest on
these occasions.  "A man's holiday," he would say, "is his garden,"
and he set out to enjoy himself and to make everyone about him enjoy
themselves too.  I told him the old schoolboy muddle about Sir
Walter Raleigh introducing tobacco and saying:  "We shall this day
light up such a fire in England as I trust shall never be put out."
He had not heard it before and, though amused, appeared preoccupied,
and perhaps a little jealous, during the rest of the evening.  Next
morning, while he was pouring out his coffee, his eyes twinkled and
he said, with assumed carelessness:

"By the by, do you remember?--wasn't it Columbus who bashed the egg
down on the table and said 'Eppur non si muove'?"

He was welcome wherever he went, full of fun and ready to play while
doing the honours of the country.  Many of the peasants were old
friends, and every day we were sure to meet someone who remembered
him.  Perhaps it would be an old woman labouring along under a
burden; she would smile and stop, take his hand and tell him how
happy she was to meet him again and repeat her thanks for the empty
wine bottle he had given her after an out-of-door luncheon in her
neighbourhood four or five years before.  There was another who had
rowed him many times across the Lago di Orta and had never been in a
train but once in her life, when she went to Novara to her son's
wedding.  He always remembered all about these people and asked how
the potatoes were doing this year and whether the grandchildren were
growing up into fine boys and girls, and he never forgot to inquire
after the son who had gone to be a waiter in New York.  At Civiasco
there is a restaurant which used to be kept by a jolly old lady,
known for miles round as La Martina; we always lunched with her on
our way over the Colma to and from Varallo-Sesia.  On one occasion
we were accompanied by two English ladies and, one being a
teetotaller, Butler maliciously instructed La Martina to make the
sabbaglione so that it should be forte and abbondante, and to say
that the Marsala, with which it was more than flavoured, was nothing
but vinegar.  La Martina never forgot that when she looked in to see
how things were going, he was pretending to lick the dish clean.
These journeys provided the material for a book which he thought of
calling "Verdi Prati," after one of Handel's most beautiful songs;
but he changed his mind, and it appeared at the end of 1881 as Alps
and Sanctuaries of Piedmont and the Canton Ticino with more than
eighty illustrations, nearly all by Butler.  Charles Gogin made an
etching for the frontispiece, drew some of the pictures, and put
figures into others; half a dozen are mine.  They were all redrawn
in ink from sketches made on the spot, in oil, water-colour, and
pencil.  There were also many illustrations of another kind--
extracts from Handel's music, each chosen because Butler thought it
suitable to the spirit of the scene he wished to bring before the
reader.  The introduction concludes with these words:  "I have
chosen Italy as my second country, and would dedicate this book to
her as a thank-offering for the happiness she has afforded me."

In the spring of 1883 he began to compose music, and in 1885 we
published together an album of minuets, gavottes, and fugues.  This
led to our writing Narcissus, which is an Oratorio Buffo in the
Handelian manner--that is as nearly so as we could make it.  It is a
mistake to suppose that all Handel's oratorios are upon sacred
subjects; some of them are secular.  And not only so, but, whatever
the subject, Handel was never at a loss in treating anything that
came into his words by way of allusion or illustration.  As Butler
puts it in one of his sonnets:

He who gave eyes to ears and showed in sound
All thoughts and things in earth or heaven above--
From fire and hailstones running along the ground
To Galatea grieving for her love--
He who could show to all unseeing eyes
Glad shepherds watching o'er their flocks by night,
Or Iphis angel-wafted to the skies,
Or Jordan standing as an heap upright--

And so on.  But there is one subject which Handel never treated--I
mean the Money Market.  Perhaps he avoided it intentionally; he was
twice bankrupt, and Mr. R. A. Streatfeild tells me that the British
Museum possesses a MS. letter from him giving instructions as to the
payment of the dividends on 500 pounds South Sea Stock.  Let us hope
he sold out before the bubble burst; if so, he was more fortunate
than Butler, who was at this time of his life in great anxiety about
his own financial affairs.  It seemed a pity that Dr. Morell had
never offered Handel some such words as these:

The steadfast funds maintain their wonted state
While all the other markets fluctuate.

Butler wondered whether Handel would have sent the steadfast funds
up above par and maintained them on an inverted pedal with all the
other markets fluctuating iniquitously round them like the sheep
that turn every one to his own way in the Messiah.  He thought
something of the kind ought to have been done, and in the absence of
Handel and Dr. Morell we determined to write an oratorio that should
attempt to supply the want.  In order to make our libretto as
plausible as possible, we adopted the dictum of Monsieur Jourdain's
Maitre a danser:  "Lorsqu'on a des personnes a faire parler en
musique, il faut bien que, pour la vraisemblance, on donne dans la
bergerie."  Narcissus is accordingly a shepherd in love with
Amaryllis; they come to London with other shepherds and lose their
money in imprudent speculations on the Stock Exchange.  In the
second part the aunt and godmother of Narcissus, having died at an
advanced age worth one hundred thousand pounds, all of which she has
bequeathed to her nephew and godson, the obstacle to his union with
Amaryllis is removed.  The money is invested in consols and all ends
happily.

In December, 1886, Butler's father died, and his financial
difficulties ceased.  He engaged Alfred Emery Cathie as clerk, but
made no other change, except that he bought a pair of new hair
brushes and a larger wash-hand basin.  Any change in his mode of
life was an event.  When in London he got up at 6.30 in the summer
and 7.30 in the winter, went into his sitting-room, lighted the
fire, put the kettle on and returned to bed.  In half an hour he got
up again, fetched the kettle of hot water, emptied it into the cold
water that was already in his bath, refilled the kettle and put it
back on the fire.  After dressing, he came into his sitting-room,
made tea and cooked, in his Dutch oven, something he had bought the
day before.  His laundress was an elderly woman, and he could not
trouble her to come to his rooms so early in the morning; on the
other hand, he could not stay in bed until he thought it right for
her to go out; so it ended in his doing a great deal for himself.
He then got his breakfast and read the Times.  At 9.30 Alfred came,
with whom he discussed anything requiring attention, and soon
afterwards his laundress arrived.  Then he started to walk to the
British Museum, where he arrived about 10.30, every alternate
morning calling at the butcher's in Fetter Lane to order his meat.
In the Reading Room at the Museum he sat at Block B ("B for Butler")
and spent an hour "posting his notes"--that is reconsidering,
rewriting, amplifying, shortening, and indexing the contents of the
little note-book he always carried in his pocket.  After the notes
he went on till 1.30 with whatever book he happened to be writing.

On three days of the week he dined in a restaurant on his way home,
and on the other days he dined in his chambers where his laundress
had cooked his dinner.  At two o'clock Alfred returned (having been
home to dinner with his wife and children) and got tea ready for
him.  He then wrote letters and attended to his accounts till 3.45,
when he smoked his first cigarette.  He used to smoke a great deal,
but, believing it to be bad for him, took to cigarettes instead of
pipes, and gradually smoked less and less, making it a rule not to
begin till some particular hour, and pushing this hour later and
later in the day, till it settled itself at 3.45.  There was no
water laid on in his rooms, and every day he fetched one can full
from the tap in the court, Alfred fetching the rest.  When anyone
expostulated with him about cooking his own breakfast and fetching
his own water, he replied that it was good for him to have a change
of occupation.  This was partly the fact, but the real reason, which
he could not tell everyone, was that he shrank from inconveniencing
anybody; he always paid more than was necessary when anything was
done for him, and was not happy then unless he did some of the work
himself.

At 5.30 he got his evening meal, he called it his tea, and it was
little more than a facsimile of breakfast.  Alfred left in time to
post the letters before six.  Butler then wrote music till about 8,
when he came to see me in Staple Inn, returning to Clifford's Inn by
about 10.  After a light supper, latterly not more than a piece of
toast and a glass of milk, he played one game of his own particular
kind of Patience, prepared his breakfast things and fire ready for
the next morning, smoked his seventh and last cigarette, and went to
bed at eleven o'clock.

He was fond of the theatre, but avoided serious pieces.  He
preferred to take his Shakespeare from the book, finding that the
spirit of the plays rather evaporated under modern theatrical
treatment.  In one of his books he brightens up the old illustration
of Hamlet without the Prince of Denmark by putting it thus:  "If the
character of Hamlet be entirely omitted, the play must suffer, even
though Henry Irving himself be cast for the title-role."  Anyone
going to the theatre in this spirit would be likely to be less
disappointed by performances that were comic or even frankly
farcical.  Latterly, when he grew slightly deaf, listening to any
kind of piece became too much of an effort; nevertheless, he
continued to the last the habit of going to one pantomime every
winter.

There were about twenty houses where he visited, but he seldom
accepted an invitation to dinner--it upset the regularity of his
life; besides, he belonged to no club and had no means of returning
hospitality.  When two colonial friends called unexpectedly about
noon one day, soon after he settled in London, he went to the
nearest cook-shop in Fetter Lane and returned carrying a dish of hot
roast pork and greens.  This was all very well once in a way, but
not the sort of thing to be repeated indefinitely.

On Thursdays, instead of going to the Museum, he often took a day
off, going into the country sketching or walking, and on Sundays,
whatever the weather, he nearly always went into the country
walking; his map of the district for thirty miles round London is
covered all over with red lines showing where he had been.  He
sometimes went out of town from Saturday to Monday, and for over
twenty years spent Christmas at Boulogne-sur-Mer.

There is a Sacro Monte at Varallo-Sesia with many chapels, each
containing life-sized statues and frescoes illustrating the life of
Christ.  Butler had visited this sanctuary repeatedly, and was a
great favourite with the townspeople, who knew that he was studying
the statues and frescoes in the chapels, and who remembered that in
the preface to Alps and Sanctuaries he had declared his intention of
writing about them.  In August, 1887, the Varallesi brought matters
to a head by giving him a civic dinner on the Mountain.  Everyone
was present, there were several speeches and, when we were coming
down the slippery mountain path after it was all over, he said to
me:

"You know, there's nothing for it now but to write that book about
the Sacro Monte at once.  It must be the next thing I do."

Accordingly, on returning home, he took up photography and,
immediately after Christmas, went back to Varallo to photograph the
statues and collect material.  Much research was necessary and many
visits to out-of-the-way sanctuaries which might have contained work
by the sculptor Tabachetti, whom he was rescuing from oblivion and
identifying with the Flemish Jean de Wespin.  One of these visits,
made after his book was published, forms the subject of "The
Sanctuary of Montrigone," reproduced in this volume.  Ex Voto, the
book about Varallo, appeared in 1888, and an Italian translation by
Cavaliere Angelo Rizzetti was published at Novara in 1894.

"Quis Desiderio . . .?" the second essay in this volume, was
developed in 1888 from something in a letter from Miss Savage nearly
ten years earlier.  On the 15th of December, 1878, in acknowledging
this letter, Butler wrote:

I am sure that any tree or flower nursed by Miss Cobbe would be
the _very_ first to fade away and that her gazelles would die
long before they ever came to know her _well_.  The sight of the
brass buttons on her pea-jacket would settle them out of hand.

There was an enclosure in Miss Savage's letter, but it is
unfortunately lost; I suppose it must have been a newspaper cutting
with an allusion to Moore's poem and perhaps a portrait of Miss
Frances Power Cobbe--pea-jacket, brass buttons, and all.

On the 10th November, 1879, Miss Savage, having been ill, wrote to
Butler:

I have been dipping into the books of Moses, being sometimes at a
loss for something to read while shut up in my apartment.  You
know that I have never read the Bible much, consequently there is
generally something of a novelty that I hit on.  As you do know
your Bible well, perhaps you can tell me what became of Aaron.
The account given of his end in Numbers XX is extremely ambiguous
and unsatisfactory.  Evidently he did not come by his death
fairly, but whether he was murdered secretly for the furtherance
of some private ends, or publicly in a State sacrifice, I can't
make out.  I myself rather incline to the former opinion, but I
should like to know what the experts say about it.  A very nice,
exciting little tale might be made out of it in the style of the
police stories in All the Year Round called "The Mystery of Mount
Hor or What became of Aaron?"  Don't forget to write to me.

Butler's people had been suggesting that he should try to earn money
by writing in magazines, and Miss Savage was falling in with the
idea and offering a practical suggestion.  I do not find that he had
anything to tell her about the death of Aaron.  On 23rd March, 1880,
she wrote:

Dear Mr. Butler:  Read the subjoined poem of Wordsworth and let
me know what you understand its meaning to be.  Of course I have
my opinion, which I think of communicating to the Wordsworth
Society.  You can belong to that Society for the small sum of 2/6
per annum.  I think of joining because it is cheap.

"The subjoined poem" was the one beginning:  "She dwelt among the
untrodden ways," and Butler made this note on the letter:

To the foregoing letter I answered that I concluded Miss Savage
meant to imply that Wordsworth had murdered Lucy in order to
escape a prosecution for breach of promise.

Miss Savage to Butler.

2nd April, 1880:  My dear Mr. Butler:  I don't think you see all
that I do in the poem, and I am afraid that the suggestion of a
DARK SECRET in the poet's life is not so very obvious after all.
I was hoping you would propose to devote yourself for a few
months to reading the Excursion, his letters, &c., with a view to
following up the clue, and I am disappointed though, to say the
truth, the idea of a _crime_ had not flashed upon me when I wrote
to you.  How well the works of _great_ men repay attention and
study!  But you, who know your Bible so well, how was it that you
did not detect the plagiarism in the last verse?  Just refer to
the account of the disappearance of Aaron (I have not a Bible at
hand, we want one sadly in the club) but I am sure that the words
are identical [I cannot see what Miss Savage meant.  1901.  S.
B.]  Cassell's Magazine have offered a prize for setting the poem
to music, and I fell to thinking how it could be treated
musically, and so came to a right comprehension of it.

Although Butler, when editing Miss Savage's letters in 1901, could
not see the resemblance between Wordsworth's poem and Numbers XX.,
he at once saw a strong likeness between Lucy and Moore's heroine
whom he had been keeping in an accessible pigeon-hole of his memory
ever since his letter about Miss Frances Power Cobbe.  He now sent
Lucy to keep her company and often spoke of the pair of them as
probably the two most disagreeable young women in English
literature--an opinion which he must have expressed to Miss Savage
and with which I have no doubt she agreed.

In the spring of 1888, on his return from photographing the statues
at Varallo, he found, to his disgust, that the authorities of the
British Museum had removed Frost's Lives of Eminent Christians from
its accustomed shelf in the Reading Room.  Soon afterwards Harry
Quilter asked him to write for the Universal Review and he responded
with "Quis Desiderio . . .?"  In this essay he compares himself to
Wordsworth and dwells on the points of resemblance between Lucy and
the book of whose assistance he had now been deprived in a passage
which echoes the opening of Chapter V of Ex Voto, where he points
out the resemblances between Varallo and Jerusalem.

Early in 1888 the leading members of the Shrewsbury Archaeological
Society asked Butler to write a memoir of his grandfather and of his
father for their Quarterly Journal.  This he undertook to do when he
should have finished Ex Voto.  In December, 1888, his sisters, with
the idea of helping him to write the memoir, gave him his
grandfather's correspondence, which extended from 1790 to 1839.  On
looking over these very voluminous papers he became penetrated with
an almost Chinese reverence for his ancestor and, after getting the
Archaeological Society to absolve him from his promise to write the
memoir, set about a full life of Dr. Butler, which was not published
till 1896.  The delay was caused partly by the immense quantity of
documents he had to sift and digest, the number of people he had to
consult and the many letters he had to write, and partly by
something that arose out of Narcissus, which we published in June,
1888.

Butler was not satisfied with having written only half of this work;
he wanted it to have a successor, so that by adding his two halves
together, he could say he had written a whole Handelian oratorio.
While staying with his sisters at Shrewsbury with this idea in his
mind, he casually took up a book by Alfred Ainger about Charles Lamb
and therein stumbled upon something about the Odyssey.  It was years
since he had looked at the poem, but, from what he remembered, he
thought it might provide a suitable subject for musical treatment.
He did not, however, want to put Dr. Butler aside, so I undertook to
investigate.  It is stated on the title-page of both Narcissus and
Ulysses that the words were written and the music composed by both
of us.  As to the music, each piece bears the initials of the one
who actually composed it.  As to the words, it was necessary first
to settle some general scheme and this, in the case of Narcissus,
grew in the course of conversation.  The scheme of Ulysses was
constructed in a more formal way and Butler had perhaps rather less
to do with it.  We were bound by the Odyssey, which is, of course,
too long to be treated fully, and I selected incidents that
attracted me and settled the order of the songs and choruses.  For
this purpose, as I out-Shakespeare Shakespeare in the smallness of
my Greek, I used The Adventures of Ulysses by Charles Lamb, which we
should have known nothing about but for Ainger's book.  Butler
acquiesced in my proposals, but, when it came to the words
themselves, he wrote practically all the libretto, as he had done in
the case of Narcissus; I did no more than suggest a few phrases and
a few lines here and there.

We had sent Narcissus for review to the papers, and, as a
consequence, about this time, made the acquaintance of Mr. J. A.
Fuller Maitland, then musical critic of the Times; he introduced us
to that learned musician William Smith Rockstro, under whom we
studied medieval counterpoint while composing Ulysses.  We had
already made some progress with it when it occurred to Butler that
it would not take long and might, perhaps, be safer if he were to
look at the original poem, just to make sure that Lamb had not
misled me.  Not having forgotten all his Greek, he bought a copy of
the Odyssey and was so fascinated by it that he could not put it
down.  When he came to the Phoeacian episode of Ulysses at Scheria
he felt he must be reading the description of a real place and that
something in the personality of the author was eluding him.  For
months he was puzzled, and, to help in clearing up the mystery, set
about translating the poem.  In August, 1891, he had preceded me to
Chiavenna and on a letter I wrote him, telling him when to expect
me, he made this note:

It was during the few days I was at Chiavenna (at the Hotel
Grotta Crimee) that I hit upon the feminine authorship of the
Odyssey.  I did not find out its having been written at Trapani
till January, 1892.

He suspected that the authoress in describing both Scheria and
Ithaca was drawing from her native country and searched on the
Admiralty charts for the features enumerated in the poem; this led
him to the conclusion that the country could only be Trapani, Mount
Eryx, and the AEgadean Islands.  As soon as he could after this
discovery he went to Sicily to study the locality and found it in
all respects suitable for his theory; indeed, it was astonishing how
things kept turning up to support his view.  It is all in his book
The Authoress of the Odyssey, published in 1897 and dedicated to his
friend Cavaliere Biagio Ingroja of Calatafimi.

His first visit to Sicily was in 1892, in August--a hot time of the
year, but it was his custom to go abroad in the autumn.  He returned
to Sicily every year (except one), but latterly went in the spring.
He made many friends all over the island, and after his death the
people of Calatafimi called a street by his name, the Via Samuel
Butler, "thus," as Ingroja wrote when he announced the event to me,
"honouring a great man's memory, handing down his name to posterity,
and doing homage to the friendly English nation."  Besides showing
that the Odyssey was written by a woman in Sicily and translating
the poem into English prose, he also translated the Iliad, and, in
March, 1895, went to Greece and the Troad to see the country therein
described, where he found nothing to cause him to disagree with the
received theories.

It has been said of him in a general way that the fact of an opinion
being commonly held was enough to make him profess the opposite.  It
was enough to make him examine the opinion for himself, when it
affected any of the many subjects which interested him, and if,
after giving it his best attention, he found it did not hold water,
then no weight of authority could make him say that it did.  This
matter of the geography of the Iliad is only one among many commonly
received opinions which he examined for himself and found no reason
to dispute; on these he considered it unnecessary to write.

It is characteristic of his passion for doing things thoroughly that
he learnt nearly the whole of the Odyssey and the Iliad by heart.
He had a Pickering copy of each poem, which he carried in his pocket
and referred to in railway trains, both in England and Italy, when
saying the poems over to himself.  These two little books are now in
the library of St. John's College, Cambridge.  He was, however,
disappointed to find that he could not retain more than a book or
two at a time and that, on learning more, he forgot what he had
learnt first; but he was about sixty at the time.  Shakespeare's
Sonnets, on which he published a book in 1899, gave him less trouble
in this respect; he knew them all by heart, and also their order,
and one consequence of this was that he wrote some sonnets in the
Shakespearian form.  He found this intimate knowledge of the poet's
work more useful for his purpose than reading commentaries by those
who were less familiar with it.  "A commentary on a poem," he would
say, "may be useful as material on which to form an estimate of the
commentator, but the poem itself is the most important document you
can consult, and it is impossible to know it too intimately if you
want to form an opinion about it and its author."

It was always the author, the work of God, that interested him more
than the book--the work of man; the painter more than the picture;
the composer more than the music.  "If a writer, a painter, or a
musician makes me feel that he held those things to be lovable which
I myself hold to be lovable I am satisfied; art is only interesting
in so far as it reveals the personality of the artist."  Handel was,
of course, "the greatest of all musicians."  Among the painters he
chiefly loved Giovanni Bellini, Carpaccio, Gaudenzio Ferrari,
Rembrandt, Holbein, Velasquez, and De Hooghe; in poetry Shakespeare,
Homer, and the Authoress of the Odyssey; and in architecture the
man, whoever he was, who designed the Temple of Neptune at Paestum.
Life being short, he did not see why he should waste any of it in
the company of inferior people when he had these.  And he treated
those he met in daily life in the same spirit:  it was what he found
them to be that attracted or repelled him; what others thought about
them was of little or no consequence.

And now, at the end of his life, his thoughts reverted to the two
subjects which had occupied him more than thirty years previously--
namely, Erewhon and the evidence for the death and resurrection of
Jesus Christ.  The idea of what might follow from belief in one
single supposed miracle had been slumbering during all those years
and at last rose again in the form of a sequel to Erewhon.  In
Erewhon Revisited Mr. Higgs returns to find that the Erewhonians now
believe in him as a god in consequence of the supposed miracle of
his going up in a balloon to induce his heavenly father to send the
rain.  Mr. Higgs and the reader know that there was no miracle in
the case, but Butler wanted to show that whether it was a miracle or
not did not signify provided that the people believed it to be one.
And so Mr. Higgs is present in the temple which is being dedicated
to him and his worship.

The existence of his son George was an after-thought and gave
occasion for the second leading idea of the book--the story of a
father trying to win the love of a hitherto unknown son by risking
his life in order to show himself worthy of it--and succeeding.

Butler's health had already begun to fail, and when he started for
Sicily on Good Friday, 1902, it was for the last time:  he knew he
was unfit to travel, but was determined to go, and was looking
forward to meeting Mr. and Mrs. J. A. Fuller Maitland, whom he was
to accompany over the Odyssean scenes at Trapani and Mount Eryx.
But he did not get beyond Palermo; there he was so much worse that
he could not leave his room.  In a few weeks he was well enough to
be removed to Naples, and Alfred went out and brought him home to
London.  He was taken to a nursing home in St. John's Wood where he
lay for a month, attended by his old friend Dr. Dudgeon, and where
he died on the 18th June, 1902.

There was a great deal he still wanted to do.  He had intended to
revise The Way of All Flesh, to write a book about Tabachetti, and
to publish a new edition of Ex Voto with the mistakes corrected.
Also he wished to reconsider the articles reprinted in this volume
and was looking forward to painting more sketches and composing more
music.  While lying ill and very feeble within a few days of the
end, and not knowing whether it was to be the end or not, he said to
me:

"I am much better to-day.  I don't feel at all as though I were
going to die.  Of course, it will be all wrong if I do get well, for
there is my literary position to be considered.  First I write
Erewhon--that is my opening subject; then, after modulating freely
through all my other books and the music and so on, I return
gracefully to my original key and write Erewhon Revisited.
Obviously, now is the proper moment to come to a full close, make my
bow and retire; but I believe I am getting well after all.  It's
very inartistic, but I cannot help it."

Some of his readers complain that they often do not know whether he
is serious or jesting.  He wrote of Lord Beaconsfield:  "Earnestness
was his greatest danger, but if he did not quite overcome it (as
indeed who can? it is the last enemy that shall be subdued), he
managed to veil it with a fair amount of success."  To veil his own
earnestness he turned most naturally to humour, employing it in a
spirit of reverence, as all the great humorists have done, to
express his deepest and most serious convictions.  He was aware that
he ran the risk of being misunderstood by some, but he also knew
that it is useless to try to please all, and, like Mozart, he wrote
to please himself and a few intimate friends.

I cannot speak at length of his kindness, consideration, and
sympathy; nor of his generosity, the extent of which was very great
and can never be known--it was sometimes exercised in unexpected
ways, as when he gave my laundress a shilling because it was "such a
beastly foggy morning"; nor of his slightly archaic courtliness--
unless among people he knew well he usually left the room backwards,
bowing to the company; nor of his punctiliousness, industry, and
painstaking attention to detail--he kept accurate accounts not only
of all his property by double entry but also of his daily
expenditure, which he balanced to a halfpenny every evening, and his
handwriting, always beautiful and legible, was more so at sixty-six
than at twenty-six; nor of his patience and cheerfulness during
years of anxiety when he had few to sympathize with him; nor of the
strange mixture of simplicity and shrewdness that caused one who
knew him well to say:  "II sait tout; il ne sait rien; il est
poete."

Epitaphs always fascinated him, and formerly he used to say he
should like to be buried at Langar and to have on his tombstone the
subject of the last of Handel's Six Great Fugues.  He called this
"The Old Man Fugue," and said it was like an epitaph composed for
himself by one who was very old and tired and sorry for things; and
he made young Ernest Pontifex in The Way of all Flesh offer it to
Edward Overton as an epitaph for his Aunt Alethea.  Butler, however,
left off wanting any tombstone long before he died.  In accordance
with his wish his body was cremated, and a week later Alfred and I
returned to Woking and buried his ashes under the shrubs in the
garden of the crematorium, with nothing to mark the spot.



The Humour of Homer {59}


The first of the two great poems commonly ascribed to Homer is
called the Iliad--a title which we may be sure was not given it by
the author.  It professes to treat of a quarrel between Agamemnon
and Achilles that broke out while the Greeks were besieging the city
of Troy, and it does, indeed, deal largely with the consequences of
this quarrel; whether, however, the ostensible subject did not
conceal another that was nearer the poet's heart--I mean the last
days, death, and burial of Hector--is a point that I cannot
determine.  Nor yet can I determine how much of the Iliad as we now
have it is by Homer, and how much by a later writer or writers.
This is a very vexed question, but I myself believe the Iliad to be
entirely by a single poet.

The second poem commonly ascribed to the same author is called the
Odyssey.  It deals with the adventures of Ulysses during his ten
years of wandering after Troy had fallen.  These two works have of
late years been believed to be by different authors.  The Iliad is
now generally held to be the older work by some one or two hundred
years.

The leading ideas of the Iliad are love, war, and plunder, though
this last is less insisted on than the other two.  The key-note is
struck with a woman's charms, and a quarrel among men for their
possession.  It is a woman who is at the bottom of the Trojan war
itself.  Woman throughout the Iliad is a being to be loved, teased,
laughed at, and if necessary carried off.  We are told in one place
of a fine bronze cauldron for heating water which was worth twenty
oxen, whereas a few lines lower down a good serviceable maid-of-all-
work is valued at four oxen.  I think there is a spice of malicious
humour in this valuation, and am confirmed in this opinion by noting
that though woman in the Iliad is on one occasion depicted as a wife
so faithful and affectionate that nothing more perfect can be found
either in real life or fiction, yet as a general rule she is drawn
as teasing, scolding, thwarting, contradicting, and hoodwinking the
sex that has the effrontery to deem itself her lord and master.
Whether or no this view may have arisen from any domestic
difficulties between Homer and his wife is a point which again I
find it impossible to determine.

We cannot refrain from contemplating such possibilities.  If we are
to be at home with Homer there must be no sitting on the edge of
one's chair dazzled by the splendour of his reputation.  He was
after all only a literary man, and those who occupy themselves with
letters must approach him as a very honoured member of their own
fraternity, but still as one who must have felt, thought, and acted
much as themselves.  He struck oil, while we for the most part
succeed in boring only; still we are his literary brethren, and if
we would read his lines intelligently we must also read between
them.  That one so shrewd, and yet a dreamer of such dreams as have
been vouchsafed to few indeed besides himself--that one so genially
sceptical, and so given to looking into the heart of a matter,
should have been in such perfect harmony with his surroundings as to
think himself in the best of all possible worlds--this is not
believable.  The world is always more or less out of joint to the
poet--generally more so; and unfortunately he always thinks it more
or less his business to set it right--generally more so.  We are all
of us more or less poets--generally, indeed, less so; still we feel
and think, and to think at all is to be out of harmony with much
that we think about.  We may be sure, then, that Homer had his full
share of troubles, and also that traces of these abound up and down
his work if we could only identify them, for everything that
everyone does is in some measure a portrait of himself; but here
comes the difficulty--not to read between the lines, not to try and
detect the hidden features of the writer--this is to be a dull,
unsympathetic, incurious reader; and on the other hand to try and
read between them is to be in danger of running after every Will o'
the Wisp that conceit may raise for our delusion.

I believe it will help you better to understand the broad humour of
the Iliad, which we shall presently reach, if you will allow me to
say a little more about the general characteristics of the poem.
Over and above the love and war that are his main themes, there is
another which the author never loses sight of--I mean distrust and
dislike of the ideas of his time as regards the gods and omens.  No
poet ever made gods in his own image more defiantly than the author
of the Iliad.  In the likeness of man created he them, and the only
excuse for him is that he obviously desired his readers not to take
them seriously.  This at least is the impression he leaves upon his
reader, and when so great a man as Homer leaves an impression it
must be presumed that he does so intentionally.  It may be almost
said that he has made the gods take the worse, not the better, side
of man's nature upon them, and to be in all respects as we
ourselves--yet without virtue.  It should be noted, however, that
the gods on the Trojan side are treated far more leniently than
those who help the Greeks.

The chief gods on the Grecian side are Juno, Minerva, and Neptune.
Juno, as you will shortly see, is a scolding wife, who in spite of
all Jove's bluster wears the breeches, or tries exceedingly hard to
do so.  Minerva is an angry termagant--mean, mischief-making, and
vindictive.  She begins by pulling Achilles' hair, and later on she
knocks the helmet from off the head of Mars.  She hates Venus, and
tells the Grecian hero Diomede that he had better not wound any of
the other gods, but that he is to hit Venus if he can, which he
presently does 'because he sees that she is feeble and not like
Minerva or Bellona.'  Neptune is a bitter hater.

Apollo, Mars, Venus, Diana, and Jove, so far as his wife will let
him, are on the Trojan side.  These, as I have said, meet with
better, though still somewhat contemptuous, treatment at the poet's
hand.  Jove, however, is being mocked and laughed at from first to
last, and if one moral can be drawn from the Iliad more clearly than
another, it is that he is only to be trusted to a very limited
extent.  Homer's position, in fact, as regards divine interference
is the very opposite of David's.  David writes, "Put not your trust
in princes nor in any child of man; there is no sure help but from
the Lord."  With Homer it is, "Put not your trust in Jove neither in
any omen from heaven; there is but one good omen--to fight for one's
country.  Fortune favours the brave; heaven helps those who help
themselves."

The god who comes off best is Vulcan, the lame, hobbling, old
blacksmith, who is the laughing-stock of all the others, and whose
exquisitely graceful skilful workmanship forms such an effective
contrast to the uncouth exterior of the workman.  Him, as a man of
genius and an artist, and furthermore as a somewhat despised artist,
Homer treats, if with playfulness, still with respect, in spite of
the fact that circumstances have thrown him more on the side of the
Greeks than of the Trojans, with whom I understand Homer's
sympathies mainly to lie.

The poet either dislikes music or is at best insensible to it.
Great poets very commonly are so.  Achilles, indeed, does on one
occasion sing to his own accompaniment on the lyre, but we are not
told that it was any pleasure to hear him, and Patroclus, who was in
the tent at the time, was not enjoying it; he was only waiting for
Achilles to leave off.  But though not fond of music, Homer has a
very keen sense of the beauties of nature, and is constantly
referring both in and out of season to all manner of homely
incidents that are as familiar to us as to himself.  Sparks in the
train of a shooting-star; a cloud of dust upon a high road;
foresters going out to cut wood in a forest; the shrill cry of the
cicale; children making walls of sand on the sea-shore, or teasing
wasps when they have found a wasps' nest; a poor but very honest
woman who gains a pittance for her children by selling wool, and
weighs it very carefully; a child clinging to its mother's dress and
crying to be taken up and carried--none of these things escape him.
Neither in the Iliad nor the Odyssey do we ever receive so much as a
hint as to the time of year at which any of the events described are
happening; but on one occasion the author of the Iliad really has
told us that it was a very fine day, and this not from a business
point of view, but out of pure regard to the weather for its own
sake.

With one more observation I will conclude my preliminary remarks
about the Iliad.  I cannot find its author within the four corners
of the work itself.  I believe the writer of the Odyssey to appear
in the poem as a prominent and very fascinating character whom we
shall presently meet, but there is no one in the Iliad on whom I can
put my finger with even a passing idea that he may be the author.
Still, if under some severe penalty I were compelled to find him, I
should say it was just possible that he might consider his own lot
to have been more or less like that which he forecasts for Astyanax,
the infant son of Hector.  At any rate his intimate acquaintance
with the topography of Troy, which is now well ascertained, and
still more his obvious attempt to excuse the non-existence of a
great wall which, according to his story, ought to be there and
which he knew had never existed, so that no trace could remain,
while there were abundant traces of all the other features he
describes--these facts convince me that he was in all probability a
native of the Troad, or country round Troy.  His plausibly concealed
Trojan sympathies, and more particularly the aggravated exaggeration
with which the flight of Hector is described, suggest to me, coming
as they do from an astute and humorous writer, that he may have been
a Trojan, at any rate by the mother's side, made captive, enslaved,
compelled to sing the glories of his captors, and determined so to
overdo them that if his masters cannot see through the irony others
sooner or later shall.  This, however, is highly speculative, and
there are other views that are perhaps more true, but which I cannot
now consider.

I will now ask you to form your own opinions as to whether Homer is
or is not a shrewd and humorous writer.

Achilles, whose quarrel with Agamemnon is the ostensible subject of
the poem, is son to a marine goddess named Thetis, who had rendered
Jove an important service at a time when he was in great
difficulties.  Achilles, therefore, begs his mother Thetis to go up
to Jove and ask him to let the Trojans discomfit the Greeks for a
time, so that Agamemnon may find he cannot get on without Achilles'
help, and may thus be brought to reason.

Thetis tells her son that for the moment there is nothing to be
done, inasmuch as the gods are all of them away from home.  They are
gone to pay a visit to Oceanus in Central Africa, and will not be
back for another ten or twelve days; she will see what can be done,
however, as soon as ever they return.  This in due course she does,
going up to Olympus and laying hold of Jove by the knee and by the
chin.  I may say in passing that it is still a common Italian form
of salutation to catch people by the chin.  Twice during the last
summer I have been so seized in token of affectionate greeting, once
by a lady and once by a gentleman.

Thetis tells her tale to Jove, and concludes by saying that he is to
say straight out 'yes' or 'no' whether he will do what she asks.  Of
course he can please himself, but she should like to know how she
stands.

"It will be a plaguy business," answers Jove, "for me to offend Juno
and put up with all the bitter tongue she will give me.  As it is,
she is always nagging at me and saying I help the Trojans, still, go
away now at once before she finds out that you have been here, and
leave the rest to me.  See, I nod my head to you, and this is the
most solemn form of covenant into which I can enter.  I never go
back upon it, nor shilly-shally with anybody when I have once nodded
my head."  Which, by the way, amounts to an admission that he does
shilly-shally sometimes.

Then he frowns and nods, shaking the hair on his immortal head till
Olympus rocks again.  Thetis goes off under the sea and Jove returns
to his own palace.  All the other gods stand up when they see him
coming, for they do not dare to remain sitting while he passes, but
Juno knows he has been hatching mischief against the Greeks with
Thetis, so she attacks him in the following words:

"You traitorous scoundrel," she exclaims, "which of the gods have
you been taking into your counsel now?  You are always trying to
settle matters behind my back, and never tell me, if you can help
it, a single word about your designs."

"'Juno,' replied the father of gods and men, 'you must not expect to
be told everything that I am thinking about:  you are my wife, it is
true, but you might not be able always to understand my meaning; in
so far as it is proper for you to know of my intentions you are the
first person to whom I communicate them either among the gods or
among mankind, but there are certain points which I reserve entirely
for myself, and the less you try to pry into these, or meddle with
them, the better for you.'"

"'Dread son of Saturn,' answered Juno, 'what in the world are you
talking about?  I meddle and pry?  No one, I am sure, can have his
own way in everything more absolutely than you have.  Still I have a
strong misgiving that the old merman's daughter Thetis has been
talking you over.  I saw her hugging your knees this very self-same
morning, and I suspect you have been promising her to kill any
number of people down at the Grecian ships, in order to gratify
Achilles.'"

"'Wife,' replied Jove, 'I can do nothing but you suspect me.  You
will not do yourself any good, for the more you go on like that the
more I dislike you, and it may fare badly with you.  If I mean to
have it so, I mean to have it so, you had better therefore sit still
and hold your tongue as I tell you, for if I once begin to lay my
hands about you, there is not a god in heaven who will be of the
smallest use to you.'

"When Juno heard this she thought it better to submit, so she sat
down without a word, but all the gods throughout Jove's mansion were
very much perturbed.  Presently the cunning workman Vulcan tried to
pacify his mother Juno, and said, 'It will never do for you two to
go on quarrelling and setting heaven in an uproar about a pack of
mortals.  The thing will not bear talking about.  If such counsels
are to prevail a god will not be able to get his dinner in peace.
Let me then advise my mother (and I am sure it is her own opinion)
to make her peace with my dear father, lest he should scold her
still further, and spoil our banquet; for if he does wish to turn us
all out there can be no question about his being perfectly able to
do so.  Say something civil to him, therefore, and then perhaps he
will not hurt us.'

"As he spoke he took a large cup of nectar and put it into his
mother's hands, saying, 'Bear it, my dear mother, and make the best
of it.  I love you dearly and should be very sorry to see you get a
thrashing.  I should not be able to help you, for my father Jove is
not a safe person to differ from.  You know once before when I was
trying to help you he caught me by the foot and chucked me from the
heavenly threshold.  I was all day long falling from morn to eve,
but at sunset I came to ground on the island of Lemnos, and there
was very little life left in me, till the Sintians came and tended
me.'

"On this Juno smiled, and with a laugh took the cup from her son's
hand.  Then Vulcan went about among all other gods drawing nectar
for them from his goblet, and they laughed immoderately as they saw
him bustling about the heavenly mansion."

Then presently the gods go home to bed, each one in his own house
that Vulcan had cunningly built for him or her.  Finally Jove
himself went to the bed which he generally occupied; and Jove his
wife went with him.

There is another quarrel between Jove and Juno at the beginning of
the fourth book.

The gods are sitting on the golden floor of Jove's palace and
drinking one another's health in the nectar with which Hebe from
time to time supplies them.  Jove begins to tease Juno, and to
provoke her with some sarcastic remarks that are pointed at her
though not addressed to her directly.

"'Menelaus,' he exclaimed, 'has two good friends among the
goddesses, Juno and Minerva, but they only sit still and look on,
while Venus on the other hand takes much better care of Paris, and
defends him when he is in danger.  She has only just this moment
been rescuing him when he made sure he was at death's door, for the
victory really did lie with Menelaus.  We must think what we are to
do about all this.  Shall we renew strife between the combatants or
shall we make them friends again?  I think the best plan would be
for the City of Priam to remain unpillaged, but for Menelaus to have
his wife Helen sent back to him.'

"Minerva and Juno groaned in spirit when they heard this.  They were
sitting side by side, and thinking what mischief they could do to
the Trojans.  Minerva for her part said not one word, but sat
scowling at her father, for she was in a furious passion with him,
but Juno could not contain herself, so she said--

"'What, pray, son of Saturn, is all this about?  Is my trouble then
to go for nothing, and all the pains that I have taken, to say
nothing of my horses, and the way we have sweated and toiled to get
the people together against Priam and his children?  You can do as
you please, but you must not expect all of us to agree with you.'

"And Jove answered, 'Wife, what harm have Priam and Priam's children
done you that you rage so furiously against them, and want to sack
their city?  Will nothing do for you but you must eat Priam with his
sons and all the Trojans into the bargain?  Have it your own way
then, for I will not quarrel with you--only remember what I tell
you:  if at any time I want to sack a city that belongs to any
friend of yours, it will be no use your trying to hinder me, you
will have to let me do it, for I only yield to you now with the
greatest reluctance.  If there was one city under the sun which I
respected more than another it was Troy with its king and people.
My altars there have never been without the savour of fat or of
burnt sacrifice and all my dues were paid.'

"'My own favourite cities,' answered Juno, 'are Argos, Sparta, and
Mycenae.  Sack them whenever you may be displeased with them.  I
shall not make the smallest protest against your doing so.  It would
be no use if I did, for you are much stronger than I am, only I will
not submit to seeing my own work wasted.  I am a goddess of the same
race as yourself.  I am Saturn's eldest daughter and am not only
nearly related to you in blood, but I am wife to yourself, and you
are king over the gods.  Let it be a case, then, of give and take
between us, and the other gods will follow our lead.  Tell Minerva,
therefore, to go down at once and set the Greeks and Trojans by the
ears again, and let her so manage it that the Trojans shall break
their oaths and be the aggressors.'"

This is the very thing to suit Minerva, so she goes at once and
persuades the Trojans to break their oath.

In a later book we are told that Jove has positively forbidden the
gods to interfere further in the struggle.  Juno therefore
determines to hoodwink him.  First she bolted herself inside her own
room on the top of Mount Ida and had a thorough good wash.  Then she
scented herself, brushed her golden hair, put on her very best dress
and all her jewels.  When she had done this, she went to Venus and
besought her for the loan of her charms.

"'You must not be angry with me, Venus,' she began, 'for being on
the Grecian side while you are yourself on the Trojan; but you know
every one falls in love with you at once, and I want you to lend me
some of your attractions.  I have to pay a visit at the world's end
to Oceanus and Mother Tethys.  They took me in and were very good to
me when Jove turned Saturn out of heaven and shut him up under the
sea.  They have been quarrelling this long time past and will not
speak to one another.  So I must go and see them, for if I can only
make them friends again I am sure that they will be grateful to me
for ever afterwards.'"

Venus thought this reasonable, so she took off her girdle and lent
it to Juno, an act by the way which argues more good nature than
prudence on her part.  Then Juno goes down to Thrace, and in search
of Sleep the brother of Death.  She finds him and shakes hands with
him.  Then she tells him she is going up to Olympus to make love to
Jove, and that while she is occupying his attention Sleep is to send
him off into a deep slumber.

Sleep says he dares not do it.  He would lull any of the other gods,
but Juno must remember that she had got him into a great scrape once
before in this way, and Jove hurled the gods about all over the
palace, and would have made an end of him once for all, if he had
not fled under the protection of Night, whom Jove did not venture to
offend.

Juno bribes him, however, with a promise that if he will consent she
will marry him to the youngest of the Graces, Pasithea.  On this he
yields; the pair then go up to the top of Mount Ida, and Sleep gets
into a high pine tree just in front of Jove.

As soon as Jove sees Juno, armed as she for the moment was with all
the attractions of Venus, he falls desperately in love with her, and
says she is the only goddess he ever really loved.  True, there had
been the wife of Ixion and Danae, and Europa and Semele, and
Alcmena, and Latona, not to mention herself in days gone by, but he
never loved any of these as he now loved her, in spite of his having
been married to her for so many years.  What then does she want?

Juno tells him the same rigmarole about Oceanus and Mother Tethys
that she had told Venus, and when she has done Jove tries to embrace
her.

"What," exclaims Juno, "kiss me in such a public place as the top of
Mount Ida!  Impossible!  I could never show my face in Olympus
again, but I have a private room of my own and"--"What nonsense, my
love!" exclaims the sire of gods and men as he catches her in his
arms.  On this Sleep sends him into a deep slumber, and Juno then
sends Sleep to bid Neptune go off to help the Greeks at once.

When Jove awakes and finds the trick that has been played upon him,
he is very angry and blusters a good deal as usual, but somehow or
another it turns out that he has got to stand it and make the best
of it.

In an earlier book he has said that he is not surprised at anything
Juno may do, for she always has crossed him and always will; but he
cannot put up with such disobedience from his own daughter Minerva.
Somehow or another, however, here too as usual it turns out that he
has got to stand it.  "And then," Minerva exclaims in yet another
place (VIII. 373), "I suppose he will be calling me his grey-eyed
darling again, presently."

Towards the end of the poem the gods have a set-to among themselves.
Minerva sends Mars sprawling, Venus comes to his assistance, but
Minerva knocks her down and leaves her.  Neptune challenges Apollo,
but Apollo says it is not proper for a god to fight his own uncle,
and declines the contest.  His sister Diana taunts him with
cowardice, so Juno grips her by the wrist and boxes her ears till
she writhes again.  Latona, the mother of Apollo and Diana, then
challenges Mercury, but Mercury says that he is not going to fight
with any of Jove's wives, so if she chooses to say she has beaten
him she is welcome to do so.  Then Latona picks up poor Diana's bow
and arrows that have fallen from her during her encounter with Juno,
and Diana meanwhile flies up to the knees of her father Jove,
sobbing and sighing till her ambrosial robe trembles all around her.

"Jove drew her towards him, and smiling pleasantly exclaimed, 'My
dear child, which of the heavenly beings has been wicked enough to
behave in this way to you, as though you had been doing something
naughty?'

"'Your wife, Juno,' answered Diana, 'has been ill-treating me; all
our quarrels always begin with her.'"

* * * * *

The above extracts must suffice as examples of the kind of divine
comedy in which Homer brings the gods and goddesses upon the scene.
Among mortals the humour, what there is of it, is confined mainly to
the grim taunts which the heroes fling at one another when they are
fighting, and more especially to crowing over a fallen foe.  The
most subtle passage is the one in which Briseis, the captive woman
about whom Achilles and Agamemnon have quarrelled, is restored by
Agamemnon to Achilles.  Briseis on her return to the tent of
Achilles finds that while she has been with Agamemnon, Patroclus has
been killed by Hector, and his dead body is now lying in state.  She
flings herself upon the corpse and exclaims--

"How one misfortune does keep falling upon me after another!  I saw
the man to whom my father and mother had married me killed before my
eyes, and my three own dear brothers perished along with him; but
you, Patroclus, even when Achilles was sacking our city and killing
my husband, told me that I was not to cry; for you said that
Achilles himself should marry me, and take me back with him to
Phthia, where we should have a wedding feast among the Myrmidons.
You were always kind to me, and I should never cease to grieve for
you."

This may of course be seriously intended, but Homer was an acute
writer, and if we had met with such a passage in Thackeray we should
have taken him to mean that so long as a woman can get a new
husband, she does not much care about losing the old one--a
sentiment which I hope no one will imagine that I for one moment
endorse or approve of, and which I can only explain as a piece of
sarcasm aimed possibly at Mrs. Homer.

* * * * *

And now let us turn to the Odyssey, a work which I myself think of
as the Iliad's better half or wife.  Here we have a poem of more
varied interest, instinct with not less genius, and on the whole I
should say, if less robust, nevertheless of still greater
fascination--one, moreover, the irony of which is pointed neither at
gods nor woman, but with one single and perhaps intercalated
exception, at man.  Gods and women may sometimes do wrong things,
but, except as regards the intrigue between Mars and Venus just
referred to, they are never laughed at.  The scepticism of the Iliad
is that of Hume or Gibbon; that of the Odyssey (if any) is like the
occasional mild irreverence of the Vicar's daughter.  When Jove says
he will do a thing, there is no uncertainty about his doing it.
Juno hardly appears at all, and when she does she never quarrels
with her husband.  Minerva has more to do than any of the other gods
or goddesses, but she has nothing in common with the Minerva whom we
have already seen in the Iliad.  In the Odyssey she is the fairy
god-mother who seems to have no object in life but to protect
Ulysses and Telemachus, and keep them straight at any touch and turn
of difficulty.  If she has any other function, it is to be patroness
of the arts and of all intellectual development.  The Minerva of the
Odyssey may indeed sit on a rafter like a swallow and hold up her
aegis to strike panic into the suitors while Ulysses kills them; but
she is a perfect lady, and would no more knock Mars and Venus down
one after the other than she would stand on her head.  She is, in
fact, a distinct person in all respects from the Minerva of the
Iliad.  Of the remaining gods Neptune, as the persecutor of the
hero, comes worst off; but even he is treated as though he were a
very important person.

In the Odyssey the gods no longer live in houses and sleep in four-
post bedsteads, but the conception of their abode, like that of
their existence altogether, is far more spiritual.  Nobody knows
exactly where they live, but they say it is in Olympus, where there
is neither rain nor hail nor snow, and the wind never beats roughly;
but it abides in everlasting sunshine, and in great peacefulness of
light wherein the blessed gods are illumined for ever and ever.  It
is hardly possible to conceive anything more different from the
Olympus of the Iliad.

Another very material point of difference between the Iliad and the
Odyssey lies in the fact that the Homer of the Iliad always knows
what he is talking about, while the supposed Homer of the Odyssey
often makes mistakes that betray an almost incredible ignorance of
detail.  Thus the giant Polyphemus drives in his ewes home from
their pasture, and milks them.  The lambs of course have not been
running with them; they have been left in the yards, so they have
had nothing to eat.  When he has milked the ewes, the giant lets
each one of them have her lamb--to get, I suppose, what strippings
it can, and beyond this what milk the ewe may yield during the
night.  In the morning, however, Polyphemus milks the ewes again.
Hence it is plain either that he expected his lambs to thrive on one
pull per diem at a milked ewe, and to be kind enough not to suck
their mothers, though left with them all night through, or else that
the writer of the Odyssey had very hazy notions about the relations
between lambs and ewes, and of the ordinary methods of procedure on
an upland dairy-farm.

In nautical matters the same inexperience is betrayed.  The writer
knows all about the corn and wine that must be put on board; the
store-room in which these are kept and the getting of them are
described inimitably, but there the knowledge ends; the other things
put on board are "the things that are generally taken on board
ships."  So on a voyage we are told that the sailors do whatever is
wanted doing, but we have no details.  There is a shipwreck, which
does duty more than once without the alteration of a word.  I have
seen such a shipwreck at Drury Lane.  Anyone, moreover, who reads
any authentic account of actual adventures will perceive at once
that those of the Odyssey are the creation of one who has had no
history.  Ulysses has to make a raft; he makes it about as broad as
they generally make a good big ship, but we do not seem to have been
at the pains to measure a good big ship.

I will add no more however on this head.  The leading
characteristics of the Iliad, as we saw, were love, war, and
plunder.  The leading idea of the Odyssey is the infatuation of man,
and the key-note is struck in the opening paragraph, where we are
told how the sailors of Ulysses must needs, in spite of every
warning, kill and eat the cattle of the sun-god, and perished
accordingly.

A few lines lower down the same note is struck with even greater
emphasis.  The gods have met in council, and Jove happens at the
moment to be thinking of AEgisthus, who had met his death at the
hand of Agamemnon's son Orestes, in spite of the solemn warning that
Jove had sent him through the mouth of Mercury.  It does not seem
necessary for Jove to turn his attention to Clytemnestra, the
partner of AEgisthus's guilt.  Of this lady we are presently told
that she was naturally of an excellent disposition, and would never
have gone wrong but for the loss of the protector in whose charge
Agamemnon had left her.  When she was left alone without an adviser--
well, if a base designing man took to flattering and misleading
her--what else could be expected?  The infatuation of man, with its
corollary, the superior excellence of woman, is the leading theme;
next to this come art, religion, and, I am almost ashamed to add,
money.  There is no love-business in the Odyssey except the return
of a bald elderly married man to his elderly wife and grown-up son
after an absence of twenty years, and furious at having been robbed
of so much money in the meantime.  But this can hardly be called
love-business; it is at the utmost domesticity.  There is a charming
young princess, Nausicaa, but though she affects a passing
tenderness for the elderly hero of her creation as soon as Minerva
has curled his bald old hair for him and tittivated him up all over,
she makes it abundantly plain that she will not look at a single one
of her actual flesh and blood admirers.  There is a leading young
gentleman, Telemachus, who is nothing if he is not [Greek], or
canny, well-principled, and discreet; he has an amiable and most
sensible young male friend who says that he does not like crying at
meal times--he will cry in the forenoon on an empty stomach as much
as anyone pleases, but he cannot attend properly to his dinner and
cry at the same time.  Well, there is no lady provided either for
this nice young man or for Telemachus.  They are left high and dry
as bachelors.  Two goddesses indeed, Circe and Calypso, do one after
the other take possession of Ulysses, but the way in which he
accepts a situation which after all was none of his seeking, and
which it is plain he does not care two straws about, is, I believe,
dictated solely by a desire to exhibit the easy infidelity of
Ulysses himself in contrast with the unswerving constancy and
fidelity of his wife Penelope.  Throughout the Odyssey the men do
not really care for women, nor the women for men; they have to
pretend to do so now and again, but it is a got-up thing, and the
general attitude of the sexes towards one another is very much that
of Helen, who says that her husband Menelaus is really not deficient
in person or understanding:  or again of Penelope herself, who, on
being asked by Ulysses on his return what she thought of him, said
that she did not think very much of him nor very little of him; in
fact, she did not think much about him one way or the other.  True,
later on she relents and becomes more effusive; in fact, when she
and Ulysses sat up talking in bed and Ulysses told her the story of
his adventures, she never went to sleep once.  Ulysses never had to
nudge her with his elbow and say, "Come, wake up, Penelope, you are
not listening"; but, in spite of the devotion exhibited here, the
love-business in the Odyssey is artificial and described by one who
had never felt it, whereas in the Iliad it is spontaneous and
obviously genuine, as by one who knows all about it perfectly well.
The love-business in fact of the Odyssey is turned on as we turn on
the gas--when we cannot get on without it, but not otherwise.

A fascinating brilliant girl, who naturally adopts for her patroness
the blue-stocking Minerva; a man-hatress, as clever girls so often
are, and determined to pay the author of the Iliad out for his
treatment of her sex by insisting on its superior moral, not to say
intellectual, capacity, and on the self-sufficient imbecility of man
unless he has a woman always at his elbow to keep him tolerably
straight and in his proper place--this, and not the musty fusty old
bust we see in libraries, is the kind of person who I believe wrote
the Odyssey.  Of course in reality the work must be written by a
man, because they say so at Oxford and Cambridge, and they know
everything down in Oxford and Cambridge; but I venture to say that
if the Odyssey were to appear anonymously for the first time now,
and to be sent round to the papers for review, there is not even a
professional critic who would not see that it is a woman's writing
and not a man's.  But letting this pass, I can hardly doubt, for
reasons which I gave in yesterday's Athenaeum, and for others that I
cannot now insist upon, that the poem was written by a native of
Trapani on the coast of Sicily, near Marsala.  Fancy what the
position of a young, ardent, brilliant woman must have been in a
small Sicilian sea-port, say some eight or nine hundred years before
the birth of Christ.  It makes one shudder to think of it.  Night
after night she hears the dreary blind old bard Demodocus drawl out
his interminable recitals taken from our present Iliad, or from some
other of the many poems now lost that dealt with the adventures of
the Greeks before Troy or on their homeward journey.  Man and his
doings! always the same old story, and woman always to be treated
either as a toy or as a beast of burden, or at any rate as an
incubus.  Why not sing of woman also as she is when she is
unattached and free from the trammels and persecutions of this
tiresome tyrant, this insufferably self-conceited bore and booby,
man?

"I wish, my dear," exclaims her mother Arete, after one of these
little outbreaks, "that you would do it yourself.  I am sure you
could do it beautifully if you would only give your mind to it."

"Very well, mother," she replies, "and I will bring in all about you
and father, and how I go out for a washing-day with the maids,"--and
she kept her word, as I will presently show you.

I should tell you that Ulysses, having got away from the goddess
Calypso, with whom he had been living for some seven or eight years
on a lonely and very distant island in mid-ocean, is shipwrecked on
the coast of Phaeacia, the chief town of which is Scheria.  After
swimming some forty-eight hours in the water he effects a landing at
the mouth of a stream, and, not having a rag of clothes on his back,
covers himself up under a heap of dried leaves and goes to sleep.  I
will now translate from the Odyssey itself.

"So here Ulysses slept, worn out with labour and sorrow; but Minerva
went off to the chief town of the Phaeacians, a people who used to
live in Hypereia near the wicked Cyclopes.  Now the Cyclopes were
stronger than they and plundered them, so Nausithous settled them in
Scheria far from those who would loot them.  He ran a wall round
about the city, built houses and temples, and allotted the lands
among his people; but he was gathered to his fathers, and the good
king Alcinous was now reigning.  To his palace then Minerva hastened
that she might help Ulysses to get home.

"She went straight to the painted bedroom of Nausicaa, who was
daughter to King Alcinous, and lovely as a goddess.  Near her there
slept two maids-in-waiting, both very pretty, one on either side of
the doorway, which was closed with a beautifully made door.  She
took the form of the famous Captain Dumas's daughter, who was a
bosom friend of Nausicaa and just her own age; then coming into the
room like a breath of wind she stood near the head of the bed and
said--

"'Nausicaa, what could your mother have been about to have such a
lazy daughter?  Here are your clothes all lying in disorder, yet you
are going to be married almost directly, and should not only be
well-dressed yourself, but should see that those about you look
clean and tidy also.  This is the way to make people speak well of
you, and it will please your father and mother, so suppose we make
to-morrow a washing day, and begin the first thing in the morning.
I will come and help you, for all the best young men among your own
people are courting you, and you are not going to remain a maid much
longer.  Ask your father, then, to have a horse and cart ready for
us at daybreak to take the linen and baskets, and you can ride too,
which will be much pleasanter for you than walking, for the washing
ground is a long way out of the town.'

"When she had thus spoken Minerva went back to Olympus.  By and by
morning came, and as soon as Nausicaa woke she began thinking about
her dream.  She went to the other end of the house to tell her
father and mother all about it, and found them in their own room.
Her mother was sitting by the fireside spinning with her maids-in-
waiting all around her, and she happened to catch her father just as
he was going out to attend a meeting of the Town Council which the
Phaeacian aldermen had convened.  So she stopped him and said,
'Papa, dear, could you manage to let me have a good big waggon?  I
want to take all our dirty clothes to the river and wash them.  You
are the chief man here, so you ought to have a clean shirt on when
you attend meetings of the Council.  Moreover, you have five sons at
home, two of them married and the other three are good-looking young
bachelors; you know they always like to have clean linen when they
go out to a dance, and I have been thinking about all this.'"

You will observe that though Nausicaa dreams that she is going to be
married shortly, and that all the best young men of Scheria are in
love with her, she does not dream that she has fallen in love with
any one of them in particular, and that thus every preparation is
made for her getting married except the selection of the bridegroom.

You will also note that Nausicaa has to keep her father up to
putting a clean shirt on when he ought to have one, whereas her
young brothers appear to keep herself up to having a clean shirt
ready for them when they want one.  These little touches are so
lifelike and so feminine that they suggest drawing from life by a
female member of Alcinous's own family who knew his character from
behind the scenes.

I would also say before proceeding further that in some parts of
France and Germany it is still the custom to have but one or at most
two great washing days in the year.  Each household is provided with
an enormous quantity of linen, which when dirty is just soaked and
rinsed, and then put aside till the great washing day of the year.
This is why Nausicaa wants a waggon, and has to go so far afield.
If it was only a few collars and a pocket-handkerchief or two she
could no doubt have found water enough near at hand.  The big spring
or autumn wash, however, is evidently intended.

Returning now to the Odyssey, when he had heard what Nausicaa wanted
Alcinous said:

"'You shall have the mules, my love, and whatever else you have a
mind for, so be off with you.'

"Then he told the servants, and they got the waggon out and
harnessed the mules, while the princess brought the clothes down
from the linen room and placed them on the waggon.  Her mother got
ready a nice basket of provisions with all sorts of good things, and
a goatskin full of wine.  The princess now got into the waggon, and
her mother gave her a golden cruse of oil that she and her maids
might anoint themselves.

"Then Nausicaa took the whip and reins and gave the mules a touch
which sent them off at a good pace.  They pulled without nagging,
and carried not only Nausicaa and her wash of clothes, but the women
also who were with her.

"When they got to the river they went to the washing pools, through
which even in summer there ran enough pure water to wash any
quantity of linen, no matter how dirty.  Here they unharnessed the
mules and turned them out to feed in the sweet juicy grass that grew
by the river-side.  They got the clothes out of the waggon, brought
them to the water, and vied with one another in treading upon them
and banging them about to get the dirt out of them.  When they had
got them quite clean, they laid them out by the seaside where the
waves had raised a high beach of shingle, and set about washing and
anointing themselves with olive oil.  Then they got their dinner by
the side of the river, and waited for the sun to finish drying the
clothes.  By and by, after dinner, they took off their head-dresses
and began to play at ball, and Nausicaa sang to them."

I think you will agree with me that there is no haziness--no milking
of ewes that have had a lamb with them all night--here.  The writer
is at home and on her own ground.

"When they had done folding the clothes and were putting the mules
to the waggon before starting home again, Minerva thought it was
time Ulysses should wake up and see the handsome girl who was to
take him to the city of the Phaeacians.  So the princess threw a
ball at one of the maids, which missed the maid and fell into the
water.  On this they all shouted, and the noise they made woke up
Ulysses, who sat up in his bed of leaves and wondered where in the
world he could have got to.

"Then he crept from under the bush beneath which he had slept, broke
off a thick bough so as to cover his nakedness, and advanced towards
Nausicaa and her maids; these last all ran away, but Nausicaa stood
her ground, for Minerva had put courage into her heart, so she kept
quite still, and Ulysses could not make up his mind whether it would
be better to go up to her, throw himself at her feet, and embrace
her knees as a suppliant--[in which case, of course, he would have
to drop the bough] or whether it would be better for him to make an
apology to her at a reasonable distance, and ask her to be good
enough to give him some clothes and show him the way to the town.
On the whole he thought it would be better to keep at arm's length,
in case the princess should take offence at his coming too near
her."

Let me say in passing that this is one of many passages which have
led me to conclude that the Odyssey is written by a woman.  A girl,
such as Nausicaa describes herself, young, unmarried, unattached,
and hence, after all, knowing little of what men feel on these
matters, having by a cruel freak of inspiration got her hero into
such an awkward predicament, might conceivably imagine that he would
argue as she represents him, but no man, except such a woman's
tailor as could never have written such a masterpiece as the
Odyssey, would ever get his hero into such an undignified scrape at
all, much less represent him as arguing as Ulysses does.  I suppose
Minerva was so busy making Nausicaa brave that she had no time to
put a little sense into Ulysses' head, and remind him that he was
nothing if not full of sagacity and resource.  To return--

Ulysses now begins with the most judicious apology that his unaided
imagination can suggest.  "I beg your ladyship's pardon," he
exclaims, "but are you goddess or are you a mortal woman?  If you
are a goddess and live in heaven, there can be no doubt but you are
Jove's daughter Diana, for your face and figure are exactly like
hers," and so on in a long speech which I need not further quote
from.

"Stranger," replied Nausicaa, as soon as the speech was ended, "you
seem to be a very sensible well-disposed person.  There is no
accounting for luck; Jove gives good or ill to every man, just as he
chooses, so you must take your lot, and make the best of it."  She
then tells him she will give him clothes and everything else that a
foreigner in distress can reasonably expect.  She calls back her
maids, scolds them for running away, and tells them to take Ulysses
and wash him in the river after giving him something to eat and
drink.  So the maids give him the little gold cruse of oil and tell
him to go and wash himself, and as they seem to have completely
recovered from their alarm, Ulysses is compelled to say, "Young
ladies, please stand a little on one side, that I may wash the brine
from off my shoulders and anoint myself with oil; for it is long
enough since my skin has had a drop of oil upon it.  I cannot wash
as long as you keep standing there.  I have no clothes on, and it
makes me very uncomfortable."

So they stood aside and went and told Nausicaa.  Meanwhile (I am
translating closely), "Minerva made him look taller and stronger
than before; she gave him some more hair on the top of his head, and
made it flow down in curls most beautifully; in fact she glorified
him about the head and shoulders as a cunning workman who has
studied under Vulcan or Minerva enriches a fine piece of plate by
gilding it."

Again I argue that I am reading a description of as it were a
prehistoric Mr. Knightley by a not less prehistoric Jane Austen--
with this difference that I believe Nausicaa is quietly laughing at
her hero and sees through him, whereas Jane Austen takes Mr.
Knightley seriously.

"Hush, my pretty maids," exclaimed Nausicaa as soon as she saw
Ulysses coming back with his hair curled, "hush, for I want to say
something.  I believe the gods in heaven have sent this man here.
There is something very remarkable about him.  When I first saw him
I thought him quite plain and commonplace, and now I consider him
one of the handsomest men I ever saw in my life.  I should like my
future husband [who, it is plain, then, is not yet decided upon] to
be just such another as he is, if he would only stay here, and not
want to go away.  However, give him something to eat and drink."

Nausicaa now says they must be starting homeward; so she tells
Ulysses that she will drive on first herself, but that he is to
follow after her with the maids.  She does not want to be seen
coming into the town with him; and then follows another passage
which clearly shows that for all the talk she has made about getting
married she has no present intention of changing her name.

"'I am afraid,' she says, 'of the gossip and scandal which may be
set on foot about me behind my back, for there are some very ill-
natured people in the town, and some low fellow, if he met us, might
say, 'Who is this fine-looking stranger who is going about with
Nausicaa?  Where did she pick him up?  I suppose she is going to
marry him, or perhaps he is some shipwrecked sailor from foreign
parts; or has some god come down from heaven in answer to her
prayers, and she is going to live with him?  It would be a good
thing if she would take herself off and find a husband somewhere
else, for she will not look at one of the many excellent young
Phaeacians who are in love with her'; and I could not complain, for
I should myself think ill of any girl whom I saw going about with
men unknown to her father and mother, and without having been
married to him in the face of all the world.'"

This passage could never have been written by the local bard, who
was in great measure dependent on Nausicaa's family; he would never
speak thus of his patron's daughter; either the passage is
Nausicaa's apology for herself, written by herself, or it is pure
invention, and this last, considering the close adherence to the
actual topography of Trapani on the Sicilian Coast, and a great deal
else that I cannot lay before you here, appears to me improbable.

Nausicaa then gives Ulysses directions by which he can find her
father's house.  "When you have got past the courtyard," she says,
"go straight through the main hall, till you come to my mother's
room.  You will find her sitting by the fire and spinning her purple
wool by firelight.  She will make a lovely picture as she leans back
against a column with her maids ranged behind her.  Facing her
stands my father's seat in which he sits and topes like an immortal
god.  Never mind him, but go up to my mother and lay your hands upon
her knees, if you would be forwarded on your homeward voyage."  From
which I conclude that Arete ruled Alcinous, and Nausicaa ruled
Arete.

Ulysses follows his instructions aided by Minerva, who makes him
invisible as he passes through the town and through the crowds of
Phaeacian guests who are feasting in the king's palace.  When he has
reached the queen, the cloak of thick darkness falls off, and he is
revealed to all present, kneeling at the feet of Queen Arete, to
whom he makes his appeal.  It has already been made apparent in a
passage extolling her virtue at some length, but which I have not
been able to quote, that Queen Arete is, in the eyes of the writer,
a much more important person than her husband Alcinous.

Every one, of course, is very much surprised at seeing Ulysses, but
after a little discussion, from which it appears that the writer
considers Alcinous to be a person who requires a good deal of
keeping straight in other matters besides clean linen, it is settled
that Ulysses shall be feted on the following day and then escorted
home.  Ulysses now has supper and remains with Alcinous and Arete
after the other guests are gone away for the night.  So the three
sit by the fire while the servants take away the things, and Arete
is the first to speak.  She has been uneasy for some time about
Ulysses' clothes, which she recognized as her own make, and at last
she says, "Stranger, there is a question or two that I should like
to put to you myself.  Who in the world are you?  And who gave you
those clothes?  Did you not say you had come here from beyond the
seas?"

Ulysses explains matters, but still withholds his name, nevertheless
Alcinous (who seems to have shared in the general opinion that it
was high time his daughter got married, and that, provided she
married somebody, it did not much matter who the bridegroom might
be) exclaimed, "By Father Jove, Minerva, and Apollo, now that I see
what kind of a person you are and how exactly our opinions coincide
upon every subject, I should so like it if you would stay with us
always, marry Nausicaa, and become my son-in-law."  Ulysses turns
the conversation immediately, and meanwhile Queen Arete told her
maids to put a bed in the corridor, and make it with red blankets,
and it was to have at least one counterpane.  They were also to put
a woollen nightgown for Ulysses.  "The maids took a torch, and made
the bed as fast as they could:  when they had done so they came up
to Ulysses and said, 'This way, sir, if you please, your room is
quite ready'; and Ulysses was very glad to hear them say so."

On the following day Alcinous holds a meeting of the Phaeacians and
proposes that Ulysses should have a ship got ready to take him home
at once:  this being settled he invites all the leading people, and
the fifty-two sailors who are to man Ulysses' ship, to come up to
his own house, and he will give them a banquet--for which he kills a
dozen sheep, eight pigs, and two oxen.  Immediately after gorging
themselves at the banquet they have a series of athletic
competitions, and from this I gather the poem to have been written
by one who saw nothing very odd in letting people compete in sports
requiring very violent exercise immediately after a heavy meal.
Such a course may have been usual in those days, but certainly is
not generally adopted in our own.

At the games Alcinous makes himself as ridiculous as he always does,
and Ulysses behaves much as the hero of the preceding afternoon
might be expected to do--but on his praising the Phaeacians towards
the close of the proceedings Alcinous says he is a person of such
singular judgment that they really must all of them make him a very
handsome present.  "Twelve of you," he exclaims, "are magistrates,
and there is myself--that makes thirteen; suppose we give him each
one of us a clean cloak, a tunic, and a talent of gold,"--which in
those days was worth about two hundred and fifty pounds.

This is unanimously agreed to, and in the evening, towards sundown,
the presents began to make their appearance at the palace of King
Alcinous, and the king's sons, perhaps prudently as you will
presently see, place them in the keeping of their mother Arete.

When the presents have all arrived, Alcinous says to Arete, "Wife,
go and fetch the best chest we have, and put a clean cloak and a
tunic in it.  In the meantime Ulysses will take a bath."

Arete orders the maids to heat a bath, brings the chest, packs up
the raiment and gold which the Phaeacians have brought, and adds a
cloak and a good tunic as King Alcinous's own contribution.

Yes, but where--and that is what we are never told--is the 250
pounds which he ought to have contributed as well as the cloak and
tunic?  And where is the beautiful gold goblet which he had also
promised?

"See to the fastening yourself," says Queen Arete to Ulysses, "for
fear anyone should rob you while you are asleep in the ship."

Ulysses, we may be sure, was well aware that Alcinous's 250 pounds
was not in the box, nor yet the goblet, but he took the hint at once
and made the chest fast without the delay of a moment, with a bond
which the cunning goddess Circe had taught him.

He does not seem to have thought his chance of getting the 250
pounds and the goblet, and having to unpack his box again, was so
great as his chance of having his box tampered with before he got it
away, if he neglected to double-lock it at once and put the key in
his pocket.  He has always a keen eye to money; indeed the whole
Odyssey turns on what is substantially a money quarrel, so this time
without the prompting of Minerva he does one of the very few
sensible things which he does, on his own account, throughout the
whole poem.

Supper is now served, and when it is over, Ulysses, pressed by
Alcinous, announces his name and begins the story of his adventures.

It is with profound regret that I find myself unable to quote any of
the fascinating episodes with which his narrative abounds, but I
have said I was going to lecture on the humour of Homer--that is to
say of the Iliad and the Odyssey--and must not be diverted from my
subject.  I cannot, however, resist the account which Ulysses gives
of his meeting with his mother in Hades, the place of departed
spirits, which he has visited by the advice of Circe.  His mother
comes up to him and asks him how he managed to get into Hades, being
still alive.  I will translate freely, but quite closely, from
Ulysses' own words, as spoken to the Phaeacians.

"And I said, 'Mother, I had to come here to consult the ghost of the
old Theban prophet Teiresias, I have never yet been near Greece, nor
set foot on my native land, and have had nothing but one long run of
ill luck from the day I set out with Agamemnon to fight at Troy.
But tell me how you came here yourself?  Did you have a long and
painful illness or did heaven vouchsafe you a gentle easy passage to
eternity?  Tell me also about my father and my son?  Is my property
still in their hands, or has someone else got hold of it who thinks
that I shall not return to claim it?  How, again, is my wife
conducting herself?  Does she live with her son and make a home for
him, or has she married again?'

"My mother answered, 'Your wife is still mistress of your house, but
she is in very great straits and spends the greater part of her time
in tears.  No one has actually taken possession of your property,
and Telemachus still holds it.  He has to accept a great many
invitations, and gives much the sort of entertainments in return
that may be expected from one in his position.  Your father remains
in the old place, and never goes near the town; he is very badly
off, and has neither bed nor bedding, nor a stick of furniture of
any kind.  In winter he sleeps on the floor in front of the fire
with the men, and his clothes are in a shocking state, but in
summer, when the warm weather comes on again, he sleeps out in the
vineyard on a bed of vine leaves.  He takes on very much about your
not having returned, and suffers more and more as he grows older:
as for me I died of nothing whatever in the world but grief about
yourself.  There was not a thing the matter with me, but my
prolonged anxiety on your account was too much for me, and in the
end it just wore me out.'"

In the course of time Ulysses comes to a pause in his narrative and
Queen Arete makes a little speech.

"'What do you think,' she said to the Phaeacians, 'of such a guest
as this?  Did you ever see anyone at once so good-looking and so
clever?  It is true, indeed, that his visit is paid more
particularly to myself, but you all participate in the honour
conferred upon us by a visitor of such distinction.  Do not be in a
hurry to send him off, nor stingy in the presents you make to one in
so great need; for you are all of you very well off.'"

You will note that the queen does not say "_we_ are all of _us_ very
well off."

"Then the hero Echeneus, who was the oldest man among them, added a
few words of his own.  'My friends,' he said, 'there cannot be two
opinions about the graciousness and sagacity of the remarks that
have just fallen from Her Majesty; nevertheless it is with His
Majesty King Alcinous that the decision must ultimately rest.'

"'The thing shall be done,' exclaimed Alcinous, 'if I am still king
over the Phaeacians.  As for our guest, I know he is anxious to
resume his journey, still we must persuade him if we can to stay
with us until to-morrow, by which time I shall be able to get
together the balance of the sum which I mean to press on his
acceptance.'"

So here we have it straight out that the monarch knew he had only
contributed the coat and waistcoat, and did not know exactly how he
was to lay his hands on the 250 pounds.  What with piracy--for we
have been told of at least one case in which Alcinous had looted a
town and stolen his housemaid Eurymedusa--what with insufficient
changes of linen, toping like an immortal god, swaggering at large,
and open-handed hospitality, it is plain and by no means surprising
that Alcinous is out at elbows; nor can there be a better example of
the difference between the occasional broad comedy of the Iliad and
the delicate but very bitter satire of the Odyssey than the way in
which the fact that Alcinous is in money difficulties is allowed to
steal upon us, as contrasted with the obvious humour of the quarrels
between Jove and Juno.  At any rate we can hardly wonder at Ulysses
having felt that to a monarch of such mixed character the unfastened
box might prove a temptation greater than he could resist.  To
return, however, to the story--

"If it please your Majesty," said he, in answer to King Alcinous, "I
should be delighted to stay here for another twelve months, and to
accept from your hands the vast treasures and the escort which you
are go generous as to promise me.  I should obviously gain by doing
so, for I should return fuller-handed to my own people and should
thus be both more respected and more loved by my acquaintance.
Still to receive such presents--"

The king perceived his embarrassment, and at once relieved him.  "No
one," he exclaimed, "who looks at you can for one moment take you
for a charlatan or a swindler.  I know there are many of these
unscrupulous persons going about just now with such plausible
stories that it is very hard to disbelieve them; there is, however,
a finish about your style which convinces me of your good
disposition," and so on for more than I have space to quote; after
which Ulysses again proceeds with his adventures.

When he had finished them Alcinous insists that the leading
Phaeacians should each one of them give Ulysses a still further
present of a large kitchen copper and a three-legged stand to set it
on, "but," he continues, "as the expense of all these presents is
really too heavy for the purse of any private individual, I shall
charge the whole of them on the rates":  literally, "We will repay
ourselves by getting it in from among the people, for this is too
heavy a present for the purse of a private individual."  And what
this can mean except charging it on the rates I do not know.

Of course everyone else sends up his tripod and his cauldron, but we
hear nothing about any, either tripod or cauldron, from King
Alcinous.  He is very fussy next morning stowing them under the
ship's benches, but his time and trouble seem to be the extent of
his contribution.  It is hardly necessary to say that Ulysses had to
go away without the 250 pounds, and that we never hear of the
promised goblet being presented.  Still he had done pretty well.

I have not quoted anything like all the absurd remarks made by
Alcinous, nor shown you nearly as completely as I could do if I had
more time how obviously the writer is quietly laughing at him in her
sleeve.  She understands his little ways as she understands those of
Menelaus, who tells Telemachus and Pisistratus that if they like he
will take them a personally conducted tour round the Peloponnese,
and that they can make a good thing out of it, for everyone will
give them something--fancy Helen or Queen Arete making such a
proposal as this.  They are never laughed at, but then they are
women, whereas Alcinous and Menelaus are men, and this makes all the
difference.

And now in conclusion let me point out the irony of literature in
connection with this astonishing work.  Here is a poem in which the
hero and heroine have already been married many years before it
begins:  it is marked by a total absence of love-business in such
sense as we understand it:  its interest centres mainly in the fact
of a bald elderly gentleman, whose little remaining hair is red,
being eaten out of house and home during his absence by a number of
young men who are courting the supposed widow--a widow who, if she
be fair and fat, can hardly also be less than forty.  Can any
subject seem more hopeless?  Moreover, this subject so initially
faulty is treated with a carelessness in respect of consistency,
ignorance of commonly known details, and disregard of ordinary
canons, that can hardly be surpassed, and yet I cannot think that in
the whole range of literature there is a work which can be
decisively placed above it.  I am afraid you will hardly accept
this; I do not see how you can be expected to do so, for in the
first place there is no even tolerable prose translation, and in the
second, the Odyssey, like the Iliad, has been a school book for over
two thousand five hundred years, and what more cruel revenge than
this can dullness take on genius?  The Iliad and Odyssey have been
used as text-books for education during at least two thousand five
hundred years, and yet it is only during the last forty or fifty
that people have begun to see that they are by different authors.
There was, indeed, so I learn from Colonel Mure's valuable work, a
band of scholars some few hundreds of years before the birth of
Christ, who refused to see the Iliad and Odyssey as by the same
author, but they were snubbed and snuffed out, and for more than two
thousand years were considered to have been finally refuted.  Can
there be any more scathing satire upon the value of literary
criticism?  It would seem as though Minerva had shed the same thick
darkness over both the poems as she shed over Ulysses, so that they
might go in and out among the dons of Oxford and Cambridge from
generation to generation, and none should see them.  If I am right,
as I believe I am, in holding the Odyssey to have been written by a
young woman, was ever sleeping beauty more effectually concealed
behind a more impenetrable hedge of dulness?--and she will have to
sleep a good many years yet before anyone wakes her effectually.
But what else can one expect from people, not one of whom has been
at the very slight exertion of noting a few of the writer's main
topographical indications, and then looking for them in an Admiralty
chart or two?  Can any step be more obvious and easy--indeed, it is
so simple that I am ashamed of myself for not having taken it forty
years ago.  Students of the Odyssey for the most part are so
engrossed with the force of the zeugma, and of the enclitic particle
[Greek]; they take so much more interest in the digamma and in the
AEolic dialect, than they do in the living spirit that sits behind
all these things and alone gives them their importance, that,
naturally enough, not caring about the personality, it remains and
always must remain invisible to them.

If I have helped to make it any less invisible to yourselves, let me
ask you to pardon the somewhat querulous tone of my concluding
remarks.



Quis Desiderio . . .? {99}


Like Mr. Wilkie Collins, I, too, have been asked to lay some of my
literary experiences before the readers of the Universal Review.  It
occurred to me that the Review must be indeed universal before it
could open its pages to one so obscure as myself; but, nothing
daunted by the distinguished company among which I was for the first
time asked to move, I resolved to do as I was told, and went to the
British Museum to see what books I had written.  Having refreshed my
memory by a glance at the catalogue, I was about to try and diminish
the large and ever-increasing circle of my non-readers when I became
aware of a calamity that brought me to a standstill, and indeed bids
fair, so far as I can see at present, to put an end to my literary
existence altogether.

I should explain that I cannot write unless I have a sloping desk,
and the reading-room of the British Museum, where alone I can
compose freely, is unprovided with sloping desks.  Like every other
organism, if I cannot get exactly what I want I make shift with the
next thing to it; true, there are no desks in the reading-room, but,
as I once heard a visitor from the country say, "it contains a large
number of very interesting works."  I know it was not right, and
hope the Museum authorities will not be severe upon me if any of
them reads this confession; but I wanted a desk, and set myself to
consider which of the many very interesting works which a grateful
nation places at the disposal of its would-be authors was best
suited for my purpose.

For mere reading I suppose one book is pretty much as good as
another; but the choice of a desk-book is a more serious matter.  It
must be neither too thick nor too thin; it must be large enough to
make a substantial support; it must be strongly bound so as not to
yield or give; it must not be too troublesome to carry backwards and
forwards; and it must live on shelf C, D, or E, so that there need
be no stooping or reaching too high.  These are the conditions which
a really good book must fulfil; simple, however, as they are, it is
surprising how few volumes comply with them satisfactorily;
moreover, being perhaps too sensitively conscientious, I allowed
another consideration to influence me, and was sincerely anxious not
to take a book which would be in constant use for reference by
readers, more especially as, if I did this, I might find myself
disturbed by the officials.

For weeks I made experiments upon sundry poetical and philosophical
works, whose names I have forgotten, but could not succeed in
finding my ideal desk, until at length, more by luck than cunning, I
happened to light upon Frost's Lives of Eminent Christians, which I
had no sooner tried than I discovered it to be the very perfection
and ne plus ultra of everything that a book should be.  It lived in
Case No. 2008, and I accordingly took at once to sitting in Row B,
where for the last dozen years or so I have sat ever since.

The first thing I have done whenever I went to the Museum has been
to take down Frost's Lives of Eminent Christians and carry it to my
seat.  It is not the custom of modern writers to refer to the works
to which they are most deeply indebted, and I have never, that I
remember, mentioned it by name before; but it is to this book alone
that I have looked for support during many years of literary labour,
and it is round this to me invaluable volume that all my own have
page by page grown up.  There is none in the Museum to which I have
been under anything like such constant obligation, none which I can
so ill spare, and none which I would choose so readily if I were
allowed to select one single volume and keep it for my own.

On finding myself asked for a contribution to the Universal Review,
I went, as I have explained, to the Museum, and presently repaired
to bookcase No. 2008 to get my favourite volume.  Alas! it was in
the room no longer.  It was not in use, for its place was filled up
already; besides, no one ever used it but myself.  Whether the ghost
of the late Mr. Frost has been so eminently unchristian as to
interfere, or whether the authorities have removed the book in
ignorance of the steady demand which there has been for it on the
part of at least one reader, are points I cannot determine.  All I
know is that the book is gone, and I feel as Wordsworth is generally
supposed to have felt when he became aware that Lucy was in her
grave, and exclaimed so emphatically that this would make a
considerable difference to him, or words to that effect.

Now I think of it, Frost's Lives of Eminent Christians was very like
Lucy.  The one resided at Dovedale in Derbyshire, the other in Great
Russell Street, Bloomsbury.  I admit that I do not see the
resemblance here at this moment, but if I try to develop my
perception I shall doubtless ere long find a marvellously striking
one.  In other respects, however, than mere local habitat the
likeness is obvious.  Lucy was not particularly attractive either
inside or out--no more was Frost's Lives of Eminent Christians;
there were few to praise her, and of those few still fewer could
bring themselves to like her; indeed, Wordsworth himself seems to
have been the only person who thought much about her one way or the
other.  In like manner, I believe I was the only reader who thought
much one way or the other about Frost's Lives of Eminent Christians,
but this in itself was one of the attractions of the book; and as
for the grief we respectively felt and feel, I believe my own to be
as deep as Wordsworth's, if not more so.

I said above, "as Wordsworth is generally supposed to have felt";
for anyone imbued with the spirit of modern science will read
Wordsworth's poem with different eyes from those of a mere literary
critic.  He will note that Wordsworth is most careful not to explain
the nature of the difference which the death of Lucy will occasion
to him.  He tells us that there will be a difference; but there the
matter ends.  The superficial reader takes it that he was very sorry
she was dead; it is, of course, possible that he may have actually
been so, but he has not said this.  On the contrary, he has hinted
plainly that she was ugly, and generally disliked; she was only like
a violet when she was half-hidden from the view, and only fair as a
star when there were so few stars out that it was practically
impossible to make an invidious comparison.  If there were as many
as even two stars the likeness was felt to be at an end.  If
Wordsworth had imprudently promised to marry this young person
during a time when he had been unusually long in keeping to good
resolutions, and had afterwards seen someone whom he liked better,
then Lucy's death would undoubtedly have made a considerable
difference to him, and this is all that he has ever said that it
would do.  What right have we to put glosses upon the masterly
reticence of a poet, and credit him with feelings possibly the very
reverse of those he actually entertained?

Sometimes, indeed, I have been inclined to think that a mystery is
being hinted at more dark than any critic has suspected.  I do not
happen to possess a copy of the poem, but the writer, if I am not
mistaken, says that "few could know when Lucy ceased to be."
"Ceased to be" is a suspiciously euphemistic expression, and the
words "few could know" are not applicable to the ordinary peaceful
death of a domestic servant such as Lucy appears to have been.  No
matter how obscure the deceased, any number of people commonly can
know the day and hour of his or her demise, whereas in this case we
are expressly told it would be impossible for them to do so.
Wordsworth was nothing if not accurate, and would not have said that
few could know, but that few actually did know, unless he was aware
of circumstances that precluded all but those implicated in the
crime of her death from knowing the precise moment of its
occurrence.  If Lucy was the kind of person not obscurely portrayed
in the poem; if Wordsworth had murdered her, either by cutting her
throat or smothering her, in concert, perhaps, with his friends
Southey and Coleridge; and if he had thus found himself released
from an engagement which had become irksome to him, or possibly from
the threat of an action for breach of promise, then there is not a
syllable in the poem with which he crowns his crime that is not
alive with meaning.  On any other supposition to the general reader
it is unintelligible.

We cannot be too guarded in the interpretations we put upon the
words of great poets.  Take the young lady who never loved the dear
gazelle--and I don't believe she did; we are apt to think that Moore
intended us to see in this creation of his fancy a sweet, amiable,
but most unfortunate young woman, whereas all he has told us about
her points to an exactly opposite conclusion.  In reality, he wished
us to see a young lady who had been a habitual complainer from her
earliest childhood; whose plants had always died as soon as she
bought them, while those belonging to her neighbours had flourished.
The inference is obvious, nor can we reasonably doubt that Moore
intended us to draw it; if her plants were the very first to fade
away, she was evidently the very first to neglect or otherwise
maltreat them.  She did not give them enough water, or left the door
of her fern-case open when she was cooking her dinner at the gas
stove, or kept them too near the paraffin oil, or other like folly;
and as for her temper, see what the gazelles did; as long as they
did not know her "well," they could just manage to exist, but when
they got to understand her real character, one after another felt
that death was the only course open to it, and accordingly died
rather than live with such a mistress.  True, the young lady herself
said the gazelles loved her; but disagreeable people are apt to
think themselves amiable, and in view of the course invariably taken
by the gazelles themselves anyone accustomed to weigh evidence will
hold that she was probably mistaken.

I must, however, return to Frost's Lives of Eminent Christians.  I
will leave none of the ambiguity about my words in which Moore and
Wordsworth seem to have delighted.  I am very sorry the book is
gone, and know not where to turn for its successor.  Till I have
found a substitute I can write no more, and I do not know how to
find even a tolerable one.  I should try a volume of Migne's
Complete Course of Patrology, but I do not like books in more than
one volume, for the volumes vary in thickness, and one never can
remember which one took; the four volumes, however, of Bede in
Giles's Anglican Fathers are not open to this objection, and I have
reserved them for favourable consideration.  Mather's Magnalia might
do, but the binding does not please me; Cureton's Corpus Ignatianum
might also do if it were not too thin.  I do not like taking
Norton's Genuineness of the Gospels, as it is just possible someone
may be wanting to know whether the Gospels are genuine or not, and
be unable to find out because I have got Mr. Norton's book.
Baxter's Church History of England, Lingard's Anglo-Saxon Church,
and Cardwell's Documentary Annals, though none of them as good as
Frost, are works of considerable merit; but on the whole I think
Arvine's Cyclopedia of Moral and Religious Anecdote is perhaps the
one book in the room which comes within measurable distance of
Frost.  I should probably try this book first, but it has a fatal
objection in its too seductive title.  "I am not curious," as Miss
Lottie Venne says in one of her parts, "but I like to know," and I
might be tempted to pervert the book from its natural uses and open
it, so as to find out what kind of a thing a moral and religious
anecdote is.  I know, of course, that there are a great many
anecdotes in the Bible, but no one thinks of calling them either
moral or religious, though some of them certainly seem as if they
might fairly find a place in Mr. Arvine's work.  There are some
things, however, which it is better not to know, and take it all
round I do not think I should be wise in putting myself in the way
of temptation, and adopting Arvine as the successor to my beloved
and lamented Frost.

Some successor I must find, or I must give up writing altogether,
and this I should be sorry to do.  I have only as yet written about
a third, or from that--counting works written but not published--to
a half of the books which I have set myself to write.  It would not
so much matter if old age was not staring me in the face.  Dr. Parr
said it was "a beastly shame for an old man not to have laid down a
good cellar of port in his youth"; I, like the greater number, I
suppose, of those who write books at all, write in order that I may
have something to read in my old age when I can write no longer.  I
know what I shall like better than anyone can tell me, and write
accordingly; if my career is nipped in the bud, as seems only too
likely, I really do not know where else I can turn for present
agreeable occupation, nor yet how to make suitable provision for my
later years.  Other writers can, of course, make excellent provision
for their own old ages, but they cannot do so for mine, any more
than I should succeed if I were to try to cater for theirs.  It is
one of those cases in which no man can make agreement for his
brother.

I have no heart for continuing this article, and if I had, I have
nothing of interest to say.  No one's literary career can have been
smoother or more unchequered than mine.  I have published all my
books at my own expense, and paid for them in due course.  What can
be conceivably more unromantic?  For some years I had a little
literary grievance against the authorities of the British Museum
because they would insist on saying in their catalogue that I had
published three sermons on Infidelity in the year 1820.  I thought I
had not, and got them out to see.  They were rather funny, but they
were not mine.  Now, however, this grievance has been removed.  I
had another little quarrel with them because they would describe me
as "of St. John's College, Cambridge," an establishment for which I
have the most profound veneration, but with which I have not had the
honour to be connected for some quarter of a century.  At last they
said they would change this description if I would only tell them
what I was, for, though they had done their best to find out, they
had themselves failed.  I replied with modest pride that I was a
Bachelor of Arts.  I keep all my other letters inside my name, not
outside.  They mused and said it was unfortunate that I was not a
Master of Arts.  Could I not get myself made a Master?  I said I
understood that a Mastership was an article the University could not
do under about five pounds, and that I was not disposed to go
sixpence higher than three ten.  They again said it was a pity, for
it would be very inconvenient to them if I did not keep to something
between a bishop and a poet.  I might be anything I liked in reason,
provided I showed proper respect for the alphabet; but they had got
me between "Samuel Butler, bishop," and "Samuel Butler, poet."  It
would be very troublesome to shift me, and bachelor came before
bishop.  This was reasonable, so I replied that, under those
circumstances, if they pleased, I thought I would like to be a
philosophical writer.  They embraced the solution, and, no matter
what I write now, I must remain a philosophical writer as long as I
live, for the alphabet will hardly be altered in my time, and I must
be something between "Bis" and "Poe."  If I could get a volume of my
excellent namesake's Hudibras out of the list of my works, I should
be robbed of my last shred of literary grievance, so I say nothing
about this, but keep it secret, lest some worse thing should happen
to me.  Besides, I have a great respect for my namesake, and always
say that if Erewhon had been a racehorse it would have been got by
Hudibras out of Analogy.  Someone said this to me many years ago,
and I felt so much flattered that I have been repeating the remark
as my own ever since.

But how small are these grievances as compared with those endured
without a murmur by hundreds of writers far more deserving than
myself.  When I see the scores and hundreds of workers in the
reading-room who have done so much more than I have, but whose work
is absolutely fruitless to themselves, and when I think of the
prompt recognition obtained by my own work, I ask myself what I have
done to be thus rewarded.  On the other hand, the feeling that I
have succeeded far beyond my deserts hitherto, makes it all the
harder for me to acquiesce without complaint in the extinction of a
career which I honestly believe to be a promising one; and once more
I repeat that, unless the Museum authorities give me back my Frost,
or put a locked clasp on Arvine, my career must be extinguished.
Give me back Frost, and, if life and health are spared, I will write
another dozen of volumes yet before I hang up my fiddle--if so
serious a confusion of metaphors may be pardoned.  I know from long
experience how kind and considerate both the late and present
superintendents of the reading-room were and are, but I doubt how
far either of them would be disposed to help me on this occasion;
continue, however, to rob me of my Frost, and, whatever else I may
do, I will write no more books.

Note by Dr. Garnett, British Museum.--The frost has broken up.  Mr.
Butler is restored to literature.  Mr. Mudie may make himself easy.
England will still boast a humorist; and the late Mr. Darwin (to
whose posthumous machinations the removal of the book was owing)
will continue to be confounded.--R. GARNETT.



Ramblings in Cheapside {110}


Walking the other day in Cheapside I saw some turtles in Mr.
Sweeting's window, and was tempted to stay and look at them.  As I
did so I was struck not more by the defences with which they were
hedged about, than by the fatuousness of trying to hedge that in at
all which, if hedged thoroughly, must die of its own defencefulness.
The holes for the head and feet through which the turtle leaks out,
as it were, on to the exterior world, and through which it again
absorbs the exterior world into itself--"catching on" through them
to things that are thus both turtle and not turtle at one and the
same time--these holes stultify the armour, and show it to have been
designed by a creature with more of faithfulness to a fixed idea,
and hence one-sidedness, than of that quick sense of relative
importances and their changes, which is the main factor of good
living.

The turtle obviously had no sense of proportion; it differed so
widely from myself that I could not comprehend it; and as this word
occurred to me, it occurred also that until my body comprehended its
body in a physical material sense, neither would my mind be able to
comprehend its mind with any thoroughness.  For unity of mind can
only be consummated by unity of body; everything, therefore, must be
in some respects both knave and fool to all that which has not eaten
it, or by which it has not been eaten.  As long as the turtle was in
the window and I in the street outside, there was no chance of our
comprehending one another.

Nevertheless, I knew that I could get it to agree with me if I could
so effectually buttonhole and fasten on to it as to eat it.  Most
men have an easy method with turtle soup, and I had no misgiving but
that if I could bring my first premise to bear I should prove the
better reasoner.  My difficulty lay in this initial process, for I
had not with me the argument that would alone compel Mr. Sweeting to
think that I ought to be allowed to convert the turtles--I mean I
had no money in my pocket.  No missionary enterprise can be carried
on without any money at all, but even so small a sum as half a crown
would, I suppose, have enabled me to bring the turtle partly round,
and with many half-crowns I could in time no doubt convert the lot,
for the turtle needs must go where the money drives.  If, as is
alleged, the world stands on a turtle, the turtle stands on money.
No money no turtle.  As for money, that stands on opinion, credit,
trust, faith--things that, though highly material in connection with
money, are still of immaterial essence.

The steps are perfectly plain.  The men who caught the turtles
brought a fairly strong and definite opinion to bear upon them, that
passed into action, and later on into money.  They thought the
turtles would come that way, and verified their opinion; on this,
will and action were generated, with the result that the men turned
the turtles on their backs and carried them off.  Mr. Sweeting
touched these men with money, which is the outward and visible sign
of verified opinion.  The customer touches Mr. Sweeting with money,
Mr. Sweeting touches the waiter and the cook with money.  They touch
the turtle with skill and verified opinion.  Finally, the customer
applies the clinching argument that brushes all sophisms aside, and
bids the turtle stand protoplasm to protoplasm with himself, to know
even as it is known.

But it must be all touch, touch, touch; skill, opinion, power, and
money, passing in and out with one another in any order we like, but
still link to link and touch to touch.  If there is failure anywhere
in respect of opinion, skill, power, or money, either as regards
quantity or quality, the chain can be no stronger than its weakest
link, and the turtle and the clinching argument will fly asunder.
Of course, if there is an initial failure in connection, through
defect in any member of the chain, or of connection between the
links, it will no more be attempted to bring the turtle and the
clinching argument together, than it will to chain up a dog with two
pieces of broken chain that are disconnected.  The contact
throughout must be conceived as absolute; and yet perfect contact is
inconceivable by us, for on becoming perfect it ceases to be
contact, and becomes essential, once for all inseverable, identity.
The most absolute contact short of this is still contact by courtesy
only.  So here, as everywhere else, Eurydice glides off as we are
about to grasp her.  We can see nothing face to face; our utmost
seeing is but a fumbling of blind finger-ends in an overcrowded
pocket.

Presently my own blind finger-ends fished up the conclusion, that as
I had neither time nor money to spend on perfecting the chain that
would put me in full spiritual contact with Mr. Sweeting's turtles,
I had better leave them to complete their education at someone
else's expense rather than mine, so I walked on towards the Bank.
As I did so it struck me how continually we are met by this melting
of one existence into another.  The limits of the body seem well
defined enough as definitions go, but definitions seldom go far.
What, for example, can seem more distinct from a man than his banker
or his solicitor?  Yet these are commonly so much parts of him that
he can no more cut them off and grow new ones, than he can grow new
legs or arms; neither must he wound his solicitor; a wound in the
solicitor is a very serious thing.  As for his bank--failure of his
bank's action may be as fatal to a man _as_ failure of his heart.  I
have said nothing about the medical or spiritual adviser, but most
men grow into the society that surrounds them by the help of these
four main tap-roots, and not only into the world of humanity, but
into the universe at large.  We can, indeed, grow butchers, bakers,
and greengrocers, almost ad libitum, but these are low developments,
and correspond to skin, hair, or finger-nails.  Those of us again
who are not highly enough organized to have grown a solicitor or
banker can generally repair the loss of whatever social organization
they may possess as freely as lizards are said to grow new tails;
but this with the higher social, as well as organic, developments is
only possible to a very limited extent.

The doctrine of metempsychosis, or transmigration of souls--a
doctrine to which the foregoing considerations are for the most part
easy corollaries--crops up no matter in what direction we allow our
thoughts to wander.  And we meet instances of transmigration of body
as well as of soul.  I do not mean that both body and soul have
transmigrated together, far from it; but that, as we can often
recognize a transmigrated mind in an alien body, so we not less
often see a body that is clearly only a transmigration, linked on to
someone else's new and alien soul.  We meet people every day whose
bodies are evidently those of men and women long dead, but whose
appearance we know through their portraits.  We see them going about
in omnibuses, railway carriages, and in all public places.  The
cards have been shuffled, and they have drawn fresh lots in life and
nationalities, but anyone fairly well up in medieval and last-
century portraiture knows them at a glance.

Going down once towards Italy I saw a young man in the train whom I
recognized, only he seemed to have got younger.  He was with a
friend, and his face was in continual play, but for some little time
I puzzled in vain to recollect where it was that I had seen him
before.  All of a sudden I remembered he was King Francis I of
France.  I had hitherto thought the face of this king impossible,
but when I saw it in play I understood it.  His great contemporary
Henry VIII keeps a restaurant in Oxford Street.  Falstaff drove one
of the St. Gothard diligences for many years, and only retired when
the railway was opened.  Titian once made me a pair of boots at
Vicenza, and not very good ones.  At Modena I had my hair cut by a
young man whom I perceived to be Raffaelle.  The model who sat to
him for his celebrated Madonnas is first lady in a confectionery
establishment at Montreal.  She has a little motherly pimple on the
left side of her nose that is misleading at first, but on
examination she is readily recognized; probably Raffaelle's model
had the pimple too, but Raffaelle left it out--as he would.

Handel, of course, is Madame Patey.  Give Madame Patey Handel's wig
and clothes, and there would be no telling her from Handel.  It is
not only that the features and the shape of the head are the same,
but there is a certain imperiousness of expression and attitude
about Handel which he hardly attempts to conceal in Madame Patey.
It is a curious coincidence that he should continue to be such an
incomparable renderer of his own music.  Pope Julius II was the late
Mr. Darwin.  Rameses II is a blind woman now, and stands in Holborn,
holding a tin mug.  I never could understand why I always found
myself humming "They oppressed them with burthens" when I passed
her, till one day I was looking in Mr. Spooner's window in the
Strand, and saw a photograph of Rameses II.  Mary Queen of Scots
wears surgical boots and is subject to fits, near the Horse Shoe in
Tottenham Court Road.

Michael Angelo is a commissionaire; I saw him on board the Glen
Rosa, which used to run every day from London to Clacton-on-Sea and
back.  It gave me quite a turn when I saw him coming down the stairs
from the upper deck, with his bronzed face, flattened nose, and with
the familiar bar upon his forehead.  I never liked Michael Angelo,
and never shall, but I am afraid of him, and was near trying to hide
when I saw him coming towards me.  He had not got his
commissionaire's uniform on, and I did not know he was one till I
met him a month or so later in the Strand.  When we got to Blackwall
the music struck up and people began to dance.  I never saw a man
dance so much in my life.  He did not miss a dance all the way to
Clacton, nor all the way back again, and when not dancing he was
flirting and cracking jokes.  I could hardly believe my eyes when I
reflected that this man had painted the famous "Last Judgment," and
had made all those statues.

Dante is, or was a year or two ago, a waiter at Brissago on the Lago
Maggiore, only he is better-tempered-looking, and has a more
intellectual expression.  He gave me his ideas upon beauty:  "Tutto
ch' e vero e bello," he exclaimed, with all his old self-confidence.
I am not afraid of Dante.  I know people by their friends, and he
went about with Virgil, so I said with some severity, "No, Dante, il
naso della Signora Robinson e vero, ma non e bello"; and he admitted
I was right.  Beatrice's name is Towler; she is waitress at a small
inn in German Switzerland.  I used to sit at my window and hear
people call "Towler, Towler, Towler," fifty times in a forenoon.
She was the exact antithesis to Abra; Abra, if I remember, used to
come before they called her name, but no matter how often they
called Towler, everyone came before she did.  I suppose they spelt
her name Taula, but to me it sounded Towler; I never, however, met
anyone else with this name.  She was a sweet, artless little hussy,
who made me play the piano to her, and she said it was lovely.  Of
course I only played my own compositions; so I believed her, and it
all went off very nicely.  I thought it might save trouble if I did
not tell her who she really was, so I said nothing about it.

I met Socrates once.  He was my muleteer on an excursion which I
will not name, for fear it should identify the man.  The moment I
saw my guide I knew he was somebody, but for the life of me I could
not remember who.  All of a sudden it flashed across me that he was
Socrates.  He talked enough for six, but it was all in dialetto, so
I could not understand him, nor, when I had discovered who he was,
did I much try to do so.  He was a good creature, a trifle given to
stealing fruit and vegetables, but an amiable man enough.  He had
had a long day with his mule and me, and he only asked me five
francs.  I gave him ten, for I pitied his poor old patched boots,
and there was a meekness about him that touched me.  "And now,
Socrates," said I at parting, "we go on our several ways, you to
steal tomatoes, I to filch ideas from other people; for the rest--
which of these two roads will be the better going, our father which
is in heaven knows, but we know not."

I have never seen Mendelssohn, but there is a fresco of him on the
terrace, or open-air dining-room, of an inn at Chiavenna.  He is not
called Mendelssohn, but I knew him by his legs.  He is in the
costume of a dandy of some five-and-forty years ago, is smoking a
cigar, and appears to be making an offer of marriage to his cook.
Beethoven both my friend Mr. H. Festing Jones and I have had the
good fortune to meet; he is an engineer now, and does not know one
note from another; he has quite lost his deafness, is married, and
is, of course, a little squat man with the same refractory hair that
he always had.  It was very interesting to watch him, and Jones
remarked that before the end of dinner he had become positively
posthumous.  One morning I was told the Beethovens were going away,
and before long I met their two heavy boxes being carried down the
stairs.  The boxes were so squab and like their owners, that I half
thought for a moment that they were inside, and should hardly have
been surprised to see them spring up like a couple of Jacks-in-the-
box.  "Sono indentro?" said I, with a frown of wonder, pointing to
the boxes.  The porters knew what I meant, and laughed.  But there
is no end to the list of people whom I have been able to recognize,
and before I had got through it myself, I found I had walked some
distance, and had involuntarily paused in front of a second-hand
bookstall.

I do not like books.  I believe I have the smallest library of any
literary man in London, and I have no wish to increase it.  I keep
my books at the British Museum and at Mudie's, and it makes me very
angry if anyone gives me one for my private library.  I once heard
two ladies disputing in a railway carriage as to whether one of them
had or had not been wasting money.  "I spent it in books," said the
accused, "and it's not wasting money to buy books."  "Indeed, my
dear, I think it is," was the rejoinder, and in practice I agree
with it.  Webster's Dictionary, Whitaker's Almanack, and Bradshaw's
Railway Guide should be sufficient for any ordinary library; it will
be time enough to go beyond these when the mass of useful and
entertaining matter which they provide has been mastered.
Nevertheless, I admit that sometimes, if not particularly busy, I
stop at a second-hand bookstall and turn over a book or two from
mere force of habit.

I know not what made me pick up a copy of AEschylus--of course in an
English version--or rather I know not what made AEschylus take up
with me, for he took me rather than I him; but no sooner had he got
me than he began puzzling me, as he has done any time this forty
years, to know wherein his transcendent merit can be supposed to
lie.  To me he is, like the greater number of classics in all ages
and countries, a literary Struldbrug, rather than a true ambrosia-
fed immortal.  There are true immortals, but they are few and far
between; most classics are as great impostors dead as they were when
living, and while posing as gods are, five-sevenths of them, only
Struldbrugs.  It comforts me to remember that Aristophanes liked
AEschylus no better than I do.  True, he praises him by comparison
with Sophocles and Euripides, but he only does so that he may run
down these last more effectively.  Aristophanes is a safe man to
follow, nor do I see why it should not be as correct to laugh with
him as to pull a long face with the Greek Professors; but this is
neither here nor there, for no one really cares about AEschylus; the
more interesting question is how he contrived to make so many people
for so many years pretend to care about him.

Perhaps he married somebody's daughter.  If a man would get hold of
the public ear, he must pay, marry, or fight.  I have never
understood that AEschylus was a man of means, and the fighters do
not write poetry, so I suppose he must have married a theatrical
manager's daughter, and got his plays brought out that way.  The ear
of any age or country is like its land, air, and water; it seems
limitless but is really limited, and is already in the keeping of
those who naturally enough will have no squatting on such valuable
property.  It is written and talked up to as closely as the means of
subsistence are bred up to by a teeming population.  There is not a
square inch of it but is in private hands, and he who would freehold
any part of it must do so by purchase, marriage, or fighting, in the
usual way--and fighting gives the longest, safest tenure.  The
public itself has hardly more voice in the question who shall have
its ear, than the land has in choosing its owners.  It is farmed as
those who own it think most profitable to themselves, and small
blame to them; nevertheless, it has a residuum of mulishness which
the land has not, and does sometimes dispossess its tenants.  It is
in this residuum that those who fight place their hope and trust.

Or perhaps AEschylus squared the leading critics of his time.  When
one comes to think of it, he must have done so, for how is it
conceivable that such plays should have had such runs if he had not?
I met a lady one year in Switzerland who had some parrots that
always travelled with her and were the idols of her life.  These
parrots would not let anyone read aloud in their presence, unless
they heard their own names introduced from time to time.  If these
were freely interpolated into the text they would remain as still as
stones, for they thought the reading was about themselves.  If it
was not about them it could not be allowed.  The leaders of
literature are like these parrots; they do not look at what a man
writes, nor if they did would they understand it much better than
the parrots do; but they like the sound of their own names, and if
these are freely interpolated in a tone they take as friendly, they
may even give ear to an outsider.  Otherwise they will scream him
off if they can.

I should not advise anyone with ordinary independence of mind to
attempt the public ear unless he is confident that he can out-lung
and out-last his own generation; for if he has any force, people
will and ought to be on their guard against him, inasmuch as there
is no knowing where he may not take them.  Besides, they have staked
their money on the wrong men so often without suspecting it, that
when there comes one whom they do suspect it would be madness not to
bet against him.  True, he may die before he has out screamed his
opponents, but that has nothing to do with it.  If his scream was
well pitched it will sound clearer when he is dead.  We do not know
what death is.  If we know so little about life which we have
experienced, how shall we know about death which we have not--and in
the nature of things never can?  Everyone, as I said years ago in
Alps and Sanctuaries, is an immortal to himself, for he cannot know
that he is dead until he is dead, and when dead how can he know
anything about anything?  All we know is, that even the humblest
dead may live long after all trace of the body has disappeared; we
see them doing it in the bodies and memories of those that come
after them; and not a few live so much longer and more effectually
than is desirable, that it has been necessary to get rid of them by
Act of Parliament.  It is love that alone gives life, and the truest
life is that which we live not in ourselves but vicariously in
others, and with which we have no concern.  Our concern is so to
order ourselves that we may be of the number of them that enter into
life--although we know it not.

AEschylus did so order himself; but his life is not of that
inspiriting kind that can be won through fighting the good fight
only--or being believed to have fought it.  His voice is the echo of
a drone, drone-begotten and drone-sustained.  It is not a tone that
a man must utter or die--nay, even though he die; and likely enough
half the allusions and hard passages in AEschylus of which we can
make neither head nor tail are in reality only puffs of some of the
literary leaders of his time.

The lady above referred to told me more about her parrots.  She was
like a Nasmyth's hammer going slow--very gentle, but irresistible.
She always read the newspaper to them.  What was the use of having a
newspaper if one did not read it to one's parrots?

"And have you divined," I asked, "to which side they incline in
politics?"

"They do not like Mr. Gladstone," was the somewhat freezing answer;
"this is the only point on which we disagree, for I adore him.
Don't ask more about this, it is a great grief to me.  I tell them
everything," she continued, "and hide no secret from them."

"But can any parrot be trusted to keep a secret?"

"Mine can."

"And on Sundays do you give them the same course of reading as on a
week-day, or do you make a difference?"

"On Sundays I always read them a genealogical chapter from the Old
or New Testament, for I can thus introduce their names without
profanity.  I always keep tea by me in case they should ask for it
in the night, and I have an Etna to warm it for them; they take milk
and sugar.  The old white-headed clergyman came to see them last
night; it was very painful, for Jocko reminded him so strongly of
his late . . . "

I thought she was going to say "wife," but it proved to have been
only of a parrot that he had once known and loved.

One evening she was in difficulties about the quarantine, which was
enforced that year on the Italian frontier.  The local doctor had
gone down that morning to see the Italian doctor and arrange some
details.  "Then, perhaps, my dear," she said to her husband, "he is
the quarantine."  "No, my love," replied her husband.  "The
quarantine is not a person, it is a place where they put people";
but she would not be comforted, and suspected the quarantine as an
enemy that might at any moment pounce out upon her and her parrots.
So a lady told me once that she had been in like trouble about the
anthem.  She read in her Prayer Book that in choirs and places where
they sing "here followeth the anthem," yet the person with this most
mysteriously sounding name never did follow.  They had a choir, and
no one could say the church was not a place where they sang, for
they did sing--both chants and hymns.  Why, then, this persistent
slackness on the part of the anthem, who at this juncture should
follow her papa, the rector, into the reading-desk?  No doubt he
would come some day, and then what would he be like?  Fair or dark?
Tall or short?  Would he be bald and wear spectacles like papa,
would he be young and good-looking?  Anyhow, there was something
wrong, for it was announced that he would follow, and he never did
follow; therefore there was no knowing what he might not do next.

I heard of the parrots a year or two later as giving lessons in
Italian to an English maid.  I do not know what their terms were.
Alas! since then both they and their mistress have joined the
majority.  When the poor lady felt her end was near she desired (and
the responsibility for this must rest with her, not me) that the
birds might be destroyed, as fearing that they might come to be
neglected, and knowing that they could never be loved again as she
had loved them.  On being told that all was over, she said, "Thank
you," and immediately expired.

Reflecting in such random fashion, and strolling with no greater
method, I worked my way back through Cheapside and found myself once
more in front of Sweeting's window.  Again the turtles attracted me.
They were alive, and so far at any rate they agreed with me.  Nay,
they had eyes, mouths, legs, if not arms, and feet, so there was
much in which we were both of a mind, but surely they must be
mistaken in arming themselves so very heavily.  Any creature on
getting what the turtle aimed at would overreach itself and be
landed not in safety but annihilation.  It should have no communion
with the outside world at all, for death could creep in wherever the
creature could creep out; and it must creep out somewhere if it was
to hook on to outside things.  What death can be more absolute than
such absolute isolation?  Perfect death, indeed, if it were
attainable (which it is not), is as near perfect security as we can
reach, but it is not the kind of security aimed at by any animal
that is at the pains of defending itself.  For such want to have
things both ways, desiring the livingness of life without its
perils, and the safety of death without its deadness, and some of us
do actually get this for a considerable time, but we do not get it
by plating ourselves with armour as the turtle does.  We tried this
in the Middle Ages, and no longer mock ourselves with the weight of
armour that our forefathers carried in battle.  Indeed the more
deadly the weapons of attack become the more we go into the fight
slug-wise.

Slugs have ridden their contempt for defensive armour as much to
death as the turtles their pursuit of it.  They have hardly more
than skin enough to hold themselves together; they court death every
time they cross the road.  Yet death comes not to them more than to
the turtle, whose defences are so great that there is little left
inside to be defended.  Moreover, the slugs fare best in the long
run, for turtles are dying out, while slugs are not, and there must
be millions of slugs all the world over for every single turtle.  Of
the two vanities, therefore, that of the slug seems most
substantial.

In either case the creature thinks itself safe, but is sure to be
found out sooner or later; nor is it easy to explain this mockery
save by reflecting that everything must have its meat in due season,
and that meat can only be found for such a multitude of mouths by
giving everything as meat in due season to something else.  This is
like the Kilkenny cats, or robbing Peter to pay Paul; but it is the
way of the world, and as every animal must contribute in kind to the
picnic of the universe, one does not see what better arrangement
could be made than the providing each race with a hereditary
fallacy, which shall in the end get it into a scrape, but which
shall generally stand the wear and tear of life for some time.  "Do
ut des" is the writing on all flesh to him that eats it; and no
creature is dearer to itself than it is to some other that would
devour it.

Nor is there any statement or proposition more invulnerable than
living forms are.  Propositions prey upon and are grounded upon one
another just like living forms.  They support one another as plants
and animals do; they are based ultimately on credit, or faith,
rather than the cash of irrefragable conviction.  The whole universe
is carried on on the credit system, and if the mutual confidence on
which it is based were to collapse, it must itself collapse
immediately.  Just or unjust, it lives by faith; it is based on
vague and impalpable opinion that by some inscrutable process passes
into will and action, and is made manifest in matter and in flesh:
it is meteoric--suspended in mid-air; it is the baseless fabric of a
vision so vast, so vivid, and so gorgeous that no base can seem more
broad than such stupendous baselessness, and yet any man can bring
it about his ears by being over-curious; when faith fails, a system
based on faith fails also.

Whether the universe is really a paying concern, or whether it is an
inflated bubble that must burst sooner or later, this is another
matter.  If people were to demand cash payment in irrefragable
certainty for everything that they have taken hitherto as paper
money on the credit of the bank of public opinion, is there money
enough behind it all to stand so great a drain even on so great a
reserve?  Probably there is not, but happily there can be no such
panic, for even though the cultured classes may do so, the
uncultured are too dull to have brains enough to commit such
stupendous folly.  It takes a long course of academic training to
educate a man up to the standard which he must reach before he can
entertain such questions seriously, and by a merciful dispensation
of Providence university training is almost as costly as it is
unprofitable.  The majority will thus be always unable to afford it,
and will base their opinions on mother wit and current opinion
rather than on demonstration.

So I turned my steps homewards; I saw a good many more things on my
way home, but I was told that I was not to see more this time than I
could get into twelve pages of the Universal Review; I must
therefore reserve any remark which I think might perhaps entertain
the reader for another occasion.



The Aunt, the Nieces, and the Dog {127}


When a thing is old, broken, and useless we throw it on the dust-
heap, but when it is sufficiently old, sufficiently broken, and
sufficiently useless we give money for it, put it into a museum, and
read papers over it which people come long distances to hear.  By
and by, when the whirligig of time has brought on another revenge,
the museum itself becomes a dust-heap, and remains so till after
long ages it is rediscovered, and valued as belonging to a neo-
rubbish age--containing, perhaps, traces of a still older paleo-
rubbish civilization.  So when people are old, indigent, and in all
respects incapable, we hold them in greater and greater contempt as
their poverty and impotence increase, till they reach the pitch when
they are actually at the point to die, whereon they become sublime.
Then we place every resource our hospitals can command at their
disposal, and show no stint in our consideration for them.

It is the same with all our interests.  We care most about extremes
of importance and of unimportance; but extremes of importance are
tainted with fear, and a very imperfect fear casteth out love.
Extremes of unimportance cannot hurt us, therefore we are well
disposed towards them; the means may come to do so, therefore we do
not love them.  Hence we pick a fly out of a milk-jug and watch with
pleasure over its recovery, for we are confident that under no
conceivable circumstances will it want to borrow money from us; but
we feel less sure about a mouse, so we show it no quarter.  The
compilers of our almanacs well know this tendency of our natures, so
they tell us, not when Noah went into the ark, nor when the temple
of Jerusalem was dedicated, but that Lindley Murray, grammarian,
died January 16th, 1826.  This is not because they could not find so
many as three hundred and sixty-five events of considerable interest
since the creation of the world, but because they well know we would
rather hear of something less interesting.  We care most about what
concerns us either very closely, or so little that practically we
have nothing whatever to do with it.

I once asked a young Italian, who professed to have a considerable
knowledge of English literature, which of all our poems pleased him
best.  He replied without a moment's hesitation:

"Hey diddle diddle, the cat and the fiddle,
   The cow jumped over the moon;
The little dog laughed to see such sport,
   And the dish ran away with the spoon."

He said this was better than anything in Italian.  They had Dante
and Tasso, and ever so many more great poets, but they had nothing
comparable to "Hey diddle diddle," nor had he been able to conceive
how anyone could have written it.  Did I know the author's name, and
had we given him a statue?  On this I told him of the young lady of
Harrow who would go to church in a barrow, and plied him with
whatever rhyming nonsense I could call to mind, but it was no use;
all of these things had an element of reality that robbed them of
half their charm, whereas "Hey diddle diddle" had nothing in it that
could conceivably concern him.

So again it is with the things that gall us most.  What is it that
rises up against us at odd times and smites us in the face again and
again for years after it has happened?  That we spent all the best
years of our life in learning what we have found to be a swindle,
and to have been known to be a swindle by those who took money for
misleading us?  That those on whom we most leaned most betrayed us?
That we have only come to feel our strength when there is little
strength left of any kind to feel?  These things will hardly much
disturb a man of ordinary good temper.  But that he should have said
this or that little unkind and wanton saying; that he should have
gone away from this or that hotel and given a shilling too little to
the waiter; that his clothes were shabby at such or such a garden-
party--these things gall us _as_ a corn will sometimes do, though
the loss of a limb may not be seriously felt.

I have been reminded lately of these considerations with more than
common force by reading the very voluminous correspondence left by
my grandfather, Dr. Butler, of Shrewsbury, whose memoirs I am
engaged in writing.  I have found a large number of interesting
letters on subjects of serious import, but must confess that it is
to the hardly less numerous lighter letters that I have been most
attracted, nor do I feel sure that my eminent namesake did not share
my predilection.  Among other letters in my possession I have one
bundle that has been kept apart, and has evidently no connection
with Dr. Butler's own life.  I cannot use these letters, therefore,
for my book, but over and above the charm of their inspired
spelling, I find them of such an extremely trivial nature that I
incline to hope the reader may derive as much amusement from them as
I have done myself, and venture to give them the publicity here
which I must refuse them in my book.  The dates and signatures have,
with the exception of Mrs. Newton's, been carefully erased, but I
have collected that they were written by the two servants of a
single lady who resided at no great distance from London, to two
nieces of the said lady who lived in London itself.  The aunt never
writes, but always gets one of the servants to do so for her.  She
appears either as "your aunt" or as "She"; her name is not given,
but she is evidently looked upon with a good deal of awe by all who
had to do with her.

The letters almost all of them relate to visits either of the aunt
to London, or of the nieces to the aunt's home, which, from
occasional allusions to hopping, I gather to have been in Kent,
Sussex, or Surrey.  I have arranged them to the best of my power,
and take the following to be the earliest.  It has no signature, but
is not in the handwriting of the servant who styles herself
Elizabeth, or Mrs. Newton.  It runs:--

"MADAM,--Your Aunt Wishes me to inform you she will be glad if
you will let hir know if you think of coming To hir House thiss
month or Next as she cannot have you in September on a kount of
the Hoping If you ar coming she thinkes she had batter Go to
London on the Day you com to hir House she says you shall have
everry Thing raddy for you at hir House and Mrs. Newton to meet
you and stay with you till She returnes a gann.

"if you arnot Coming thiss Summer She will be in London before
thiss Month is out and will Sleep on the Sofy As She willnot be
in London more thann two nits. and She Says she willnot truble
you on anny a kount as She Will returne the Same Day before She
will plage you anny more. but She thanks you for asking hir to
London. but She says She cannot leve the house at prassant She
sayhir Survants ar to do for you as she cannot lodge yours nor
she willnot have thim in at the house anny more to brake and
destroy hir thinks and beslive hir and make up Lies by hir and
Skandel as your too did She says she mens to pay fore 2 Nits and
one day, She says the Pepelwill let hir have it if you ask thim
to let hir:  you Will be so good as to let hir know sun:  wish
She is to do, as She says She dos not care anny thing a bout it.
which way tiss she is batter than She was and desirs hir Love to
bouth bouth.

"Your aunt wises to know how the silk Clocks ar madup [how the
silk cloaks are made up] with a Cape or a wood as she is a goin
to have one madeup to rideout in in hir littel shas [chaise].

"Charles is a butty and so good.

"Mr & Mrs Newton ar quite wall & desires to be remembered to
you."

I can throw no light on the meaning of the verb to "beslive."  Each
letter in the MS. is so admirably formed that there can be no
question about the word being as I have given it.  Nor have I been
able to discover what is referred to by the words "Charles is a
butty and so good."  We shall presently meet with a Charles who
"flies in the Fier," but that Charles appears to have been in
London, whereas this one is evidently in Kent, or wherever the aunt
lived.

The next letter is from Mrs. Newton:--

"DER MISS ---, I Receve your Letter your Aunt is vary Ill and
Lowspireted I Donte think your Aunt wood Git up all Day if My
Sister Wasnot to Persage her We all Think hir lif is two
monopolous. you Wish to know Who Was Liveing With your Aunt.
that is My Sister and Willian --- and Cariline --- as Cock and
Old Poll Pepper is Come to Stay With her a Littel Wile and I
hoped [hopped] for Your Aunt, and Harry has Worked for your Aunt
all the Summer.  Your Aunt and Harry Whent to the Wells Races and
Spent a very Pleasant Day your Aunt has Lost Old Fanney Sow She
Died about a Week a Go Harry he Wanted your Aunt to have her
killed and send her to London and Shee Wold Fech her 11 pounds
the Farmers have Lost a Great Deal of Cattel such as Hogs and
Cows What theay call the Plage I Whent to your Aunt as you Wish
Mee to Do But She Told Mee She Did not wont aney Boddy She Told
Mee She Should Like to Come up to see you But She Cant Come know
for she is Boddyley ill and Harry Donte Work there know But he Go
up there Once in Two or Three Day Harry Offered is self to Go up
to Live With your Aunt But She Made him know Ancer.  I hav Been
up to your Aunt at Work for 5 Weeks Hopping and Ragluting Your
Aunt Donte Eat nor Drink But vary Littel indeed.

"I am Happy to Say We are Both Quite Well and I am Glad no hear
you are Both Quite Well

"MRS NEWTON."

This seems to have made the nieces propose to pay a visit to their
aunt, perhaps to try and relieve the monopoly of her existence and
cheer her up a little.  In their letter, doubtless, the dog motive
is introduced that is so finely developed presently by Mrs. Newton.
I should like to have been able to give the theme as enounced by the
nieces themselves, but their letters are not before me.  Mrs. Newton
writes:--

"MY DEAR GIRLS,--Your Aunt receiv your Letter your Aunt will Be
vary glad to see you as it quite a greeable if it tis to you and
Shee is Quite Willing to Eair the beds and the Rooms if you Like
to Trust to hir and the Servantes; if not I may Go up there as
you Wish.  My Sister Sleeps in the Best Room as she allways Did
and the Coock in the garret and you Can have the Rooms the same
as you allways Did as your Aunt Donte set in the Parlour She
Continlery Sets in the Ciching. your Aunt says she Cannot Part
from the dog know hows and She Says he will not hurt you for he
is Like a Child and I can safeley say My Self he wonte hurt you
as She Cannot Sleep in the Room With out him as he allWay Sleep
in the Same Room as She Dose.  your Aunt is agreeable to Git in
What Coles and Wood you Wish for I am know happy to say your Aunt
is in as Good health as ever She Was and She is happy to hear you
are Both Well your Aunt Wishes for Ancer By Return of Post."

The nieces replied that their aunt must choose between the dog and
them, and Mrs. Newton sends a second letter which brings her
development to a climax.  It runs:--

"DEAR MISS --- I have Receve your Letter and i Whent up to your
Aunt as you Wish me and i Try to Perveal With her about the Dog
But she Wold not Put the Dog away nor it alow him to Be Tied up
But She Still Wishes you to Come as Shee says the Dog Shall not
interrup you for She Donte alow the Dog nor it the Cats to Go in
the Parlour never sence She has had it Donup ferfere of Spoiling
the Paint your Aunt think it vary Strange you Should Be so vary
Much afraid of a Dog and She says you Cant Go out in London But
What you are up a gance one and She says She Wonte Trust the Dog
in know one hands But her Owne for She is afraid theay Will not
fill is Belley as he Lives upon Rost Beeff and Rost and Boil
Moutten Wich he Eats More then the Servantes in the House there
is not aney One Wold Beable to Give Sattefacktion upon that
account Harry offerd to Take the Dog But She Wood not Trust him
in our hands so I Cold not Do aney thing With her your Aunt youse
to Tell Me When we was at your House in London She Did not know
how to make you amens and i Told her know it was the Time to Do
it But i Considder She sets the Dog Before you your Aunt keep
know Beer know Sprits know Wines in the House of aney Sort Oneley
a Little Barl of Wine I made her in the Summer the Workmen and
servantes are a Blige to Drink wauter Morning Noon and Night your
Aunt the Same She Donte Low her Self aney Tee nor Coffee But is
Loocking Wonderful Well

"I Still Remane your Humble Servant Mrs Newton

"I am vary sorry to think the Dog Perventes your Comeing

"I am Glad to hear you are Both Well and we are the same."

The nieces remained firm, and from the following letter it is plain
the aunt gave way.  The dog motive is repeated pianissimo, and is
not returned to--not at least by Mrs. Newton.

"DEAR MISS ---, I Receve your Letter on Thursday i Whent to your
Aunt and i see her and She is a Greable to everry thing i asked
her and seme so vary Much Please to see you Both Next Tuseday and
she has sent for the Faggots to Day and she Will Send for the
Coles to Morrow and i will Go up there to Morrow Morning and Make
the Fiers and Tend to the Beds and sleep in it Till you Come Down
your Aunt sends her Love to you Both and she is Quite well your
Aunt Wishes you wold Write againe Before you Come as she ma
Expeckye and the Dog is not to Gointo the Parlor a Tall

"your Aunt kind Love to you Both & hopes you Wonte Fail in Coming
according to Prommis

"MRS NEWTON."

From a later letter it appears that the nieces did not pay their
visit after all, and what is worse a letter had miscarried, and the
aunt sat up expecting them from seven till twelve at night, and
Harry had paid for "Faggots and Coles quarter of Hund.  Faggots Half
tun of Coles 1l. 1s. 3d."  Shortly afterwards, however, "She" again
talks of coming up to London herself and writes through her
servant:--

"My Dear girls i Receve your kind letter & I am happy to hear you
ar both Well and I Was in hopes of seeing of you Both Down at My
House this spring to stay a Wile I am Quite well my self in Helth
But vary Low Spireted I am vary sorry to hear the Misforting of
Poor charles & how he cum to flie in the Fier I cannot think.  I
should like to know if he is dead or a Live, and I shall come to
London in August & stay three or four daies if it is agreable to
you.  Mrs. Newton has lost her mother in Law 4 day March & I hope
you send me word Wather charles is Dead or a Live as soon as
possible, and will you send me word what Little Betty is for I
cannot make her out."

The next letter is a new handwriting, and tells the nieces of their
aunt's death in the following terms:--

"DEAR MISS ---, It is my most painful duty to inform you that
your dear aunt expired this morning comparatively easy as Hannah
informs me and in so doing restored her soul to the custody of
him whom she considered to be alone worthy of its care.

"The doctor had visited her about five minutes previously and had
applied a blister.

"You and your sister will I am sure excuse further details at
present and believe me with kindest remembrances to remain

"Yours truly, &c."

After a few days a lawyer's letter informs the nieces that their
aunt had left them the bulk of her not very considerable property,
but had charged them with an annuity of 1 pound  a week to be paid
to Harry and Mrs. Newton so long as the dog lived.

The only other letters by Mrs. Newton are written on paper of a
different and more modern size; they leave an impression of having
been written a good many years later.  I take them as they come.
The first is very short:--

"DEAR MISS ---, i write to say i cannot possiblely come on
Wednesday as we have killed a pig. your's truely,

"ELIZABETH NEWTON."

The second runs:--

"DEAR MISS ---, i hope you are both quite well in health & your
Leg much better i am happy to say i am getting quite well again i
hope Amandy has reached you safe by this time i sent a small
parcle by Amandy, there was half a dozen Pats of butter & the
Cakes was very homely and not so light as i could wish i hope by
this time Sarah Ann has promised she will stay untill next monday
as i think a few daies longer will not make much diferance and as
her young man has been very considerate to wait so long as he has
i think he would for a few days Longer dear Miss --- I wash for
William and i have not got his clothes yet as it has been delayed
by the carrier & i cannot possiblely get it done before Sunday
and i do not Like traviling on a Sunday but to oblige you i would
come but to come sooner i cannot possiblely but i hope Sarah Ann
will be prevailed on once more as She has so many times i feel
sure if she tells her young man he will have patient for he is a
very kind young man

"i remain your sincerely

"ELIZABETH NEWTON."

The last letter in my collection seems written almost within
measurable distance of the Christmas-card era.  The sheet is headed
by a beautifully embossed device of some holly in red and green,
wishing the recipient of the letter a merry Xmas and a happy new
year, while the border is crimped and edged with blue.  I know not
what it is, but there is something in the writer's highly finished
style that reminds me of Mendelssohn.  It would almost do for the
words of one of his celebrated "Lieder ohne Worte":--

"DEAR MISS MARIA,--I hasten to acknowledge the receipt of your
kind note with the inclosure for which I return my best thanks.
I need scarcely say how glad I was to know that the volumes
secured your approval, and that the announcement of the
improvement in the condition of your Sister's legs afforded me
infinite pleasure.  The gratifying news encouraged me in the hope
that now the nature of the disorder is comprehended her legs
will--notwithstanding the process may be gradual--ultimately get
quite well.  The pretty Robin Redbreast which lay ensconced in
your epistle, conveyed to me, in terms more eloquent than words,
how much you desired me those Compliments which the little
missive he bore in his bill expressed; the emblem is sweetly
pretty, and now that we are again allowed to felicitate each
other on another recurrence of the season of the Christian's
rejoicing, permit me to tender to yourself, and by you to your
Sister, mine and my Wife's heartfelt congratulations and warmest
wishes with respect to the coming year.  It is a common belief
that if we take a retrospective view of each departing year, as
it behoves us annually to do, we shall find the blessings which
we have received to immeasurably outnumber our causes of sorrow.
Speaking for myself I can fully subscribe to that sentiment, and
doubtless neither Miss --- nor yourself are exceptions.  Miss ---
's illness and consequent confinement to the house has been a
severe trial, but in that trouble an opportunity was afforded you
to prove a Sister's devotion and she has been enabled to realise
a larger (if possible) display of sisterly affection.

"A happy Christmas to you both, and may the new year prove a
Cornucopia from which still greater blessings than even those we
have hitherto received, shall issue, to benefit us all by
contributing to our temporal happiness and, what is of higher
importance, conducing to our felicity hereafter.

"I was sorry to hear that you were so annoyed with mice and rats,
and if I should have an opportunity to obtain a nice cat I will
do so and send my boy to your house with it.

"I remain,

"Yours truly."

How little what is commonly called education can do after all
towards the formation of a good style, and what a delightful volume
might not be entitled "Half Hours with the Worst Authors."  Why, the
finest word I know of in the English language was coined, not by my
poor old grandfather, whose education had left little to desire, nor
by any of the admirable scholars whom he in his turn educated, but
by an old matron who presided over one of the halls, or houses of
his school.  This good lady, whose name by the way was Bromfield,
had a fine high temper of her own, or thought it politic to affect
one.  One night when the boys were particularly noisy she burst like
a hurricane into the hall, collared a youngster, and told him he was
the "rampingest-scampingest-rackety-tackety-tow-row-roaringest boy
in the whole school."  Would Mrs. Newton have been able to set the
aunt and the dog before us so vividly if she had been more highly
educated?  Would Mrs. Bromfield have been able to forge and hurl her
thunderbolt of a word if she had been taught how to do so, or indeed
been at much pains to create it at all?  It came.  It was her
[Greek].  She did not probably know that she had done what the
greatest scholar would have had to rack his brains over for many an
hour before he could even approach.  Tradition says that having
brought down her boy she looked round the hall in triumph, and then
after a moment's lull said, "Young gentlemen, prayers are excused,"
and left them.

I have sometimes thought that, after all, the main use of a
classical education consists in the check it gives to originality,
and the way in which it prevents an inconvenient number of people
from using their own eyes.  That we will not be at the trouble of
looking at things for ourselves if we can get anyone to tell us what
we ought to see goes without saying, and it is the business of
schools and universities to assist us in this respect.  The theory
of evolution teaches that any power not worked at pretty high
pressure will deteriorate:  originality and freedom from affectation
are all very well in their way, but we can easily have too much of
them, and it is better that none should be either original or free
from cant but those who insist on being so, no matter what
hindrances obstruct, nor what incentives are offered them to see
things through the regulation medium.  To insist on seeing things
for oneself is to be an [Greek], or in plain English, an idiot; nor
do I see any safer check against general vigour and clearness of
thought, with consequent terseness of expression, than that provided
by the curricula of our universities and schools of public
instruction.  If a young man, in spite of every effort to fit him
with blinkers, will insist on getting rid of them, he must do so at
his own risk.  He will not be long in finding out his mistake.  Our
public schools and universities play the beneficent part in our
social scheme that cattle do in forests:  they browse the seedlings
down and prevent the growth of all but the luckiest and sturdiest.
Of course, if there are too many either cattle or schools, they
browse so effectually that they find no more food, and starve till
equilibrium is restored; but it seems to be a provision of nature
that there should always be these alternate periods, during which
either the cattle or the trees are getting the best of it; and,
indeed, without such provision we should have neither the one nor
the other.  At this moment the cattle, doubtless, are in the
ascendant, and if university extension proceeds much farther, we
shall assuredly have no more Mrs. Newtons and Mrs. Bromfields; but
whatever is is best, and, on the whole, I should propose to let
things find pretty much their own level.

However this may be, who can question that the treasures hidden in
many a country house contain sleeping beauties even fairer than
those that I have endeavoured to waken from long sleep in the
foregoing article?  How many Mrs. Quicklys are there not living in
London at this present moment?  For that Mrs. Quickly was an
invention of Shakespeare's I will not believe.  The old woman from
whom he drew said every word that he put into Mrs. Quickly's mouth,
and a great deal more which he did not and perhaps could not make
use of.  This question, however, would again lead me far from my
subject, which I should mar were I to dwell upon it longer, and
therefore leave with the hope that it may give my readers absolutely
no food whatever for reflection.



How to Make the Best of Life {142}


I have been asked to speak on the question how to make the best of
life, but may as well confess at once that I know nothing about it.
I cannot think that I have made the best of my own life, nor is it
likely that I shall make much better of what may or may not remain
to me.  I do not even know how to make the best of the twenty
minutes that your committee has placed at my disposal, and as for
life as a whole, who ever yet made the best of such a colossal
opportunity by conscious effort and deliberation?  In little things
no doubt deliberate and conscious effort will help us, but we are
speaking of large issues, and such kingdoms of heaven as the making
the best of these come not by observation.

The question, therefore, on which I have undertaken to address you
is, as you must all know, fatuous, if it be faced seriously.  Life
is like playing a violin solo in public and learning the instrument
as one goes on.  One cannot make the best of such impossibilities,
and the question is doubly fatuous until we are told which of our
two lives--the conscious or the unconscious--is held by the asker to
be the truer life.  Which does the question contemplate--the life we
know, or the life which others may know, but which we know not?

Death gives a life to some men and women compared with which their
so-called existence here is as nothing.  Which is the truer life of
Shakespeare, Handel, that divine woman who wrote the Odyssey, and of
Jane Austen--the life which palpitated with sensible warm motion
within their own bodies, or that in virtue of which they are still
palpitating in ours?  In whose consciousness does their truest life
consist--their own, or ours?  Can Shakespeare be said to have begun
his true life till a hundred years or so after he was dead and
buried?  His physical life was but as an embryonic stage, a coming
up out of darkness, a twilight and dawn before the sunrise of that
life of the world to come which he was to enjoy hereafter.  We all
live for a while after we are gone hence, but we are for the most
part stillborn, or at any rate die in infancy, as regards that life
which every age and country has recognized as higher and truer than
the one of which we are now sentient.  As the life of the race is
larger, longer, and in all respects more to be considered than that
of the individual, so is the life we live in others larger and more
important than the one we live in ourselves.  This appears nowhere
perhaps more plainly than in the case of great teachers, who often
in the lives of their pupils produce an effect that reaches far
beyond anything produced while their single lives were yet
unsupplemented by those other lives into which they infused their
own.

Death to such people is the ending of a short life, but it does not
touch the life they are already living in those whom they have
taught; and happily, as none can know when he shall die, so none can
make sure that he too shall not live long beyond the grave; for the
life after death is like money before it--no one can be sure that it
may not fall to him or her even at the eleventh hour.  Money and
immortality come in such odd unaccountable ways that no one is cut
off from hope.  We may not have made either of them for ourselves,
but yet another may give them to us in virtue of his or her love,
which shall illumine us for ever, and establish us in some heavenly
mansion whereof we neither dreamed nor shall ever dream.  Look at
the Doge Loredano Loredani, the old man's smile upon whose face has
been reproduced so faithfully in so many lands that it can never
henceforth be forgotten--would he have had one hundredth part of the
life he now lives had he not been linked awhile with one of those
heaven-sent men who know che cosa e amor?  Look at Rembrandt's old
woman in our National Gallery; had she died before she was eighty-
three years old she would not have been living now.  Then, when she
was eighty-three, immortality perched upon her as a bird on a
withered bough.

I seem to hear someone say that this is a mockery, a piece of
special pleading, a giving of stones to those that ask for bread.
Life is not life unless we can feel it, and a life limited to a
knowledge of such fraction of our work as may happen to survive us
is no true life in other people; salve it as we may, death is not
life any more than black is white.

The objection is not so true as it sounds.  I do not deny that we
had rather not die, nor do I pretend that much even in the case of
the most favoured few can survive them beyond the grave.  It is only
because this is so that our own life is possible; others have made
room for us, and we should make room for others in our turn without
undue repining.  What I maintain is that a not inconsiderable number
of people do actually attain to a life beyond the grave which we can
all feel forcibly enough, whether they can do so or not--that this
life tends with increasing civilization to become more and more
potent, and that it is better worth considering, in spite of its
being unfelt by ourselves, than any which we have felt or can ever
feel in our own persons.

Take an extreme case.  A group of people are photographed by
Edison's new process--say Titiens, Trebelli, and Jenny Lind, with
any two of the finest men singers the age has known--let them be
photographed incessantly for half an hour while they perform a scene
in Lohengrin; let all be done stereoscopically.  Let them be
phonographed at the same time so that their minutest shades of
intonation are preserved, let the slides be coloured by a competent
artist, and then let the scene be called suddenly into sight and
sound, say a hundred years hence.  Are those people dead or alive?
Dead to themselves they are, but while they live so powerfully and
so livingly in us, which is the greater paradox--to say that they
are alive or that they are dead?  To myself it seems that their life
in others would be more truly life than their death to themselves is
death.  Granted that they do not present all the phenomena of life--
who ever does so even when he is held to be alive?  We are held to
be alive because we present a sufficient number of living phenomena
to let the others go without saying; those who see us take the part
for the whole here as in everything else, and surely, in the case
supposed above, the phenomena of life predominate so powerfully over
those of death, that the people themselves must be held to be more
alive than dead.  Our living personality is, as the word implies,
only our mask, and those who still own such a mask as I have
supposed have a living personality.  Granted again that the case
just put is an extreme one; still many a man and many a woman has so
stamped him or herself on his work that, though we would gladly have
the aid of such accessories as we doubtless presently shall have to
the livingness of our great dead, we can see them very sufficiently
through the masterpieces they have left us.

As for their own unconsciousness I do not deny it.  The life of the
embryo was unconscious before birth, and so is the life--I am
speaking only of the life revealed to us by natural religion--after
death.  But as the embryonic and infant life of which we were
unconscious was the most potent factor in our after life of
consciousness, so the effect which we may unconsciously produce in
others after death, and it may be even before it on those who have
never seen us, is in all sober seriousness our truer and more
abiding life, and the one which those who would make the best of
their sojourn here will take most into their consideration.

Unconsciousness is no bar to livingness.  Our conscious actions are
a drop in the sea as compared with our unconscious ones.  Could we
know all the life that is in us by way of circulation, nutrition,
breathing, waste and repair, we should learn what an infinitesimally
small part consciousness plays in our present existence; yet our
unconscious life is as truly life as our conscious life, and though
it is unconscious to itself it emerges into an indirect and
vicarious consciousness in our other and conscious self, which
exists but in virtue of our unconscious self.  So we have also a
vicarious consciousness in others.  The unconscious life of those
that have gone before us has in great part moulded us into such men
and women as we are, and our own unconscious lives will in like
manner have a vicarious consciousness in others, though we be dead
enough to it in ourselves.

If it is again urged that it matters not to us how much we may be
alive in others, if we are to know nothing about it, I reply that
the common instinct of all who are worth considering gives the lie
to such cynicism.  I see here present some who have achieved, and
others who no doubt will achieve, success in literature.  Will one
of them hesitate to admit that it is a lively pleasure to her to
feel that on the other side of the world someone may be smiling
happily over her work, and that she is thus living in that person
though she knows nothing about it?  Here it seems to me that true
faith comes in.  Faith does not consist, as the Sunday School pupil
said, "in the power of believing that which we know to be untrue."
It consists in holding fast that which the healthiest and most
kindly instincts of the best and most sensible men and women are
intuitively possessed of, without caring to require much evidence
further than the fact that such people are so convinced; and for my
own part I find the best men and women I know unanimous in feeling
that life in others, even though we know nothing about it, is
nevertheless a thing to be desired and gratefully accepted if we can
get it either before death or after.  I observe also that a large
number of men and women do actually attain to such life, and in some
cases continue so to live, if not for ever, yet to what is
practically much the same thing.  Our life then in this world is, to
natural religion as much as to revealed, a period of probation.  The
use we make of it is to settle how far we are to enter into another,
and whether that other is to be a heaven of just affection or a hell
of righteous condemnation.

Who, then, are the most likely so to run that they may obtain this
veritable prize of our high calling?  Setting aside such lucky
numbers, drawn as it were in the lottery of immortality, which I
have referred to casually above, and setting aside also the chances
and changes from which even immortality is not exempt, who on the
whole are most likely to live anew in the affectionate thoughts of
those who never so much as saw them in the flesh, and know not even
their names?  There is a nisus, a straining in the dull dumb economy
of things, in virtue of which some, whether they will it and know it
or no, are more likely to live after death than others, and who are
these?  Those who aimed at it as by some great thing that they would
do to make them famous?  Those who have lived most in themselves and
for themselves, or those who have been most ensouled consciously,
but perhaps better unconsciously, directly but more often
indirectly, by the most living souls past and present that have
flitted near them?  Can we think of a man or woman who grips us
firmly, at the thought of whom we kindle when we are alone in our
honest daw's plumes, with none to admire or shrug his shoulders, can
we think of one such, the secret of whose power does not lie in the
charm of his or her personality--that is to say, in the wideness of
his or her sympathy with, and therefore life in and communion with
other people?  In the wreckage that comes ashore from the sea of
time there is much tinsel stuff that we must preserve and study if
we would know our own times and people; granted that many a dead
charlatan lives long and enters largely and necessarily into our own
lives; we use them and throw them away when we have done with them.
I do not speak of these, I do not speak of the Virgils and Alexander
Popes, and who can say how many more whose names I dare not mention
for fear of offending.  They are as stuffed birds or beasts in a
museum; serviceable no doubt from a scientific standpoint, but with
no vivid or vivifying hold upon us.  They seem to be alive, but are
not.  I am speaking of those who do actually live in us, and move us
to higher achievements though they be long dead, whose life thrusts
out our own and overrides it.  I speak of those who draw us ever
more towards them from youth to age, and to think of whom is to feel
at once that we are in the hands of those we love, and whom we would
most wish to resemble.  What is the secret of the hold that these
people have upon us?  Is it not that while, conventionally speaking,
alive, they most merged their lives in, and were in fullest
communion with those among whom they lived?  They found their lives
in losing them.  We never love the memory of anyone unless we feel
that he or she was himself or herself a lover.

I have seen it urged, again, in querulous accents, that the so-
called immortality even of the most immortal is not for ever.  I see
a passage to this effect in a book that is making a stir as I write.
I will quote it.  The writer says:--

"So, it seems to me, is the immortality we so glibly predicate of
departed artists.  If they survive at all, it is but a shadowy
life they live, moving on through the gradations of slow decay to
distant but inevitable death.  They can no longer, as heretofore,
speak directly to the hearts of their fellow-men, evoking their
tears or laughter, and all the pleasures, be they sad or merry,
of which imagination holds the secret.  Driven from the market-
place they become first the companions of the student, then the
victims of the specialist.  He who would still hold familiar
intercourse with them must train himself to penetrate the veil
which in ever-thickening folds conceals them from the ordinary
gaze; he must catch the tone of a vanished society, he must move
in a circle of alien associations, he must think in a language
not his own." {150}

This is crying for the moon, or rather pretending to cry for it, for
the writer is obviously insincere.  I see the Saturday Review says
the passage I have just quoted "reaches almost to poetry," and
indeed I find many blank verses in it, some of them very aggressive.
No prose is free from an occasional blank verse, and a good writer
will not go hunting over his work to rout them out, but nine or ten
in little more than as many lines is indeed reaching too near to
poetry for good prose.  This, however, is a trifle, and might pass
if the tone of the writer was not so obviously that of cheap
pessimism.  I know not which is cheapest, pessimism or optimism.
One forces lights, the other darks; both are equally untrue to good
art, and equally sure of their effect with the groundlings.  The one
extenuates, the other sets down in malice.  The first is the more
amiable lie, but both are lies, and are known to be so by those who
utter them.  Talk about catching the tone of a vanished society to
understand Rembrandt or Giovanni Bellini!  It is nonsense--the folds
do not thicken in front of these men; we understand them as well as
those among whom they went about in the flesh, and perhaps better.
Homer and Shakespeare speak to us probably far more effectually than
they did to the men of their own time, and most likely we have them
at their best.  I cannot think that Shakespeare talked better than
we hear him now in Hamlet or Henry the Fourth; like enough he would
have been found a very disappointing person in a drawing-room.
People stamp themselves on their work; if they have not done so they
are naught, if they have we have them; and for the most part they
stamp themselves deeper on their work than on their talk.  No doubt
Shakespeare and Handel will be one day clean forgotten, as though
they had never been born.  The world will in the end die; mortality
therefore itself is not immortal, and when death dies the life of
these men will die with it--but not sooner.  It is enough that they
should live within us and move us for many ages as they have and
will.  Such immortality, therefore, as some men and women are born
to achieve, or have thrust upon them, is a practical if not a
technical immortality, and he who would have more let him have
nothing.

I see I have drifted into speaking rather of how to make the best of
death than of life, but who can speak of life without his thoughts
turning instantly to that which is beyond it?  He or she who has
made the best of the life after death has made the best of the life
before it; who cares one straw for any such chances and changes as
will commonly befall him here if he is upheld by the full and
certain hope of everlasting life in the affections of those that
shall come after?  If the life after death is happy in the hearts of
others, it matters little how unhappy was the life before it.

And now I leave my subject, not without misgiving that I shall have
disappointed you.  But for the great attention which is being paid
to the work from which I have quoted above, I should not have
thought it well to insist on points with which you are, I doubt not,
as fully impressed as I am:  but that book weakens the sanctions of
natural religion, and minimizes the comfort which it affords us,
while it does more to undermine than to support the foundations of
what is commonly called belief.  Therefore I was glad to embrace
this opportunity of protesting.  Otherwise I should not have been so
serious on a matter that transcends all seriousness.  Lord
Beaconsfield cut it shorter with more effect.  When asked to give a
rule of life for the son of a friend he said, "Do not let him try
and find out who wrote the letters of Junius."  Pressed for further
counsel, he added, "Nor yet who was the man in the iron mask"--and
he would say no more.  Don't bore people.  And yet I am by no means
sure that a good many people do not think themselves ill-used unless
he who addresses them has thoroughly well bored them--especially if
they have paid any money for hearing him.  My great namesake said,
"Surely the pleasure is as great of being cheated as to cheat," and
great as the pleasure both of cheating and boring undoubtedly is, I
believe he was right.  So I remember a poem which came out some
thirty years ago in Punch, about a young lady who went forth in
quest to "Some burden make or burden bear, but which she did not
greatly care, oh Miserie."  So, again, all the holy men and women
who in the Middle Ages professed to have discovered how to make the
best of life took care that being bored, if not cheated, should have
a large place in their programme.  Still there are limits, and I
close not without fear that I may have exceeded them.



The Sanctuary of Montrigone {153a}


The only place in the Valsesia, except Varallo, where I at present
suspect the presence of Tabachetti {153b} is at Montrigone, a
little-known sanctuary dedicated to St. Anne, about three-quarters
of a mile south of Borgo-Sesia station.  The situation is, of
course, lovely, but the sanctuary does not offer any features of
architectural interest.  The sacristan told me it was founded in
1631; and in 1644 Giovanni d'Enrico, while engaged in superintending
and completing the work undertaken here by himself and Giacomo
Ferro, fell ill and died.  I do not know whether or no there was an
earlier sanctuary on the same site, but was told it was built on the
demolition of a stronghold belonging to the Counts of Biandrate.

The incidents which it illustrates are treated with even more than
the homeliness usual in works of this description when not dealing
with such solemn events as the death and passion of Christ.  Except
when these subjects were being represented, something of the
latitude, and even humour, allowed in the old mystery plays was
permitted, doubtless from a desire to render the work more
attractive to the peasants, who were the most numerous and most
important pilgrims.  It is not until faith begins to be weak that it
fears an occasionally lighter treatment of semi-sacred subjects, and
it is impossible to convey an accurate idea of the spirit prevailing
at this hamlet of sanctuary without attuning oneself somewhat to the
more pagan character of the place.  Of irreverence, in the sense of
a desire to laugh at things that are of high and serious import,
there is not a trace, but at the same time there is a certain
unbending of the bow at Montrigone which is not perceivable at
Varallo.

The first chapel to the left on entering the church is that of the
Birth of the Virgin.  St. Anne is sitting up in bed.  She is not at
all ill--in fact, considering that the Virgin has only been born
about five minutes, she is wonderful; still the doctors think it may
be perhaps better that she should keep her room for half an hour
longer, so the bed has been festooned with red and white paper
roses, and the counterpane is covered with bouquets in baskets and
in vases of glass and china.  These cannot have been there during
the actual birth of the Virgin, so I suppose they had been in
readiness, and were brought in from an adjoining room as soon as the
baby had been born.  A lady on her left is bringing in some more
flowers, which St. Anne is receiving with a smile and most gracious
gesture of the hands.  The first thing she asked for, when the birth
was over, was for her three silver hearts.  These were immediately
brought to her, and she has got them all on, tied round her neck
with a piece of blue silk ribbon.

Dear mamma has come.  We felt sure she would, and that any little
misunderstandings between her and Joachim would ere long be
forgotten and forgiven.  They are both so good and sensible, if they
would only understand one another.  At any rate, here she is, in
high state at the right hand of the bed.  She is dressed in black,
for she has lost her husband some few years previously, but I do not
believe a smarter, sprier old lady for her years could be found in
Palestine, nor yet that either Giovanni d'Enrico or Giacomo Ferro
could have conceived or executed such a character.  The sacristan
wanted to have it that she was not a woman at all, but was a
portrait of St. Joachim, the Virgin's father.  "Sembra una donna,"
he pleaded more than once, "ma non e donna."  Surely, however, in
works of art even more than in other things, there is no "is" but
seeming, and if a figure seems female it must be taken as such.
Besides, I asked one of the leading doctors at Varallo whether the
figure was man or woman.  He said it was evident I was not married,
for that if I had been I should have seen at once that she was not
only a woman but a mother-in-law of the first magnitude, or, as he
called it, "una suocera tremenda," and this without knowing that I
wanted her to be a mother-in-law myself.  Unfortunately she had no
real drapery, so I could not settle the question as my friend Mr. H.
F. Jones and I had been able to do at Varallo with the figure of Eve
that had been turned into a Roman soldier assisting at the capture
of Christ.  I am not, however, disposed to waste more time upon
anything so obvious, and will content myself with saying that we
have here the Virgin's grandmother.  I had never had the pleasure,
so far as I remembered, of meeting this lady before, and was glad to
have an opportunity of making her acquaintance.

Tradition says that it was she who chose the Virgin's name, and if
so, what a debt of gratitude do we not owe her for her judicious
selection!  It makes one shudder to think what might have happened
if she had named the child Keren-Happuch, as poor Job's daughter was
called.  How could we have said, "Ave Keren-Happuch!"  What would
the musicians have done?  I forget whether Maher-Shalal-Hash-Baz was
a man or a woman, but there were plenty of names quite as
unmanageable at the Virgin's grandmother's option, and we cannot
sufficiently thank her for having chosen one that is so euphonious
in every language which we need take into account.  For this reason
alone we should not grudge her her portrait, but we should try to
draw the line here.  I do not think we ought to give the Virgin's
great-grandmother a statue.  Where is it to end?  It is like Mr.
Crookes's ultimissimate atoms; we used to draw the line at ultimate
atoms, and now it seems we are to go a step farther back and have
ultimissimate atoms.  How long, I wonder, will it be before we feel
that it will be a material help to us to have ultimissimissimate
atoms?  Quavers stopped at demi-semi-demi, but there is no reason to
suppose that either atoms or ancestresses of the Virgin will be so
complacent.

I have said that on St. Anne's left hand there is a lady who is
bringing in some flowers.  St. Anne was always passionately fond of
flowers.  There is a pretty story told about her in one of the
Fathers, I forget which, to the effect that when a child she was
asked which she liked best--cakes or flowers?  She could not yet
speak plainly and lisped out, "Oh fowses, pretty fowses"; she added,
however, with a sigh and as a kind of wistful corollary, "but cakes
are very nice."  She is not to have any cakes just now, but as soon
as she has done thanking the lady for her beautiful nosegay, she is
to have a couple of nice new-laid eggs, that are being brought her
by another lady.  Valsesian women immediately after their
confinement always have eggs beaten up with wine and sugar, and one
can tell a Valsesian Birth of the Virgin from a Venetian or a
Florentine by the presence of the eggs.  I learned this from an
eminent Valsesian professor of medicine, who told me that, though
not according to received rules, the eggs never seemed to do any
harm.  Here they are evidently to be beaten up, for there is neither
spoon nor egg-cup, and we cannot suppose that they were hard-boiled.
On the other hand, in the Middle Ages Italians never used egg-cups
and spoons for boiled eggs.  The medieval boiled egg was always
eaten by dipping bread into the yolk.

Behind the lady who is bringing in the eggs is the under-under-nurse
who is at the fire warming a towel.  In the foreground we have the
regulation midwife holding the regulation baby (who, by the way, was
an astonishingly fine child for only five minutes old).  Then comes
the under-nurse--a good buxom creature, who, as usual, is feeling
the water in the bath to see that it is of the right temperature.
Next to her is the head-nurse, who is arranging the cradle.  Behind
the head-nurse is the under-under-nurse's drudge, who is just going
out upon some errands.  Lastly--for by this time we have got all
round the chapel--we arrive at the Virgin's grandmother's body-
guard, a stately, responsible-looking lady, standing in waiting upon
her mistress.  I put it to the reader--is it conceivable that St.
Joachim should have been allowed in such a room at such a time, or
that he should have had the courage to avail himself of the
permission, even though it had been extended to him?  At any rate,
is it conceivable that he should have been allowed to sit on St.
Anne's right hand, laying down the law with a "Marry, come up" here,
and a "Marry, go down" there, and a couple of such unabashed collars
as the old lady has put on for the occasion?

Moreover (for I may as well demolish this mischievous confusion
between St. Joachim and his mother-in-law once and for all), the
merest tyro in hagiology knows that St. Joachim was not at home when
the Virgin was born.  He had been hustled out of the temple for
having no children, and had fled desolate and dismayed into the
wilderness.  It shows how silly people are, for all the time he was
going, if they had only waited a little, to be the father of the
most remarkable person of purely human origin who had ever been
born, and such a parent as this should surely not be hurried.  The
story is told in the frescoes of the chapel of Loreto, only a
quarter of an hour's walk from Varallo, and no one can have known it
better than D'Enrico.  The frescoes are explained by written
passages that tell us how, when Joachim was in the desert, an angel
came to him in the guise of a fair, civil young gentleman, and told
him the Virgin was to be born.  Then, later on, the same young
gentleman appeared to him again, and bade him "in God's name be
comforted, and turn again to his content," for the Virgin had been
actually born.  On which St. Joachim, who seems to have been of
opinion that marriage after all _was_ rather a failure, said that,
as things were going on so nicely without him, he would stay in the
desert just a little longer, and offered up a lamb as a pretext to
gain time.  Perhaps he guessed about his mother-in-law, or he may
have asked the angel.  Of course, even in spite of such evidence as
this, I may be mistaken about the Virgin's grandmother's sex, and
the sacristan may be right; but I can only say that if the lady
sitting by St. Anne's bedside at Montrigone is the Virgin's father--
well, in that case I must reconsider a good deal that I have been
accustomed to believe was beyond question.

Taken singly, I suppose that none of the figures in the chapel,
except the Virgin's grandmother, should be rated very highly.  The
under-nurse is the next best figure, and might very well be
Tabachetti's, for neither Giovanni d'Enrico nor Giacomo Ferro was
successful with his female characters.  There is not a single really
comfortable woman in any chapel by either of them on the Sacro Monte
at Varallo.  Tabachetti, on the other hand, delighted in women; if
they were young he made them comely and engaging, if they were old
he gave them dignity and individual character, and the under-nurse
is much more in accordance with Tabachetti's habitual mental
attitude than with D'Enrico's or Giacomo Ferro's.  Still there are
only four figures out of the eleven that are mere otiose supers, and
taking the work as a whole it leaves a pleasant impression as being
throughout naive and homely, and sometimes, which is of less
importance, technically excellent.

Allowance must, of course, be made for tawdry accessories and
repeated coats of shiny oleaginous paint--very disagreeable where it
has peeled off and almost more so where it has not.  What work could
stand against such treatment as the Valsesian terra-cotta figures
have had to put up with?  Take the Venus of Milo; let her be done in
terra-cotta, and have run, not much, but still something, in the
baking; paint her pink, two oils, all over, and then varnish her--it
will help to preserve the paint; glue a lot of horsehair on to her
pate, half of which shall have come off, leaving the glue still
showing; scrape her, not too thoroughly, get the village drawing-
master to paint her again, and the drawing-master in the next
provincial town to put a forest background behind her with the
brightest emerald-green leaves that he can do for the money; let
this painting and scraping and repainting be repeated several times
over; festoon her with pink and white flowers made of tissue paper;
surround her with the cheapest German imitations of the cheapest
decorations that Birmingham can produce; let the night air and
winter fogs get at her for three hundred years, and how easy, I
wonder, will it be to see the goddess who will be still in great
part there?  True, in the case of the Birth of the Virgin chapel at
Montrigone, there is no real hair and no fresco background, but time
has had abundant opportunities without these.  I will conclude my
notice of this chapel by saying that on the left, above the door
through which the under-under-nurse's drudge is about to pass, there
is a good painted terra-cotta bust, said--but I believe on no
authority--to be a portrait of Giovanni d'Enrico.  Others say that
the Virgin's grandmother is Giovanni d'Enrico, but this is even more
absurd than supposing her to be St. Joachim.

The next chapel to the Birth of the Virgin is that of the
Sposalizio.  There is no figure here which suggests Tabachetti, but
still there are some very good ones.  The best have no taint of
barocco; the man who did them, whoever he may have been, had
evidently a good deal of life and go, was taking reasonable pains,
and did not know too much.  Where this is the case no work can fail
to please.  Some of the figures have real hair and some terra-cotta.
There is no fresco background worth mentioning.  A man sitting on
the steps of the altar with a book on his lap, and holding up his
hand to another, who is leaning over him and talking to him, is
among the best figures; some of the disappointed suitors who are
breaking their wands are also very good.

The angel in the Annunciation chapel, which comes next in order, is
a fine, burly, ship's-figurehead, commercial-hotel sort of being
enough, but the Virgin is very ordinary.  There is no real hair and
no fresco background, only three dingy old blistered pictures of no
interest whatever.

In the Visit of Mary to Elizabeth there are three pleasing
subordinate lady attendants, two to the left and one to the right of
the principal figures; but these figures themselves are not
satisfactory.  There is no fresco background.  Some of the figures
have real hair and some terra-cotta.

In the Circumcision and Purification chapel--for both these events
seem contemplated in the one that follows--there are doves, but
there is neither dog nor knife.  Still Simeon, who has the infant
Saviour in his arms, is looking at him in a way which can only mean
that, knife or no knife, the matter is not going to end here.  At
Varallo they have now got a dreadful knife for the Circumcision
chapel.  They had none last winter.  What they have now got would do
very well to kill a bullock with, but could not be used
professionally with safety for any animal smaller than a rhinoceros.
I imagine that someone was sent to Novara to buy a knife, and that,
thinking it was for the Massacre of the Innocents chapel, he got the
biggest he could see.  Then when he brought it back people said
"chow" several times, and put it upon the table and went away.

Returning to Montrigone, the Simeon is an excellent figure, and the
Virgin is fairly good, but the prophetess Anna, who stands just
behind her, is by far the most interesting in the group, and is
alone enough to make me feel sure that Tabachetti gave more or less
help here, as he had done years before at Orta.  She, too, like the
Virgin's grandmother, is a widow lady, and wears collars of a cut
that seems to have prevailed ever since the Virgin was born some
twenty years previously.  There is a largeness and simplicity of
treatment about the figure to which none but an artist of the
highest rank can reach, and D'Enrico was not more than a second or
third-rate man.  The hood is like Handel's Truth sailing upon the
broad wings of Time, a prophetic strain that nothing but the old
experience of a great poet can reach.  The lips of the prophetess
are for the moment closed, but she has been prophesying all the
morning, and the people round the wall in the background are in
ecstasies at the lucidity with which she has explained all sorts of
difficulties that they had never been able to understand till now.
They are putting their forefingers on their thumbs and their thumbs
on their forefingers, and saying how clearly they see it all and
what a wonderful woman Anna is.  A prophet indeed is not generally
without honour save in his own country, but then a country is
generally not without honour save with its own prophet, and Anna has
been glorifying her country rather than reviling it.  Besides, the
rule may not have applied to prophetesses.

The Death of the Virgin is the last of the six chapels inside the
church itself.  The Apostles, who of course are present, have all of
them real hair, but, if I may say so, they want a wash and a brush-
up so very badly that I cannot feel any confidence in writing about
them.  I should say that, take them all round, they are a good
average sample of apostle as apostles generally go.  Two or three of
them are nervously anxious to find appropriate quotations in books
that lie open before them, which they are searching with eager
haste; but I do not see one figure about which I should like to say
positively that it is either good or bad.  There is a good bust of a
man, matching the one in the Birth of the Virgin chapel, which is
said to be a portrait of Giovanni d'Enrico, but it is not known whom
it represents.

Outside the church, in three contiguous cells that form part of the
foundations, are:--

1.  A dead Christ, the head of which is very impressive, while the
rest of the figure is poor.  I examined the treatment of the hair,
which is terra-cotta, and compared it with all other like hair in
the chapels above described; I could find nothing like it, and think
it most likely that Giacomo Ferro did the figure, and got Tabachetti
to do the head, or that they brought the head from some unused
figure by Tabachetti at Varallo, for I know no other artist of the
time and neighbourhood who could have done it.

2.  A Magdalene in the desert.  The desert is a little coal-cellar
of an arch, containing a skull and a profusion of pink and white
paper bouquets, the two largest of which the Magdalene is hugging
while she is saying her prayers.  She is a very self-sufficient
lady, who we may be sure will not stay in the desert a day longer
than she can help, and while there will flirt even with the skull if
she can find nothing better to flirt with.  I cannot think that her
repentance is as yet genuine, and as for her praying there is no
object in her doing so, for she does not want anything.

3.  In the next desert there is a very beautiful figure of St. John
the Baptist kneeling and looking upwards.  This figure puzzles me
more than any other at Montrigone; it appears to be of the fifteenth
rather than the sixteenth century; it hardly reminds me of
Gaudenzio, and still less of any other Valsesian artist.  It is a
work of unusual beauty, but I can form no idea as to its authorship.

I wrote the foregoing pages in the church at Montrigone itself,
having brought my camp-stool with me.  It was Sunday; the church was
open all day, but there was no Mass said, and hardly anyone came.
The sacristan was a kind, gentle, little old man, who let me do
whatever I wanted.  He sat on the doorstep of the main door, mending
vestments, and to this end was cutting up a fine piece of figured
silk from one to two hundred years old, which, if I could have got
it, for half its value, I should much like to have bought.  I sat in
the cool of the church while he sat in the doorway, which was still
in shadow, snipping and snipping, and then sewing, I am sure with
admirable neatness.  He made a charming picture, with the arched
portico over his head, the green grass and low church wall behind
him, and then a lovely landscape of wood and pasture and valleys and
hillside.  Every now and then he would come and chirrup about
Joachim, for he was pained and shocked at my having said that his
Joachim was someone else and not Joachim at all.  I said I was very
sorry, but I was afraid the figure was a woman.  He asked me what he
was to do.  He had known it, man and boy, this sixty years, and had
always shown it as St. Joachim; he had never heard anyone but myself
question his ascription, and could not suddenly change his mind
about it at the bidding of a stranger.  At the same time he felt it
was a very serious thing to continue showing it as the Virgin's
father if it was really her grandmother.  I told him I thought this
was a case for his spiritual director, and that if he felt
uncomfortable about it he should consult his parish priest and do as
he was told.

On leaving Montrigone, with a pleasant sense of having made
acquaintance with a new and, in many respects, interesting work, I
could not get the sacristan and our difference of opinion out of my
head.  What, I asked myself, are the differences that unhappily
divide Christendom, and what are those that divide Christendom from
modern schools of thought, but a seeing of Joachims as the Virgin's
grandmothers on a larger scale?  True, we cannot call figures
Joachim when we know perfectly well that they are nothing of the
kind; but I registered a vow that henceforward when I called
Joachims the Virgin's grandmothers I would bear more in mind than I
have perhaps always hitherto done, how hard it is for those who have
been taught to see them as Joachims to think of them as something
different.  I trust that I have not been unfaithful to this vow in
the preceding article.  If the reader differs from me, let me ask
him to remember how hard it is for one who has got a figure well
into his head as the Virgin's grandmother to see it as Joachim.



A Medieval Girl School {166}


This last summer I revisited Oropa, near Biella, to see what
connection I could find between the Oropa chapels and those at
Varallo.  I will take this opportunity of describing the chapels at
Oropa, and more especially the remarkable fossil, or petrified girl
school, commonly known as the Dimora, or Sojourn of the Virgin Mary
in the Temple.

If I do not take these works so seriously as the reader may expect,
let me beg him, before he blames me, to go to Oropa and see the
originals for himself.  Have the good people of Oropa themselves
taken them very seriously?  Are we in an atmosphere where we need be
at much pains to speak with bated breath?  We, as is well known,
love to take even our pleasures sadly; the Italians take even their
sadness allegramente, and combine devotion with amusement in a
manner that we shall do well to study if not imitate.  For this best
agrees with what we gather to have been the custom of Christ
himself, who, indeed, never speaks of austerity but to condemn it.
If Christianity is to be a living faith, it must penetrate a man's
whole life, so that he can no more rid himself of it than he can of
his flesh and bones or of his breathing.  The Christianity that can
be taken up and laid down as if it were a watch or a book is
Christianity in name only.  The true Christian can no more part from
Christ in mirth than in sorrow.  And, after all, what is the essence
of Christianity?  What is the kernel of the nut?  Surely common
sense and cheerfulness, with unflinching opposition to the
charlatanisms and Pharisaisms of a man's own times.  The essence of
Christianity lies neither in dogma, nor yet in abnormally holy life,
but in faith in an unseen world, in doing one's duty, in speaking
the truth, in finding the true life rather in others than in
oneself, and in the certain hope that he who loses his life on these
behalfs finds more than he has lost.  What can Agnosticism do
against such Christianity as this?  I should be shocked if anything
I had ever written or shall ever write should seem to make light of
these things.  I should be shocked also if _I_ did not know how to
be amused with things that amiable people obviously intended to be
amusing.

The reader may need to be reminded that Oropa is among the somewhat
infrequent sanctuaries at which the Madonna and infant Christ are
not white, but black.  I shall return to this peculiarity of Oropa
later on, but will leave it for the present.  For the general
characteristics of the place I must refer the reader to my book Alps
and Sanctuaries.  I propose to confine myself here to the ten or a
dozen chapels containing life-sized terra-cotta figures, painted up
to nature, that form one of the main features of the place.  At a
first glance, perhaps, all these chapels will seem uninteresting; I
venture to think, however, that some, if not most of them, though
falling a good deal short of the best work at Varallo and Crea, are
still in their own way of considerable importance.  The first chapel
with which we need concern ourselves is numbered 4, and shows the
Conception of the Virgin Mary.  It represents St. Anne as kneeling
before a terrific dragon or, as the Italians call it, "insect,"
about the size of a Crystal Palace pleiosaur.  This "insect" is
supposed to have just had its head badly crushed by St. Anne, who
seems to be begging its pardon.  The text "Ipsa conteret caput tuum"
is written outside the chapel.  The figures have no artistic
interest.  As regards dragons being called insects, the reader may
perhaps remember that the island of S. Giulio, in the Lago d'Orta,
was infested with insetti, which S. Giulio destroyed, and which
appear, in a fresco underneath the church on the island, to have
been monstrous and ferocious dragons; but I cannot remember whether
their bodies are divided into three sections, and whether or no they
have exactly six legs--without which, I am told, they cannot be true
insects.

The fifth chapel represents the Birth of the Virgin.  Having
obtained permission to go inside it, I found the date 1715 cut large
and deep on the back of one figure before baking, and I imagine that
this date covers the whole.  There is a Queen Anne feeling
throughout the composition, and if we were told that the sculptor
and Francis Bird, sculptor of the statue in front of St. Paul's
Cathedral, had studied under the same master, we could very well
believe it.  The apartment in which the Virgin was born is spacious,
and in striking contrast to the one in which she herself gave birth
to the Redeemer.  St. Anne occupies the centre of the composition,
in an enormous bed; on her right there is a lady of the George
Cruikshank style of beauty, and on the left an older person.  Both
are gesticulating and impressing upon St. Anne the enormous
obligation she has just conferred upon mankind; they seem also to be
imploring her not to overtax her strength, but, strange to say, they
are giving her neither flowers nor anything to eat and drink.  I
know no other birth of the Virgin in which St. Anne wants so little
keeping up.

I have explained in my book Ex Voto, but should perhaps repeat here,
that the distinguishing characteristic of the Birth of the Virgin,
as rendered by Valsesian artists, is that St. Anne always has eggs
immediately after the infant is born, and usually a good deal more,
whereas the Madonna never has anything to eat or drink.  The eggs
are in accordance with a custom that still prevails among the
peasant classes in the Valsesia, where women on giving birth to a
child generally are given a sabaglione--an egg beaten up with a
little wine, or rum, and sugar.  East of Milan the Virgin's mother
does not have eggs, and I suppose, from the absence of the eggs at
Oropa, that the custom above referred to does not prevail in the
Biellese district.  The Virgin also is invariably washed.  St. John
the Baptist, when he is born at all, which is not very often, is
also washed; but I have not observed that St. Elizabeth has anything
like the attention paid her that is given to St. Anne.  What,
however, is wanting here at Oropa in meat and drink is made up in
Cupids; they swarm like flies on the walls, clouds, cornices, and
capitals of columns.

Against the right-hand wall are two lady-helps, each warming a towel
at a glowing fire, to be ready against the baby should come out of
its bath; while in the right-hand foreground we have the levatrice,
who having discharged her task, and being now so disposed, has
removed the bottle from the chimney-piece, and put it near some
bread, fruit and a chicken, over which she is about to discuss the
confinement with two other gossips.  The levatrice is a very
characteristic figure, but the best in the chapel is the one of the
head-nurse, near the middle of the composition; she has now the
infant in full charge, and is showing it to St. Joachim, with an
expression as though she were telling him that her husband was a
merry man.  I am afraid Shakespeare was dead before the sculptor was
born, otherwise I should have felt certain that he had drawn
Juliet's nurse from this figure.  As for the little Virgin herself,
I believe her to be a fine boy of about ten months old.  Viewing the
work as a whole, if I only felt more sure what artistic merit really
is, I should say that, though the chapel cannot be rated very highly
from some standpoints, there are others from which it may be praised
warmly enough.  It is innocent of anatomy-worship, free from
affectation or swagger, and not devoid of a good deal of homely
naivete.  It can no more be compared with Tabachetti or Donatello
than Hogarth can with Rembrandt or Giovanni Bellini; but as it does
not transcend the limitations of its age, so neither is it wanting
in whatever merits that age possessed; and there is no age without
merits of some kind.  There is no inscription saying who made the
figures, but tradition gives them to Pietro Aureggio Termine, of
Biella, commonly called Aureggio.  This is confirmed by their strong
resemblance to those in the Dimora Chapel, in which there is an
inscription that names Aureggio as the sculptor.

The sixth chapel deals with the Presentation of the Virgin in the
Temple.  The Virgin is very small, but it must be remembered that
she is only seven years old and she is not nearly so small as she is
at Crea, where though a life-sized figure is intended, the head is
hardly bigger than an apple.  She is rushing up the steps with open
arms towards the High Priest, who is standing at the top.  For her
it is nothing alarming; it is the High Priest who appears
frightened; but it will all come right in time.  The Virgin seems to
be saying, "Why, don't you know me?  I'm the Virgin Mary."  But the
High Priest does not feel so sure about that, and will make further
inquiries.  The scene, which comprises some twenty figures, is
animated enough, and though it hardly kindles enthusiasm, still does
not fail to please.  It looks as though of somewhat older date than
the Birth of the Virgin chapel, and I should say shows more signs of
direct Valsesian influence.  In Marocco's book about Oropa it is
ascribed to Aureggio, but I find it difficult to accept this.

The seventh, and in many respects most interesting chapel at Oropa,
shows what is in reality a medieval Italian girl school, as nearly
like the thing itself as the artist could make it; we are expected,
however, to see in this the high-class kind of Girton College for
young gentlewomen that was attached to the Temple at Jerusalem,
under the direction of the Chief Priest's wife, or some one of his
near female relatives.  Here all well-to-do Jewish young women
completed their education, and here accordingly we find the Virgin,
whose parents desired she should shine in every accomplishment, and
enjoy all the advantages their ample means commanded.

I have met with no traces of the Virgin during the years between her
Presentation in the Temple and her becoming head girl at Temple
College.  These years, we may be assured, can hardly have been other
than eventful; but incidents, or bits of life, are like living
forms--it is only here and there, as by rare chance, that one of
them gets arrested and fossilized; the greater number disappear like
the greater number of antediluvian molluscs, and no one can say why
one of these flies, as it were, of life should get preserved in
amber more than another.  Talk, indeed, about luck and cunning; what
a grain of sand as against a hundredweight is cunning's share here
as against luck's.  What moment could be more humdrum and unworthy
of special record than the one chosen by the artist for the chapel
we are considering?  Why should this one get arrested in its flight
and made immortal when so many worthier ones have perished?  Yet
preserved it assuredly is; it is as though some fairy's wand had
struck the medieval Miss Pinkerton, Amelia Sedley, and others who do
duty instead of the Hebrew originals.  It has locked them up as
sleeping beauties, whose charms all may look upon.  Surely the hours
are like the women grinding at the mill--the one is taken and the
other left, and none can give the reason more than he can say why
Gallio should have won immortality by caring for none of "these
things."

It seems to me, moreover, that fairies have changed their practice
now in the matter of sleeping beauties, much as shopkeepers have
done in Regent Street.  Formerly the shopkeeper used to shut up his
goods behind strong shutters, so that no one might see them after
closing hours.  Now he leaves everything open to the eye and turns
the gas on.  So the fairies, who used to lock up their sleeping
beauties in impenetrable thickets, now leave them in the most public
places they can find, as knowing that they will there most certainly
escape notice.  Look at De Hooghe; look at The Pilgrim's Progress,
or even Shakespeare himself--how long they slept unawakened, though
they were in broad daylight and on the public thoroughfares all the
time.  Look at Tabachetti, and the masterpieces he left at Varallo.
His figures there are exposed to the gaze of every passer-by; yet
who heeds them?  Who, save a very few, even know of their existence?
Look again at Gaudenzio Ferrari, or the "Danse des Paysans," by
Holbein, to which I ventured to call attention in the Universal
Review.  No, no; if a thing be in Central Africa, it is the glory of
this age to find it out; so the fairies think it safer to conceal
their proteges under a show of openness; for the schoolmaster is
much abroad, and there is no hedge so thick or so thorny as the
dulness of culture.

It may be, again, that ever so many years hence, when Mr. Darwin's
earth-worms shall have buried Oropa hundreds of feet deep, someone
sinking a well or making a railway-cutting will unearth these
chapels, and will believe them to have been houses, and to contain
the exuviae of the living forms that tenanted them.  In the
meantime, however, let us return to a consideration of the chapel as
it may now be seen by anyone who cares to pass that way.

The work consists of about forty figures in all, not counting
Cupids, and is divided into four main divisions.  First, there is
the large public sitting-room or drawing-room of the College, where
the elder young ladies are engaged in various elegant employments.
Three, at a table to the left, are making a mitre for the Bishop, as
may be seen from the model on the table.  Some are merely spinning
or about to spin.  One young lady, sitting rather apart from the
others, is doing an elaborate piece of needlework at a tambour-frame
near the window; others are making lace or slippers, probably for
the new curate; another is struggling with a letter, or perhaps a
theme, which seems to be giving her a good deal of trouble, but
which, when done, will, I am sure, be beautiful.  One dear little
girl is simply reading Paul and Virginia underneath the window, and
is so concealed that I hardly think she can be seen from the outside
at all, though from inside she is delightful; it was with great
regret that I could not get her into any photograph.  One most
amiable young woman has got a child's head on her lap, the child
having played itself to sleep.  All are industriously and agreeably
employed in some way or other; all are plump; all are nice-looking;
there is not one Becky Sharp in the whole school; on the contrary,
as in "Pious Orgies," all is pious--or sub-pious--and all, if not
great, is at least eminently respectable.  One feels that St.
Joachim and St. Anne could not have chosen a school more
judiciously, and that if one had a daughter oneself this is exactly
where one would wish to place her.  If there is a fault of any kind
in the arrangements, it is that they do not keep cats enough.  The
place is overrun with mice, though what these can find to eat I know
not.  It occurs to me also that the young ladies might be kept a
little more free of spiders' webs; but in all these chapels, bats,
mice, and spiders are troublesome.

Off the main drawing-room on the side facing the window there is a
dais, which is approached by a large raised semicircular step,
higher than the rest of the floor, but lower than the dais itself.
The dais is, of course, reserved for the venerable Lady Principal
and the under-mistresses, one of whom, by the way, is a little more
mondaine than might have been expected, and is admiring herself in a
looking-glass--unless, indeed, she is only looking to see if there
is a spot of ink on her face.  The Lady Principal is seated near a
table, on which lie some books in expensive bindings, which I
imagine to have been presented to her by the parents of pupils who
were leaving school.  One has given her a photographic album;
another a large scrapbook, for illustrations of all kinds; a third
volume has red edges, and is presumably of a devotional character.
If I dared venture another criticism, I should say it would be
better not to keep the ink-pot on the top of these books.  The Lady
Principal is being read to by the monitress for the week, whose duty
it was to recite selected passages from the most approved Hebrew
writers; she appears to be a good deal outraged, possibly at the
faulty intonation of the reader, which she has long tried vainly to
correct; or perhaps she has been hearing of the atrocious way in
which her forefathers had treated the prophets, and is explaining to
the young ladies how impossible it would be, in their own more
enlightened age, for a prophet to fail of recognition.

On the half-dais, as I suppose the large semicircular step between
the main room and the dais should be called, we find, first, the
monitress for the week, who stands up while she recites; and
secondly, the Virgin herself, who is the only pupil allowed a seat
so near to the august presence of the Lady Principal.  She is
ostensibly doing a piece of embroidery which is stretched on a
cushion on her lap, but I should say that she was chiefly interested
in the nearest of four pretty little Cupids, who are all trying to
attract her attention, though they pay no court to any other young
lady.  I have sometimes wondered whether the obviously scandalized
gesture of the Lady Principal might not be directed at these Cupids,
rather than at anything the monitress may have been reading, for she
would surely find them disquieting.  Or she may be saying, "Why,
bless me!  I do declare the Virgin has got another hamper, and St.
Anne's cakes are always so terribly rich!"  Certainly the hamper is
there, close to the Virgin, and the Lady Principal's action may be
well directed at it, but it may have been sent to some other young
lady, and be put on the sub-dais for public exhibition.  It looks as
if it might have come from Fortnum and Mason's, and I half expected
to find a label, addressing it to "The Virgin Mary, Temple College,
Jerusalem," but if ever there was one the mice have long since eaten
it.  The Virgin herself does not seem to care much about it, but if
she has a fault it is that she is generally a little apathetic.

Whose the hamper was, however, is a point we shall never now
certainly determine, for the best fossil is worse than the worst
living form.  Why, alas! was not Mr. Edison alive when this chapel
was made?  We might then have had a daily phonographic recital of
the conversation, and an announcement might be put outside the
chapels, telling us at what hours the figures would speak.

On either side of the main room there are two annexes opening out
from it; these are reserved chiefly for the younger children, some
of whom, I think, are little boys.  In the left annex, behind the
ladies who are making a mitre, there is a child who has got a cake,
and another has some fruit--possibly given them by the Virgin--and a
third child is begging for some of it.  The light failed so
completely here that I was not able to photograph any of these
figures.  It was a dull September afternoon, and the clouds had
settled thick round the chapel, which is never very light, and is
nearly 4000 feet above the sea.  I waited till such twilight as made
it hopeless that more detail could be got--and a queer ghostly place
enough it was to wait in--but after giving the plate an exposure of
fifty minutes, I saw I could get no more, and desisted.

These long photographic exposures have the advantage that one is
compelled to study a work in detail through mere lack of other
employment, and that one can take one's notes in peace without being
tempted to hurry over them; but even so I continually find I have
omitted to note, and have clean forgotten, much that I want later
on.

In the other annex there are also one or two younger children, but
it seems to have been set apart for conversation and relaxation more
than any other part of the establishment.

I have already said that the work is signed by an inscription inside
the chapel, to the effect that the sculptures are by Pietro Aureggio
Termine di Biella.  It will be seen that the young ladies are
exceedingly like one another, and that the artist aimed at nothing
more than a faithful rendering of the life of his own times.  Let us
be thankful that he aimed at nothing less.  Perhaps his wife kept a
girls' school; or he may have had a large family of fat, good-
natured daughters, whose little ways he had studied attentively; at
all events the work is full of spontaneous incident, and cannot fail
to become more and more interesting as the age it renders falls
farther back into the past.  It is to be regretted that many
artists, better-known men, have not been satisfied with the humbler
ambitions of this most amiable and interesting sculptor.  If he has
left us no laboured life-studies, he has at least done something for
us which we can find nowhere else, which we should be very sorry not
to have, and the fidelity of which to Italian life at the beginning
of the eighteenth century will not be disputed.

The eighth chapel is that of the Sposalizio, is certainly not by
Aureggio, and I should say was mainly by the same sculptor who did
the Presentation in the Temple.  On going inside I found the figures
had come from more than one source; some of them are constructed so
absolutely on Valsesian principles, as regards technique, that it
may be assumed they came from Varallo.  Each of these last figures
is in three pieces, that are baked separately and cemented together
afterwards, hence they are more easily transported; no more clay is
used than is absolutely necessary; and the off-side of the figure is
neglected; they will be found chiefly, if not entirely, at the top
of the steps.  The other figures are more solidly built, and do not
remind me in their business features of anything in the Valsesia.
There was a sculptor, Francesco Sala, of Locarno (doubtless the
village a short distance below Varallo, and not the Locarno on the
Lago Maggiore), who made designs for some of the Oropa chapels, and
some of whose letters are still preserved, but whether the Valsesian
figures in this present work are by him or not I cannot say.

The statues are twenty-five in number; I could find no date or
signature; the work reminds me of Montrigone; several of the figures
are not at all bad, and several have horsehair for hair, as at
Varallo.  The effect of the whole composition is better than we have
a right to expect from any sculpture dating from the beginning of
the eighteenth century.

The ninth chapel, the Annunciation, presents no feature of interest;
nor yet does the tenth, the Visit of Mary to Elizabeth.  The
eleventh, the Nativity, though rather better, is still not
remarkable.

The twelfth, the Purification, is absurdly bad, but I do not know
whether the expression of strong personal dislike to the Virgin
which the High Priest wears is intended as prophetic, or whether it
is the result of incompetence, or whether it is merely a smile gone
wrong in the baking.  It is amusing to find Marocco, who has not
been strict about archaeological accuracy hitherto, complain here
that there is an anachronism, inasmuch as some young ecclesiastics
are dressed as they would be at present, and one of them actually
carries a wax candle.  This is not as it should be; in works like
those at Oropa, where implicit reliance is justly placed on the
earnest endeavours that have been so successfully made to thoroughly
and carefully and patiently ensure the accuracy of the minutest
details, it is a pity that even a single error should have escaped
detection; this, however, has most unfortunately happened here, and
Marocco feels it his duty to put us on our guard.  He explains that
the mistake arose from the sculptor's having taken both his general
arrangement and his details from some picture of the fourteenth or
fifteenth century, when the value of the strictest historical
accuracy was not yet so fully understood.

It seems to me that in the matter of accuracy, priests and men of
science whether lay or regular on the one hand, and plain people
whether lay or regular on the other, are trying to play a different
game, and fail to understand one another because they do not see
that their objects are not the same.  The cleric and the man of
science (who is only the cleric in his latest development) are
trying to develop a throat with two distinct passages--one that
shall refuse to pass even the smallest gnat, and another that shall
gracefully gulp even the largest camel; whereas we men of the street
desire but one throat, and are content that this shall swallow
nothing bigger than a pony.  Everyone knows that there is no such
effectual means of developing the power to swallow camels as
incessant watchfulness for opportunities of straining at gnats, and
this should explain many passages that puzzle us in the work both of
our clerics and our scientists.  I, not being a man of science,
still continue to do what I said I did in Alps and Sanctuaries, and
make it a rule to earnestly and patiently and carefully swallow a
few of the smallest gnats I can find several times a day, as the
best astringent for the throat I know of.

The thirteenth chapel is the Marriage Feast at Cana of Galilee.
This is the best chapel as a work of art; indeed, it is the only one
which can claim to be taken quite seriously.  Not that all the
figures are very good; those to the left of the composition are
commonplace enough; nor are the Christ and the giver of the feast at
all remarkable; but the ten or dozen figures of guests and
attendants at the right-hand end of the work are as good as anything
of their kind can be, and remind me so strongly of Tabachetti that I
cannot doubt they were done by someone who was indirectly influenced
by that great sculptor's work.  It is not likely that Tabachetti was
alive long after 1640, by which time he would have been about eighty
years old; and the foundations of this chapel were not laid till
about 1690; the statues are probably a few years later; they can
hardly, therefore, be by one who had even studied under Tabachetti;
but until I found out the dates, and went inside the chapel to see
the way in which the figures had been constructed, I was inclined to
think they might be by Tabachetti himself, of whom, indeed, they are
not unworthy.  On examining the figures I found them more heavily
constructed than Tabachetti's are, with smaller holes for taking out
superfluous clay, and more finished on the off-sides.  Marocco says
the sculptor is not known.  I looked in vain for any date or
signature.  Possibly the right-hand figures (for the left-hand ones
can hardly be by the same hand) may be by some sculptor from Crea,
which is at no very great distance from Oropa, who was penetrated by
Tabachetti's influence; but whether as regards action and concert
with one another, or as regards excellence in detail, I do not see
how anything can be more realistic, and yet more harmoniously
composed.  The placing of the musicians in a minstrels' gallery
helps the effect; these musicians are six in number, and the other
figures are twenty-three.  Under the table, between Christ and the
giver of the feast, there is a cat.

The fourteenth chapel, the Assumption of the Virgin Mary, is without
interest.

The fifteenth, the Coronation of the Virgin, contains forty-six
angels, twenty-six cherubs, fifty-six saints, the Holy Trinity, the
Madonna herself, and twenty-four innocents, making 156 statues in
all.  Of these I am afraid there is not one of more than ordinary
merit; the most interesting is a half-length nude life-study of
Disma--the good thief.  After what had been promised him it was
impossible to exclude him, but it was felt that a half-length nude
figure would be as much as he could reasonably expect.

Behind the sanctuary there is a semi-ruinous and wholly valueless
work, which shows the finding of the black image, which is now in
the church, but is only shown on great festivals.

This leads us to a consideration that I have delayed till now.  The
black image is the central feature of Oropa; it is the raison d'etre
of the whole place, and all else is a mere incrustation, so to
speak, around it.  According to this image, then, which was carved
by St. Luke himself, and than which nothing can be better
authenticated, both the Madonna and the infant Christ were as black
as anything can be conceived.  It is not likely that they were as
black as they have been painted; no one yet ever was so black as
that; yet, even allowing for some exaggeration on St. Luke's part,
they must have been exceedingly black if the portrait is to be
accepted; and uncompromisingly black they accordingly are on most of
the wayside chapels for many a mile around Oropa.  Yet in the
chapels we have been hitherto considering--works in which, as we
know, the most punctilious regard has been shown to accuracy--both
the Virgin and Christ are uncompromisingly white.  As in the shops
under the Colonnade where devotional knick-knacks are sold, you can
buy a black china image or a white one, whichever you like; so with
the pictures--the black and white are placed side by side--pagando
il danaro si puo scegliere.  It rests not with history or with the
Church to say whether the Madonna and Child were black or white, but
you may settle it for yourself, whichever way you please, or rather
you are required, with the acquiescence of the Church, to hold that
they were both black and white at one and the same time.

It cannot be maintained that the Church leaves the matter undecided,
and by tolerating both types proclaims the question an open one, for
she acquiesces in the portrait by St. Luke as genuine.  How, then,
justify the whiteness of the Holy Family in the chapels?  If the
portrait is not known as genuine, why set such a stumbling-block in
our paths as to show us a black Madonna and a white one, both as
historically accurate, within a few yards of one another?

I ask this not in mockery, but as knowing that the Church must have
an explanation to give, if she would only give it, and as myself
unable to find any, even the most far-fetched, that can bring what
we see at Oropa, Loreto and elsewhere into harmony with modern
conscience, either intellectual or ethical.

I see, indeed, from an interesting article in the Atlantic Monthly
for September, 1889, entitled "The Black Madonna of Loreto," that
black Madonnas were so frequent in ancient Christian art that "some
of the early writers of the Church felt obliged to account for it by
explaining that the Virgin was of a very dark complexion, as might
be proved by the verse of Canticles which says, 'I am black, but
comely, O ye daughters of Jerusalem.'  Others maintained that she
became black during her sojourn in Egypt. . . .  Priests, of to-day,
say that extreme age and exposure to the smoke of countless altar-
candles have caused that change in complexion which the more naive
fathers of the Church attributed to the power of an Egyptian sun";
but the writer ruthlessly disposes of this supposition by pointing
out that in nearly all the instances of black Madonnas it is the
flesh alone that is entirely black, the crimson of the lips, the
white of the eyes, and the draperies having preserved their original
colour.  The authoress of the article (Mrs. Hilliard) goes on to
tell us that Pausanias mentions two statues of the black Venus, and
says that the oldest statue of Ceres among the Phigalenses was
black.  She adds that Minerva Aglaurus, the daughter of Cecrops, at
Athens, was black; that Corinth had a black Venus, as also the
Thespians; that the oracles of Dodona and Delphi were founded by
black doves, the emissaries of Venus, and that the Isis Multimammia
in the Capitol at Rome is black.

Sometimes I have asked myself whether the Church does not intend to
suggest that the whole story falls outside the domain of history,
and is to be held as the one great epos, or myth, common to all
mankind; adaptable by each nation according to its own several
needs; translatable, so to speak, into the facts of each individual
nation, as the written word is translatable into its language, but
appertaining to the realm of the imagination rather than to that of
the understanding, and precious for spiritual rather than literal
truths.  More briefly, I have wondered whether she may not intend
that such details as whether the Virgin was white or black are of
very little importance in comparison with the basing of ethics on a
story that shall appeal to black races as well as to white ones.

If so, it is time we were made to understand this more clearly.  If
the Church, whether of Rome or England, would lean to some such view
as this--tainted though it be with mysticism--if we could see either
great branch of the Church make a frank, authoritative attempt to
bring its teaching into greater harmony with the educated
understanding and conscience of the time, instead of trying to
fetter that understanding with bonds that gall it daily more and
more profoundly; then I, for one, in view of the difficulty and
graciousness of the task, and in view of the great importance of
historical continuity, would gladly sink much of my own private
opinion as to the value of the Christian ideal, and would gratefully
help either Church or both, according to the best of my very feeble
ability.  On these terms, indeed, I could swallow not a few camels
myself cheerfully enough.

Can we, however, see any signs as though either Rome or England will
stir hand or foot to meet us?  Can any step be pointed to as though
either Church wished to make things easier for men holding the
opinions held by the late Mr. Darwin, or by Mr. Herbert Spencer and
Professor Huxley?  How can those who accept evolution with any
thoroughness accept such doctrines as the Incarnation or the
Redemption with any but a quasi-allegorical and poetical
interpretation?  Can we conceivably accept these doctrines in the
literal sense in which the Church advances them?  And can the
leaders of the Church be blind to the resistlessness of the current
that has set against those literal interpretations which she seems
to hug more and more closely the more religious life is awakened at
all?  The clergyman is wanted as supplementing the doctor and the
lawyer in all civilized communities; these three keep watch on one
another, and prevent one another from becoming too powerful.  I, who
distrust the doctrinaire in science even more than the doctrinaire
in religion, should view with dismay the abolition of the Church of
England, as knowing that a blatant bastard science would instantly
step into her shoes; but if some such deplorable consummation is to
be avoided in England, it can only be through more evident leaning
on the part of our clergy to such an interpretation of the Sacred
History as the presence of a black and white Madonna almost side by
side at Oropa appears to suggest.

I fear that in these last paragraphs I may have trenched on
dangerous ground, but it is not possible to go to such places as
Oropa without asking oneself what they mean and involve.  As for the
average Italian pilgrims, they do not appear to give the matter so
much as a thought.  They love Oropa, and flock to it in thousands
during the summer; the President of the Administration assured me
that they lodged, after a fashion, as many as ten thousand pilgrims
on the 15th of last August.  It is astonishing how living the
statues are to these people, and how the wicked are upbraided and
the good applauded.  At Varallo, since I took the photographs I
published in my book Ex Voto, an angry pilgrim has smashed the nose
of the dwarf in Tabachetti's Journey to Calvary, for no other reason
than inability to restrain his indignation against one who was
helping to inflict pain on Christ.  It is the real hair and the
painting up to nature that does this.  Here at Oropa I found a paper
on the floor of the Sposalizio Chapel, which ran as follows:--

"By the grace of God and the will of the administrative chapter of
this sanctuary, there have come here to work --- ---, mason, --- ---
, carpenter, and --- ---, plumber, all of Chiavazza, on the twenty-
first day of January, 1886, full of cold (pieni di freddo).

"They write these two lines to record their visit.  They pray the
Blessed Virgin that she will maintain them safe and sound from
everything equivocal that may befall them (sempre sani e salvi da
ogni equivoco li possa accadere).  Oh, farewell!  We reverently
salute all the present statues, and especially the Blessed Virgin,
and the reader."

Through the Universal Review, I suppose, all its readers are to
consider themselves saluted; at any rate, these good fellows, in the
effusiveness of their hearts, actually wrote the above in pencil.  I
was sorely tempted to steal it, but, after copying it, left it in
the Chief Priest's hands instead.



Art in the Valley of Saas {188}


Having been told by Mr. Fortescue, of the British Museum, that there
were some chapels at Saas-Fee which bore analogy to those at
Varallo, described in my book Ex Voto, I went to Saas during this
last summer, and venture now to lay my conclusions before the
reader.

The chapels are fifteen in number, and lead up to a larger and
singularly graceful one, rather more than half-way between Saas and
Saas-Fee.  This is commonly but wrongly called the chapel of St.
Joseph, for it is dedicated to the Virgin, and its situation is of
such extreme beauty--the great Fee glaciers showing through the open
portico--that it is in itself worth a pilgrimage.  It is surrounded
by noble larches and overhung by rock; in front of the portico there
is a small open space covered with grass, and a huge larch, the stem
of which is girt by a rude stone seat.  The portico itself contains
seats for worshippers, and a pulpit from which the preacher's voice
can reach the many who must stand outside.  The walls of the inner
chapel are hung with votive pictures, some of them very quaint and
pleasing, and not overweighted by those qualities that are usually
dubbed by the name of artistic merit.  Innumerable wooden and waxen
representations of arms, legs, eyes, ears and babies tell of the
cures that have been effected during two centuries of devotion, and
can hardly fail to awaken a kindly sympathy with the long dead and
forgotten folks who placed them where they are.

The main interest, however, despite the extreme loveliness of the
St. Mary's Chapel, centres rather in the small and outwardly
unimportant oratories (if they should be so called) that lead up to
it.  These begin immediately with the ascent from the level ground
on which the village of Saas-im-Grund is placed, and contain scenes
in the history of the Redemption, represented by rude but spirited
wooden figures, each about two feet high, painted, gilt, and
rendered as life-like in all respects as circumstances would permit.
The figures have suffered a good deal from neglect, and are still
not a little misplaced.  With the assistance, however, of the Rev.
E. J. Selwyn, English Chaplain at Saas-im-Grund, I have been able to
replace many of them in their original positions, as indicated by
the parts of the figures that are left rough-hewn and unpainted.
They vary a good deal in interest, and can be easily sneered at by
those who make a trade of sneering.  Those, on the other hand, who
remain unsophisticated by overmuch art-culture will find them full
of character in spite of not a little rudeness of execution, and
will be surprised at coming across such works in a place so remote
from any art-centre as Saas must have been at the time these chapels
were made.  It will be my business therefore to throw what light I
can upon the questions how they came to be made at all, and who was
the artist who designed them.

The only documentary evidence consists in a chronicle of the valley
of Saas written in the early years of this century by the Rev. Peter
Jos. Ruppen, and published at Sion in 1851.  This work makes
frequent reference to a manuscript by the Rev. Peter Joseph Clemens
Lommatter, cure of Saas-Fee from 1738 to 1751, which has
unfortunately been lost, so that we have no means of knowing how
closely it was adhered to.  The Rev. Jos.  Ant.  Ruppen, the present
excellent cure of Saas-im-Grund, assures me that there is no
reference to the Saas-Fee oratories in the "Actes de l'Eglise" at
Saas, which I understand go a long way back; but I have not seen
these myself.  Practically, then, we have no more documentary
evidence than is to be found in the published chronicle above
referred to.

We there find it stated that the large chapel, commonly, but as
above explained, wrongly called St. Joseph's, was built in 1687, and
enlarged by subscription in 1747.  These dates appear on the
building itself, and are no doubt accurate.  The writer adds that
there was no actual edifice on this site before the one now existing
was built, but there was a miraculous picture of the Virgin placed
in a mural niche, before which the pious herdsmen and devout
inhabitants of the valley worshipped under the vault of heaven.
{190}  A miraculous (or miracle-working) picture was always more or
less rare and important; the present site, therefore, seems to have
been long one of peculiar sanctity.  Possibly the name Fee may point
to still earlier pagan mysteries on the same site.

As regards the fifteen small chapels, the writer says they
illustrate the fifteen mysteries of the Psalter, and were built in
1709, each householder of the Saas-Fee contributing one chapel.  He
adds that Heinrich Andenmatten, afterwards a brother of the Society
of Jesus, was an especial benefactor or promoter of the undertaking.
One of the chapels, the Ascension (No. 12 of the series), has the
date 1709 painted on it; but there is no date on any other chapel,
and there seems no reason why this should be taken as governing the
whole series.

Over and above this, there exists in Saas a tradition, as I was told
immediately on my arrival, by an English visitor, that the chapels
were built in consequence of a flood, but I have vainly endeavoured
to trace this story to an indigenous source.

The internal evidence of the wooden figures themselves--nothing
analogous to which, it should be remembered, can be found in the
chapel of 1687--points to a much earlier date.  I have met with no
school of sculpture belonging to the early part of the eighteenth
century to which they can be plausibly assigned; and the supposition
that they are the work of some unknown local genius who was not led
up to and left no successors may be dismissed, for the work is too
scholarly to have come from anyone but a trained sculptor.  I refer
of course to those figures which the artist must be supposed to have
executed with his own hand, as, for example, the central figure of
the Crucifixion group and those of the Magdalene and St. John.  The
greater number of the figures were probably, as was suggested to me
by Mr. Ranshaw, of Lowth, executed by a local wood-carver from
models in clay and wax furnished by the artist himself.  Those who
examine the play of line in the hair, mantle, and sleeve of the
Magdalene in the Crucifixion group, and contrast it with the greater
part of the remaining draperies, will find little hesitation in
concluding that this was the case, and will ere long readily
distinguish the two hands from which the figures have mainly come.
I say "mainly," because there is at least one other sculptor who may
well have belonged to the year 1709, but who fortunately has left us
little.  Examples of his work may perhaps be seen in the nearest
villain with a big hat in the Flagellation chapel, and in two
cherubs in the Assumption of the Virgin.

We may say, then, with some certainty, that the designer was a
cultivated and practised artist.  We may also not less certainly
conclude that he was of Flemish origin, for the horses in the
Journey to Calvary and Crucifixion chapels, where alone there are
any horses at all, are of Flemish breed, with no trace of the Arab
blood adopted by Gaudenzio at Varallo.  The character, moreover, of
the villains is Northern--of the Quentin Matsys, Martin Schongauer
type, rather than Italian; the same sub-Rubensesque feeling which is
apparent in more than one chapel at Varallo is not less evident
here--especially in the Journey to Calvary and Crucifixion chapels.
There can hardly, therefore, be a doubt that the artist was a
Fleming who had worked for several years in Italy.

It is also evident that he had Tabachetti's work at Varallo well in
his mind.  For not only does he adopt certain details of costume (I
refer particularly to the treatment of soldiers' tunics) which are
peculiar to Tabachetti at Varallo, but whenever he treats a subject
which Tabachetti had treated at Varallo, as in the Flagellation,
Crowning with Thorns, and Journey to Calvary chapels, the work at
Saas is evidently nothing but a somewhat modified abridgment of that
at Varallo.  When, however, as in the Annunciation, the Nativity,
the Crucifixion, and other chapels, the work at Varallo is by
another than Tabachetti, no allusion is made to it.  The Saas artist
has Tabachetti's Varallo work at his finger-ends, but betrays no
acquaintance whatever with Gaudenzio Ferrari, Gio. Ant.  Paracca, or
Giovanni d'Enrico.

Even, moreover, when Tabachetti's work at Varallo is being most
obviously drawn from, as in the Journey to Calvary chapel, the Saas
version differs materially from that at Varallo, and is in some
respects an improvement on it.  The idea of showing other horsemen
and followers coming up from behind, whose heads can be seen over
the crown of the interposing hill, is singularly effective as
suggesting a number of others that are unseen, nor can I conceive
that anyone but the original designer would follow Tabachetti's
Varallo design with as much closeness as it has been followed here,
and yet make such a brilliantly successful modification.  The
stumbling, again, of one horse (a detail almost hidden, according to
Tabachetti's wont) is a touch which Tabachetti himself might add,
but which no Saas wood-carver who was merely adapting from a
reminiscence of Tabachetti's Varallo chapel would be likely to
introduce.  These considerations have convinced me that the designer
of the chapels at Saas is none other than Tabachetti himself, who,
as has been now conclusively shown, was a native of Dinant, in
Belgium.

The Saas chronicler, indeed, avers that the chapels were not built
till 1709--a statement apparently corroborated by a date now visible
on one chapel; but we must remember that the chronicler did not
write until a century or so later than 1709, and though indeed, his
statement may have been taken from the lost earlier manuscript of
1738, we know nothing about this either one way or the other.  The
writer may have gone by the still existing 1709 on the Ascension
chapel, whereas this date may in fact have referred to a
restoration, and not to an original construction.  There is nothing,
as I have said, in the choice of the chapel on which the date
appears, to suggest that it was intended to govern the others.  I
have explained that the work is isolated and exotic.  It is by one
in whom Flemish and Italian influences are alike equally
predominant; by one who was saturated with Tabachetti's Varallo
work, and who can improve upon it, but over whom the other Varallo
sculptors have no power.  The style of the work is of the sixteenth
and not of the eighteenth century--with a few obvious exceptions
that suit the year 1709 exceedingly well.  Against such
considerations as these, a statement made at the beginning of this
century referring to a century earlier and a promiscuous date upon
one chapel, can carry but little weight.  I shall assume, therefore,
henceforward, that we have here groups designed in a plastic
material by Tabachetti, and reproduced in wood by the best local
wood-sculptor available, with the exception of a few figures cut by
the artist himself.

We ask, then, at what period in his life did Tabachetti design these
chapels, and what led to his coming to such an out-of-the-way place
as Saas at all?  We should remember that, according both to Fassola
and Torrotti (writing in 1671 and 1686 respectively), Tabachetti
{195} became insane about the year 1586 or early in 1587, after
having just begun the Salutation chapel.  I have explained in Ex
Voto that I do not believe this story.  I have no doubt that
Tabachetti was declared to be mad, but I believe this to have been
due to an intrigue, set on foot in order to get a foreign artist out
of the way, and to secure the Massacre of the Innocents chapel, at
that precise time undertaken, for Gio. Ant.  Paracca, who was an
Italian.

Or he may have been sacrificed in order to facilitate the return of
the workers in stucco whom he had superseded on the Sacro Monte.  He
may have been goaded into some imprudence which was seized upon as a
pretext for shutting him up; at any rate, the fact that when in 1587
he inherited his father's property at Dinant, his trustee (he being
expressly stated to be "expatrie") was "datif," "dativus," appointed
not by himself but by the court, lends colour to the statement that
he was not his own master at the time; for in later kindred deeds,
now at Namur, he appoints his own trustee.  I suppose, then, that
Tabachetti was shut up in a madhouse at Varallo for a considerable
time, during which I can find no trace of him, but that eventually
he escaped or was released.

Whether he was a fugitive, or whether he was let out from prison, he
would in either case, in all reasonable probability, turn his face
homeward.  If he was escaping, he would make immediately for the
Savoy frontier, within which Saas then lay.  He would cross the
Baranca above Fobello, coming down on to Ponte Grande in the Val
Anzasca.  He would go up the Val Anzasca to Macugnaga, and over the
Monte Moro, which would bring him immediately to Saas.  Saas,
therefore, is the nearest and most natural place for him to make
for, if he were flying from Varallo, and here I suppose him to have
halted.

It so happened that on the 9th of September, 1589, there was one of
the three great outbreaks of the Mattmark See that have from time to
time devastated the valley of Saas. {196}  It is probable that the
chapels were decided upon in consequence of some grace shown by the
miraculous picture of the Virgin, which had mitigated a disaster
occurring so soon after the anniversary of her own Nativity.
Tabachetti, arriving at this juncture, may have offered to undertake
them if the Saas people would give him an asylum.  Here, at any
rate, I suppose him to have stayed till some time in 1590, probably
the second half of it; his design of eventually returning home, if
he ever entertained it, being then interrupted by a summons to Crea
near Casale, where I believe him to have worked with a few brief
interruptions thenceforward for little if at all short of half a
century, or until about the year 1640.  I admit, however, that the
evidence for assigning him so long a life rests solely on the
supposed identity of the figure known as "Il Vecchietto," in the
Varallo Descent from the Cross chapel, with the portrait of
Tabachetti himself in the Ecce Homo chapel, also at Varallo.

I find additional reason for thinking the chapels owe their origin
to the inundation of 9th September, 1589, in the fact that the 8th
of September is made a day of pilgrimage to the Saas-Fee chapels
throughout the whole valley of Saas.  It is true the 8th of
September is the festival of the Nativity of the Virgin Mary, so
that under any circumstances this would be a great day, but the fact
that not only the people of Saas, but the whole valley down to Visp,
flock to this chapel on the 8th of September, points to the belief
that some special act of grace on the part of the Virgin was
vouchsafed on this day in connection with this chapel.  A belief
that it was owing to the intervention of St. Mary of Fee that the
inundation was not attended with loss of life would be very likely
to lead to the foundation of a series of chapels leading up to the
place where her miraculous picture was placed, and to the more
special celebration of her Nativity in connection with this spot
throughout the valley of Saas.  I have discussed the subject with
the Rev. Jos.  Ant. Ruppen, and he told me he thought the fact that
the great fete of the year in connection with the Saas-Fee chapels
was on the 8th of September pointed rather strongly to the
supposition that there was a connection between these and the
recorded flood of 9th September, 1589.

Turning to the individual chapels they are as follows:--

1.  The Annunciation.  The treatment here presents no more analogy
to that of the same subject at Varallo than is inevitable in the
nature of the subject.  The Annunciation figures at Varallo have
proved to be mere draped dummies with wooden heads; Tabachetti, even
though he did the heads, which he very likely did, would take no
interest in the Varallo work with the same subject.  The
Annunciation, from its very simplicity as well as from the
transcendental nature of the subject, is singularly hard to treat,
and the work here, whatever it may once have been, is now no longer
remarkable.

2.  The Salutation of Mary by Elizabeth.  This group, again, bears
no analogy to the Salutation chapel at Varallo, in which
Tabachetti's share was so small that it cannot be considered as in
any way his.  It is not to be expected, therefore, that the Saas
chapel should follow the Varallo one.  The figures, four in number,
are pleasing and well arranged.  St. Joseph, St. Elizabeth, and St.
Zacharias are all talking at once.  The Virgin is alone silent.

3.  The Nativity is much damaged and hard to see.  The treatment
bears no analogy to that adopted by Gaudenzio Ferrari at Varallo.
There is one pleasing young shepherd standing against the wall, but
some figures have no doubt (as in others of the chapels)
disappeared, and those that remain have been so shifted from their
original positions that very little idea can be formed of what the
group was like when Tabachetti left it.

4.  The Purification.  I can hardly say why this chapel should
remind me, as it does, of the Circumcision chapel at Varallo, for
there are more figures here than space at Varallo will allow.  It
cannot be pretended that any single figure is of extraordinary
merit, but amongst them they tell their story with excellent effect.
Two, those of St. Joseph and St. Anna (?), that doubtless were once
more important factors in the drama, are now so much in corners near
the window that they can hardly be seen.

5.  The Dispute in the Temple.  This subject is not treated at
Varallo.  Here at Saas there are only six doctors now; whether or no
there were originally more cannot be determined.

6.  The Agony in the Garden.  Tabachetti had no chapel with this
subject at Varallo, and there is no resemblance between the Saas
chapel and that by D'Enrico.  The figures are no doubt approximately
in their original positions, but I have no confidence that I have
rearranged them correctly.  They were in such confusion when I first
saw them that the Rev. E. J. Selwyn and myself determined to
rearrange them.  They have doubtless been shifted more than once
since Tabachetti left them.  The sleeping figures are all good.  St.
James is perhaps a little prosaic.  One Roman soldier who is coming
into the garden with a lantern, and motioning silence with his hand,
does duty for the others that are to follow him.  I should think
more than one of these figures is actually carved in wood by
Tabachetti, allowance being made for the fact that he was working in
a material with which he was not familiar, and which no sculptor of
the highest rank has ever found congenial.

7.  The Flagellation.  Tabachetti has a chapel with this subject at
Varallo, and the Saas group is obviously a descent with modification
from his work there.  The figure of Christ is so like the one at
Varallo that I think it must have been carved by Tabachetti himself.
The man with the hooked nose, who at Varallo is stooping to bind his
rods, is here upright:  it was probably the intention to emphasize
him in the succeeding scenes as well as this, in the same way as he
has been emphasized at Varallo, but his nose got pared down in the
cutting of later scenes, and could not easily be added to.  The man
binding Christ to the column at Varallo is repeated (longo
intervallo) here, and the whole work is one inspired by that at
Varallo, though no single figure except that of the Christ is
adhered to with any very great closeness.  I think the nearer
malefactor, with a goitre, and wearing a large black hat, is either
an addition of the year 1709, or was done by the journeyman of the
local sculptor who carved the greater number of the figures.  The
man stooping down to bind his rods can hardly be by the same hand as
either of the two black-hatted malefactors, but it is impossible to
speak with certainty.  The general effect of the chapel is
excellent, if we consider the material in which it is executed, and
the rudeness of the audience to whom it addresses itself.

8.  The Crowning with Thorns.  Here again the inspiration is derived
from Tabachetti's Crowning with Thorns at Varallo.  The Christs in
the two chapels are strikingly alike, and the general effect is that
of a residuary impression left in the mind of one who had known the
Varallo Flagellation exceedingly well.

9.  Sta.  Veronica.  This and the next succeeding chapels are the
most important of the series.  Tabachetti's Journey to Calvary at
Varallo is again the source from which the present work was taken,
but, as I have already said, it has been modified in reproduction.
Mount Calvary is still shown, as at Varallo, towards the left-hand
corner of the work, but at Saas it is more towards the middle than
at Varallo, so that horsemen and soldiers may be seen coming up
behind it--a stroke that deserves the name of genius none the less
for the manifest imperfection with which it has been carried into
execution.  There are only three horses fully shown, and one partly
shown.  They are all of the heavy Flemish type adopted by Tabachetti
at Varallo.  The man kicking the fallen Christ and the goitred man
(with the same teeth missing), who are so conspicuous in the Varallo
Journey to Calvary, reappear here, only the kicking man has much
less nose than at Varallo, probably because (as explained) the nose
got whittled away and could not be whittled back again.  I observe
that the kind of lapelled tunic which Tabachetti, and only
Tabachetti, adopts at Varallo, is adopted for the centurion in this
chapel, and indeed throughout the Saas chapels this particular form
of tunic is the most usual for a Roman soldier.  The work is still a
very striking one, notwithstanding its translation into wood and the
decay into which it has been allowed to fall; nor can it fail to
impress the visitor who is familiar with this class of art as coming
from a man of extraordinary dramatic power and command over the
almost impossible art of composing many figures together effectively
in all-round sculpture.  Whether all the figures are even now as
Tabachetti left them I cannot determine, but Mr. Selwyn has restored
Simon the Cyrenian to the position in which he obviously ought to
stand, and between us we have got the chapel into something more
like order.

10.  The Crucifixion.  This subject was treated at Varallo not by
Tabachetti but by Gaudenzio Ferrari.  It confirms therefore my
opinion as to the designer of the Saas chapels to find in them no
trace of the Varallo Crucifixion, while the kind of tunic which at
Varallo is only found in chapels wherein Tabachetti worked again
appears here.  The work is in a deplorable state of decay.  Mr.
Selwyn has greatly improved the arrangement of the figures, but even
now they are not, I imagine, quite as Tabachetti left them.  The
figure of Christ is greatly better in technical execution than that
of either of the two thieves; the folds of the drapery alone will
show this even to an unpractised eye.  I do not think there can be a
doubt but that Tabachetti cut this figure himself, as also those of
the Magdalene and St. John, who stand at the foot of the cross.  The
thieves are coarsely executed, with no very obvious distinction
between the penitent and the impenitent one, except that there is a
fiend painted on the ceiling over the impenitent thief.  The one
horse introduced into the composition is again of the heavy Flemish
type adopted by Tabachetti at Varallo.  There is great difference in
the care with which the folds on the several draperies have been
cut, some being stiff and poor enough, while others are done very
sufficiently.  In spite of smallness of scale, ignoble material,
disarrangement and decay, the work is still striking.

11.  The Resurrection.  There being no chapel at Varallo with any of
the remaining subjects treated at Saas, the sculptor has struck out
a line for himself.  The Christ in the Resurrection Chapel is a
carefully modelled figure, and if better painted might not be
ineffective.  Three soldiers, one sleeping, alone remain.  There
were probably other figures that have been lost.  The sleeping
soldier is very pleasing.

12.  The Ascension is not remarkably interesting; the Christ appears
to be, but perhaps is not, a much more modern figure than the rest.

13.  The Descent of the Holy Ghost.  Some of the figures along the
end wall are very good, and were, I should imagine, cut by
Tabachetti himself.  Those against the two side walls are not so
well cut.

14.  The Assumption of the Virgin Mary.  The two large cherubs here
are obviously by a later hand, and the small ones are not good.  The
figure of the Virgin herself is unexceptionable.  There were
doubtless once other figures of the Apostles which have disappeared;
of these a single St. Peter (?), so hidden away in a corner near the
window that it can only be seen with difficulty, is the sole
survivor.

15.  The Coronation of the Virgin is of later date, and has probably
superseded an earlier work.  It can hardly be by the designer of the
other chapels of the series.  Perhaps Tabachetti had to leave for
Crea before all the chapels at Saas were finished.

Lastly, we have the larger chapel dedicated to St. Mary, which
crowns the series.  Here there is nothing of more than common
artistic interest, unless we except the stone altar mentioned in
Ruppen's chronicle.  This is of course classical in style, and is, I
should think, very good.

Once more I must caution the reader against expecting to find highly
finished gems of art in the chapels I have been describing.  A
wooden figure not more than two feet high clogged with many coats of
paint can hardly claim to be taken very seriously, and even those
few that were cut by Tabachetti himself were not meant to have
attention concentrated on themselves alone.  As mere wood-carving
the Saas-Fee chapels will not stand comparison, for example, with
the triptych of unknown authorship in the Church of St. Anne at
Gliss, close to Brieg.  But, in the first place, the work at Gliss
is worthy of Holbein himself; I know no wood-carving that can so
rivet the attention; moreover it is coloured with water-colour and
not oil, so that it is tinted, not painted; and, in the second
place, the Gliss triptych belongs to a date (1519) when artists held
neither time nor impressionism as objects, and hence, though greatly
better than the Saas-Fee chapels as regards a certain Japanese
curiousness of finish and naivete of literal transcription, it
cannot even enter the lists with the Saas work as regards elan and
dramatic effectiveness.  The difference between the two classes of
work is much that between, say, John Van Eyck or Memling and Rubens
or Rembrandt, or, again, between Giovanni Bellini and Tintoretto;
the aims of the one class of work are incompatible with those of the
other.  Moreover, in the Gliss triptych the intention of the
designer is carried out (whether by himself or no) with admirable
skill; whereas at Saas the wisdom of the workman is rather of Ober-
Ammergau than of the Egyptians, and the voice of the poet is not a
little drowned in that of his mouthpiece.  If, however, the reader
will bear in mind these somewhat obvious considerations, and will
also remember the pathetic circumstances under which the chapels
were designed--for Tabachetti when he reached Saas was no doubt
shattered in body and mind by his four years' imprisonment--he will
probably be not less attracted to them than I observed were many of
the visitors both at Saas-Grund and Saas-Fee with whom I had the
pleasure of examining them.

I will now run briefly through the other principal works in the
neighbourhood to which I think the reader would be glad to have his
attention directed.

At Saas-Fee itself the main altar-piece is without interest, as also
one with a figure of St. Sebastian.  The Virgin and Child above the
remaining altar are, so far as I remember them, very good, and
greatly superior to the smaller figures of the same altar-piece.

At Almagel, an hour's walk or so above Saas-Grund--a village, the
name of which, like those of the Alphubel, the Monte Moro, and more
than one other neighbouring site, is supposed to be of Saracenic
origin--the main altar-piece represents a female saint with folded
arms being beheaded by a vigorous man to the left.  These two
figures are very good.  There are two somewhat inferior elders to
the right, and the composition is crowned by the Assumption of the
Virgin.  I like the work, but have no idea who did it.  Two bishops
flanking the composition are not so good.  There are two other
altars in the church:  the right-hand one has some pleasing figures,
not so the left-hand.

In St. Joseph's Chapel, on the mule-road between Saas-Grund and
Saas-Fee, the St. Joseph and the two children are rather nice.  In
the churches and chapels which I looked into between Saas and
Stalden, I saw many florid extravagant altar-pieces, but nothing
that impressed me favourably.

In the parish church at Saas-Grund there are two altar-pieces which
deserve attention.  In the one over the main altar the arrangement
of the Last Supper in a deep recess half-way up the composition is
very pleasing and effective; in that above the right-hand altar of
the two that stand in the body of the church there are a number of
round lunettes, about eight inches in diameter, each containing a
small but spirited group of wooden figures.  I have lost my notes on
these altar-pieces and can only remember that the main one has been
restored, and now belongs to two different dates, the earlier date
being, I should imagine, about 1670.  A similar treatment of the
Last Supper may be found near Brieg in the church of Naters, and no
doubt the two altar-pieces are by the same man.  There are, by the
way, two very ambitious altars on either side the main arch leading
to the chancel in the church at Naters, of which the one on the
south side contains obvious reminiscences of Gaudenzio Ferrari's
Sta.  Maria frescoes at Varallo; but none of the four altar-pieces
in the two transepts tempted me to give them much attention.  As
regards the smaller altar-piece at Saas-Grund, analogous work may be
found at Cravagliana, half-way between Varallo and Fobello, but this
last has suffered through the inveterate habit which Italians have
of showing their hatred towards the enemies of Christ by mutilating
the figures that represent them.  Whether the Saas work is by a
Valsesian artist who came over to Switzerland, or whether the
Cravagliana work is by a Swiss who had come to Italy, I cannot say
without further consideration and closer examination than I have
been able to give.  The altar-pieces of Mairengo, Chiggiogna, and, I
am told, Lavertezzo, all in the Canton Ticino, are by a Swiss or
German artist who has migrated southward; but the reverse migration
was equally common.

Being in the neighbourhood, and wishing to assure myself whether the
sculptor of the Saas-Fee chapels had or had not come lower down the
valley, I examined every church and village which I could hear of as
containing anything that might throw light on this point.  I was
thus led to Vispertimenen, a village some three hours above either
Visp or Stalden.  It stands very high, and is an almost untouched
example of a medieval village.  The altar-piece of the main church
is even more floridly ambitious in its abundance of carving and
gilding than the many other ambitious altar-pieces with which the
Canton Valais abounds.  The Apostles are receiving the Holy Ghost on
the first storey of the composition, and they certainly are
receiving it with an overjoyed alacrity and hilarious ecstasy of
allegria spirituale which it would not be easy to surpass.  Above
the village, reaching almost to the limits beyond which there is no
cultivation, there stands a series of chapels like those I have been
describing at Saas-Fee, only much larger and more ambitious.  They
are twelve in number, including the church that crowns the series.
The figures they contain are of wood (so I was assured, but I did
not go inside the chapels):  they are life-size, and in some chapels
there are as many as a dozen figures.  I should think they belonged
to the later half of the eighteenth century, and here, one would
say, sculpture touches the ground; at least, it is not easy to see
how cheap exaggeration can sink an art more deeply.  The only things
that at all pleased me were a smiling donkey and an ecstatic cow in
the Nativity chapel.  Those who are not allured by the prospect of
seeing perhaps the very worst that can be done in its own line, need
not be at the pains of climbing up to Vispertimenen.  Those, on the
other hand, who may find this sufficient inducement will not be
disappointed, and they will enjoy magnificent views of the Weisshorn
and the mountains near the Dom.

I have already referred to the triptych at Gliss.  This is figured
in Wolf's work on Chamonix and the Canton Valais, but a larger and
clearer reproduction of such an extraordinary work is greatly to be
desired.  The small wooden statues above the triptych, as also those
above its modern companion in the south transept, are not less
admirable than the triptych itself.  I know of no other like work in
wood, and have no clue whatever as to who the author can have been
beyond the fact that the work is purely German and eminently
Holbeinesque in character.

I was told of some chapels at Rarogne, five or six miles lower down
the valley than Visp.  I examined them, and found they had been
stripped of their figures.  The few that remained satisfied me that
we have had no loss.  Above Brieg there are two other like series of
chapels.  I examined the higher and more promising of the two, but
found not one single figure left.  I was told by my driver that the
other series, close to the Pont Napoleon on the Simplon road, had
been also stripped of its figures, and, there being a heavy storm at
the time, have taken his word for it that this was so.



Thought and Language {209}


Three well-known writers, Professor Max Muller, Professor Mivart,
and Mr. Alfred Russel Wallace, have lately maintained that though
the theory of descent with modification accounts for the development
of all vegetable life, and of all animals lower than man, yet that
man cannot--not at least in respect of the whole of his nature--be
held to have descended from any animal lower than himself, inasmuch
as none lower than man possesses even the germs of language.
Reason, it is contended--more especially by Professor Max Muller in
his Science of Thought, to which I propose confining our attention
this evening--is so inseparably connected with language, that the
two are in point of fact identical; hence it is argued that, as the
lower animals have no germs of language, they can have no germs of
reason, and the inference is drawn that man cannot be conceived as
having derived his own reasoning powers and command of language
through descent from beings in which no germ of either can be found.
The relations therefore between thought and language, interesting in
themselves, acquire additional importance from the fact of their
having become the battle-ground between those who say that the
theory of descent breaks down with man, and those who maintain that
we are descended from some apelike ancestor long since extinct.

The contention of those who refuse to admit man unreservedly into
the scheme of evolution is comparatively recent.  The great
propounders of evolution, Buffon, Erasmus Darwin and Lamarck--not to
mention a score of others who wrote at the close of the last and
early part of this present century--had no qualms about admitting
man into their system.  They have been followed in this respect by
the late Mr. Charles Darwin, and by the greatly more influential
part of our modern biologists, who hold that whatever loss of
dignity we may incur through being proved to be of humble origin, is
compensated by the credit we may claim for having advanced ourselves
to such a high pitch of civilization; this bids us expect still
further progress, and glorifies our descendants more than it abases
our ancestors.  But to whichever view we may incline on sentimental
grounds the fact remains that, while Charles Darwin declared
language to form no impassable barrier between man and the lower
animals, Professor Max Muller calls it the Rubicon which no brute
dare cross, and deduces hence the conclusion that man cannot have
descended from an unknown but certainly speechless ape.

It may perhaps be expected that I should begin a lecture on the
relations between thought and language with some definition of both
these things; but thought, as Sir William Grove said of motion, is a
phenomenon "so obvious to simple apprehension that to define it
would make it more obscure." {210}  Definitions are useful where
things are new to us, but they are superfluous about those that are
already familiar, and mischievous, so far as they are possible at
all, in respect of all those things that enter so profoundly and
intimately into our being that in them we must either live or bear
no life.  To vivisect the more vital processes of thought is to
suspend, if not to destroy them; for thought can think about
everything more healthily and easily than about itself.  It is like
its instrument the brain, which knows nothing of any injuries
inflicted upon itself.  As regards what is new to us, a definition
will sometimes dilute a difficulty, and help us to swallow that
which might choke us undiluted; but to define when we have once well
swallowed is to unsettle, rather than settle, our digestion.
Definitions, again, are like steps cut in a steep slope of ice, or
shells thrown on to a greasy pavement; they give us foothold, and
enable us to advance, but when we are at our journey's end we want
them no longer.  Again, they are useful as mental fluxes, and as
helping us to fuse new ideas with our older ones.  They present us
with some tags and ends of ideas that we have already mastered, on
to which we can hitch our new ones; but to multiply them in respect
of such a matter as thought, is like scratching the bite of a gnat;
the more we scratch the more we want to scratch; the more we define
the more we shall have to go on defining the words we have used in
our definitions, and shall end by setting up a serious mental raw in
the place of a small uneasiness that was after all quite endurable.
We know too well what thought is, to be able to know that we know
it, and I am persuaded there is no one in this room but understands
what is meant by thought and thinking well enough for all the
purposes of this discussion.  Whoever does not know this without
words will not learn it for all the words and definitions that are
laid before him.  The more, indeed, he hears, the more confused he
will become.  I shall, therefore, merely premise that I use the word
"thought" in the same sense as that in which it is generally used by
people who say that they think this or that.  At any rate, it will
be enough if I take Professor Max Muller's own definition, and say
that its essence consists in a bringing together of mental images
and ideas with deductions therefrom, and with a corresponding power
of detaching them from one another.  Hobbes, the Professor tells us,
maintained this long ago, when he said that all our thinking
consists of addition and subtraction--that is to say, in bringing
ideas together, and in detaching them from one another.

Turning from thought to language, we observe that the word is
derived from the French langue, or tongue.  Strictly, therefore, it
means tonguage.  This, however, takes account of but a very small
part of the ideas that underlie the word.  It does, indeed, seize a
familiar and important detail of everyday speech, though it may be
doubted whether the tongue has more to do with speaking than lips,
teeth and throat have, but it makes no attempt at grasping and
expressing the essential characteristic of speech.  Anything done
with the tongue, even though it involve no speaking at all, is
tonguage; eating oranges is as much tonguage as speech is.  The
word, therefore, though it tells us in part how speech is effected,
reveals nothing of that ulterior meaning which is nevertheless
inseparable from any right use of the words either "speech" or
"language."  It presents us with what is indeed a very frequent
adjunct of conversation, but the use of written characters, or the
finger-speech of deaf mutes, is enough to show that the word
"language" omits all reference to the most essential characteristics
of the idea, which in practice it nevertheless very sufficiently
presents to us.  I hope presently to make it clear to you how and
why it should do so.  The word is incomplete in the first place,
because it omits all reference to the ideas which words, speech or
language are intended to convey, and there can be no true word
without its actually or potentially conveying an idea.  Secondly, it
makes no allusion to the person or persons to whom the ideas are to
be conveyed.  Language is not language unless it not only expresses
fairly definite and coherent ideas, but unless it also conveys these
ideas to some other living intelligent being, either man or brute,
that can understand them.  We may speak to a dog or horse, but not
to a stone.  If we make pretence of doing so we are in reality only
talking to ourselves.  The person or animal spoken to is half the
battle--a half, moreover, which is essential to there being any
battle at all.  It takes two people to say a thing--a sayee as well
as a sayer.  The one is as essential to any true saying as the
other.  A. may have spoken, but if B. has not heard there has been
nothing said, and he must speak again.  True, the belief on A.'s
part that he had a bona fide sayee in B., saves his speech qua him,
but it has been barren and left no fertile issue.  It has failed to
fulfil the conditions of true speech, which involve not only that A.
should speak, but also that B. should hear.  True, again, we often
speak of loose, incoherent, indefinite language; but by doing so we
imply, and rightly, that we are calling that language which is not
true language at all.  People, again, sometimes talk to themselves
without intending that any other person should hear them, but this
is not well done, and does harm to those who practise it.  It is
abnormal, whereas our concern is with normal and essential
characteristics; we may, therefore, neglect both delirious
babblings, and the cases in which a person is regarding him or
herself, as it were, from outside, and treating himself as though he
were someone else.

Inquiring, then, what are the essentials, the presence of which
constitutes language, while their absence negatives it altogether,
we find that Professor Max Muller restricts them to the use of
grammatical articulate words that we can write or speak, and denies
that anything can be called language unless it can be written or
spoken in articulate words and sentences.  He also denies that we
can think at all unless we do so in words; that is to say, in
sentences with verbs and nouns.  Indeed, he goes so far as to say
upon his title-page that there can be no reason--which I imagine
comes to much the same thing as thought--without language, and no
language without reason.

Against the assertion that there can be no true language without
reason I have nothing to say.  But when the Professor says that
there can be no reason, or thought, without language, his opponents
contend, as it seems to me, with greater force, that thought, though
infinitely aided, extended and rendered definite through the
invention of words, nevertheless existed so fully as to deserve no
other name thousands, if not millions of years before words had
entered into it at all.  Words, they say, are a comparatively recent
invention, for the fuller expression of something that was already
in existence.

Children, they urge, are often evidently thinking and reasoning,
though they can neither think nor speak in words.  If you ask me to
define reason, I answer as before that this can no more be done than
thought, truth or motion can be defined.  Who has answered the
question, "What is truth?"  Man cannot see God and live.  We cannot
go so far back upon ourselves as to undermine our own foundations;
if we try to do so we topple over, and lose that very reason about
which we vainly try to reason.  If we let the foundations be, we
know well enough that they are there, and we can build upon them in
all security.  We cannot, then, define reason nor crib, cabin and
confine it within a thus-far-shalt-thou-go-and-no-further.  Who can
define heat or cold, or night or day?  Yet, so long as we hold fast
by current consent, our chances of error for want of better
definition are so small that no sensible person will consider them.
In like manner, if we hold by current consent or common sense, which
is the same thing, about reason, we shall not find the want of an
academic definition hinder us from a reasonable conclusion.  What
nurse or mother will doubt that her infant child can reason within
the limits of its own experience, long before it can formulate its
reason in articulately worded thought?  If the development of any
given animal is, as our opponents themselves admit, an epitome of
the history of its whole anterior development, surely the fact that
speech is an accomplishment acquired after birth so artificially
that children who have gone wild in the woods lose it if they have
ever learned it, points to the conclusion that man's ancestors only
learned to express themselves in articulate language at a
comparatively recent period.  Granted that they learn to think and
reason continually the more and more fully for having done so, will
common sense permit us to suppose that they could neither think nor
reason at all till they could convey their ideas in words?

I will return later to the reason of the lower animals, but will now
deal with the question what it is that constitutes language in the
most comprehensive sense that can be properly attached to it.  I
have said already that language to be language at all must not only
convey fairly definite coherent ideas, but must also convey them to
another living being.  Whenever two living beings have conveyed and
received ideas, there has been language, whether looks or gestures
or words spoken or written have been the vehicle by means of which
the ideas have travelled.  Some ideas crawl, some run, some fly; and
in this case words are the wings they fly with, but they are only
the wings of thought or of ideas, they are not the thought or ideas
themselves, nor yet, as Professor Max Muller would have it,
inseparably connected with them.  Last summer I was at an inn in
Sicily, where there was a deaf and dumb waiter; he had been born so,
and could neither write nor read.  What had he to do with words or
words with him?  Are we to say, then, that this most active, amiable
and intelligent fellow could neither think nor reason?  One day I
had had my dinner and had left the hotel.  A friend came in, and the
waiter saw him look for me in the place I generally occupied.  He
instantly came up to my friend and moved his two forefingers in a
way that suggested two people going about together, this meant "your
friend"; he then moved his forefingers horizontally across his eyes,
this meant, "who wears divided spectacles"; he made two fierce marks
over the sockets of his eyes, this meant, "with the heavy eyebrows";
he pulled his chin, and then touched his white shirt, to say that my
beard was white.  Having thus identified me as a friend of the
person he was speaking to, and as having a white beard, heavy
eyebrows, and wearing divided spectacles, he made a munching
movement with his jaws to say that I had had my dinner; and finally,
by making two fingers imitate walking on the table, he explained
that I had gone away.  My friend, however, wanted to know how long I
had been gone, so he pulled out his watch and looked inquiringly.
The man at once slapped himself on the back, and held up the five
fingers of one hand, to say it was five minutes ago.  All this was
done as rapidly as though it had been said in words; and my friend,
who knew the man well, understood without a moment's hesitation.
Are we to say that this man had no thought, nor reason, nor
language, merely because he had not a single word of any kind in his
head, which I am assured he had not; for, as I have said, he could
not speak with his fingers?  Is it possible to deny that a dialogue--
an intelligent conversation--had passed between the two men?  And
if conversation, then surely it is technical and pedantic to deny
that all the essential elements of language were present.  The signs
and tokens used by this poor fellow were as rude an instrument of
expression, in comparison with ordinary language, as going on one's
hands and knees is in comparison with walking, or as walking
compared with going by train; but it is as great an abuse of words
to limit the word "language" to mere words written or spoken, as it
would be to limit the idea of a locomotive to a railway engine.
This may indeed pass in ordinary conversation, where so much must be
suppressed if talk is to be got through at all, but it is
intolerable when we are inquiring about the relations between
thought and words.  To do so is to let words become as it were the
masters of thought, on the ground that the fact of their being only
its servants and appendages is so obvious that it is generally
allowed to go without saying.

If all that Professor Max Muller means to say is, that no animal but
man commands an articulate language, with verbs and nouns, or is
ever likely to command one (and I question whether in reality he
means much more than this), no one will differ from him.  No dog or
elephant has one word for bread, another for meat, and another for
water.  Yet, when we watch a cat or dog dreaming, as they often
evidently do, can we doubt that the dream is accompanied by a mental
image of the thing that is dreamed of, much like what we experience
in dreams ourselves, and much doubtless like the mental images which
must have passed through the mind of my deaf and dumb waiter?  If
they have mental images in sleep, can we doubt that waking, also,
they picture things before their mind's eyes, and see them much as
we do--too vaguely indeed to admit of our thinking that we actually
see the objects themselves, but definitely enough for us to be able
to recognize the idea or object of which we are thinking, and to
connect it with any other idea, object, or sign that we may think
appropriate?

Here we have touched on the second essential element of language.
We laid it down, that its essence lay in the communication of an
idea from one intelligent being to another; but no ideas can be
communicated at all except by the aid of conventions to which both
parties have agreed to attach an identical meaning.  The agreement
may be very informal, and may pass so unconsciously from one
generation to another that its existence can only be recognized by
the aid of much introspection, but it will be always there.  A
sayer, a sayee, and a convention, no matter what, agreed upon
between them as inseparably attached to the idea which it is
intended to convey--these comprise all the essentials of language.
Where these are present there is language; where any of them are
wanting there is no language.  It is not necessary for the sayee to
be able to speak and become a sayer.  If he comprehends the sayer--
that is to say, if he attaches the same meaning to a certain symbol
as the sayer does--if he is a party to the bargain whereby it is
agreed upon by both that any given symbol shall be attached
invariably to a certain idea, so that in virtue of the principle of
associated ideas the symbol shall never be present without
immediately carrying the idea along with it, then all the essentials
of language are complied with, and there has been true speech though
never a word was spoken.

The lower animals, therefore, many of them, possess a part of our
own language, though they cannot speak it, and hence do not possess
it so fully as we do.  They cannot say "bread," "meat," or "water,"
but there are many that readily learn what ideas they ought to
attach to these symbols when they are presented to them.  It is idle
to say that a cat does not know what the cat's-meat man means when
he says "meat."  The cat knows just as well, neither better nor
worse than the cat's-meat man does, and a great deal better than I
myself understand much that is said by some very clever people at
Oxford or Cambridge.  There is more true employment of language,
more bona fide currency of speech, between a sayer and a sayee who
understand each other, though neither of them can speak a word, than
between a sayer who can speak with the tongues of men and of angels
without being clear about his own meaning, and a sayee who can
himself utter the same words, but who is only in imperfect agreement
with the sayer as to the ideas which the words or symbols that he
utters are intended to convey.  The nature of the symbols counts for
nothing; the gist of the matter is in the perfect harmony between
sayer and sayee as to the significance that is to be associated with
them.

Professor Max Muller admits that we share with the lower animals
what he calls an emotional language, and continues that we may call
their interjections and imitations language if we like, as we speak
of the language of the eyes or the eloquence of mute nature, but he
warns us against mistaking metaphor for fact.  It is indeed mere
metaphor to talk of the eloquence of mute nature, or the language of
winds and waves.  There is no intercommunion of mind with mind by
means of a covenanted symbol; but it is only an apparent, not a
real, metaphor to say that two pairs of eyes have spoken when they
have signalled to one another something which they both understand.
A schoolboy at home for the holidays wants another plate of pudding,
and does not like to apply officially for more.  He catches the
servant's eye and looks at the pudding; the servant understands,
takes his plate without a word, and gets him some.  Is it metaphor
to say that the boy asked the servant to do this, or is it not
rather pedantry to insist on the letter of a bond and deny its
spirit, by denying that language passed, on the ground that the
symbols covenanted upon and assented to by both were uttered and
received by eyes and not by mouth and ears?  When the lady drank to
the gentleman only with her eyes, and he pledged with his, was there
no conversation because there was neither noun nor verb?  Eyes are
verbs, and glasses of wine are good nouns enough as between those
who understand one another.  Whether the ideas underlying them are
expressed and conveyed by eyeage or by tonguage is a detail that
matters nothing.

But everything we say is metaphorical if we choose to be captious.
Scratch the simplest expressions, and you will find the metaphor.
Written words are handage, inkage and paperage; it is only by
metaphor, or substitution and transposition of ideas, that we can
call them language.  They are indeed potential language, and the
symbols employed presuppose nouns, verbs, and the other parts of
speech; but for the most part it is in what we read between the
lines that the profounder meaning of any letter is conveyed.  There
are words unwritten and untranslatable into any nouns that are
nevertheless felt as above, about and underneath the gross material
symbols that lie scrawled upon the paper; and the deeper the feeling
with which anything is written the more pregnant will it be of
meaning which can be conveyed securely enough, but which loses
rather than gains if it is squeezed into a sentence, and limited by
the parts of speech.  The language is not in the words but in the
heart-to-heartness of the thing, which is helped by words, but is
nearer and farther than they.  A correspondent wrote to me once,
many years ago, "If I could think to you without words you would
understand me better."  But surely in this he was thinking to me,
and without words, and I did understand him better. . . .  So it is
not by the words that I am too presumptuously venturing to speak to-
night that your opinions will be formed or modified.  They will be
formed or modified, if either, by something that you will feel, but
which I have not spoken, to the full as much as by anything that I
have actually uttered.  You may say that this borders on mysticism.
Perhaps it does, but there really is some mysticism in nature.

To return, however, to terra firma.  I believe I am right in saying
that the essence of language lies in the intentional conveyance of
ideas from one living being to another through the instrumentality
of arbitrary tokens or symbols agreed upon and understood by both as
being associated with the particular ideas in question.  The nature
of the symbol chosen is a matter of indifference; it may be anything
that appeals to human senses, and is not too hot or too heavy; the
essence of the matter lies in a mutual covenant that whatever it is
shall stand invariably for the same thing, or nearly so.

We shall see this more easily if we observe the differences between
written and spoken language.  The written word "stone," and the
spoken word, are each of them symbols arrived at in the first
instance arbitrarily.  They are neither of them more like the other
than they are to the idea of a stone which rises before our minds,
when we either see or hear the word, or than this idea again is like
the actual stone itself, but nevertheless the spoken symbol and the
written one each alike convey with certainty the combination of
ideas to which we have agreed to attach them.

The written symbol is formed with the hand, appeals to the eye,
leaves a material trace as long as paper and ink last, can travel as
far as paper and ink can travel, and can be imprinted on eye after
eye practically ad infinitum both as regards time and space.

The spoken symbol is formed by means of various organs in or about
the mouth, appeals to the ear, not the eye, perishes instantly
without material trace, and if it lives at all does so only in the
minds of those who heard it.  The range of its action is no wider
than that within which a voice can be heard; and every time a fresh
impression is wanted the type must be set up anew.

The written symbol extends infinitely, as regards time and space,
the range within which one mind can communicate with another; it
gives the writer's mind a life limited by the duration of ink, paper
and readers, as against that of his flesh and blood body.  On the
other hand, it takes longer to learn the rules so as to be able to
apply them with ease and security, and even then they cannot be
applied so quickly and easily as those attaching to spoken symbols.
Moreover, the spoken symbols admit of a hundred quick and subtle
adjuncts by way of action, tone and expression, so that no one will
use written symbols unless either for the special advantages of
permanence and travelling power, or because he is incapacitated from
using spoken ones.  This, however, is hardly to the point; the point
is that these two conventional combinations of symbols, that are as
unlike one another as the Hallelujah Chorus is to St. Paul's
Cathedral, are the one as much language as the other; and we
therefore inquire what this very patent fact reveals to us about the
more essential characteristics of language itself.  What is the
common bond that unites these two classes of symbols that seem at
first sight to have nothing in common, and makes the one raise the
idea of language in our minds as readily as the other?  The bond
lies in the fact that both are a set of conventional tokens or
symbols, agreed upon between the parties to whom they appeal as
being attached invariably to the same ideas, and because they are
being made as a means of communion between one mind and another--for
a memorandum made for a person's own later use is nothing but a
communication from an earlier mind to a later and modified one; it
is therefore in reality a communication from one mind to another as
much as though it had been addressed to another person.

We see, therefore, that the nature of the outward and visible sign
to which the inward and spiritual idea of language is attached does
not matter.  It may be the firing of a gun; it may be an old
semaphore telegraph; it may be the movements of a needle; a look, a
gesture, the breaking of a twig by an Indian to tell someone that he
has passed that way:  a twig broken designedly with this end in view
is a letter addressed to whomsoever it may concern, as much as
though it had been written out in full on bark or paper.  It does
not matter one straw what it is, provided it is agreed upon in
concert, and stuck to.  Just as the lowest forms of life
nevertheless present us with all the essential characteristics of
livingness, and are as much alive in their own humble way as the
most highly developed organisms, so the rudest intentional and
effectual communication between two minds through the
instrumentality of a concerted symbol is as much language as the
most finished oratory of Mr. Gladstone.  I demur therefore to the
assertion that the lower animals have no language, inasmuch as they
cannot themselves articulate a grammatical sentence.  I do not
indeed pretend that when the cat calls upon the tiles it uses what
it consciously and introspectively recognizes as language; it says
what it has to say without introspection, and in the ordinary course
of business, as one of the common forms of courtship.  It no more
knows that it has been using language than M. Jourdain knew he had
been speaking prose, but M. Jourdain's knowing or not knowing was
neither here nor there.

Anything which can be made to hitch on invariably to a definite idea
that can carry some distance--say an inch at the least, and which
can be repeated at pleasure, can be pressed into the service of
language.  Mrs. Bentley, wife of the famous Dr. Bentley of Trinity
College, Cambridge, used to send her snuff-box to the college
buttery when she wanted beer, instead of a written order.  If the
snuff-box came the beer was sent, but if there was no snuff-box
there was no beer.  Wherein did the snuff-box differ more from a
written order, than a written order differs from a spoken one?  The
snuff-box was for the time being language.  It sounds strange to say
that one might take a pinch of snuff out of a sentence, but if the
servant had helped him or herself to a pinch while carrying it to
the buttery this is what would have been done; for if a snuff-box
can say "Send me a quart of beer," so efficiently that the beer is
sent, it is impossible to say that it is not a bona fide sentence.
As for the recipient of the message, the butler did not probably
translate the snuff-box into articulate nouns and verbs; as soon as
he saw it he just went down into the cellar and drew the beer, and
if he thought at all, it was probably about something else.  Yet he
must have been thinking without words, or he would have drawn too
much beer or too little, or have spilt it in the bringing it up, and
we may be sure that he did none of these things.

You will, of course, observe that if Mrs. Bentley had sent the
snuff-box to the buttery of St. John's College instead of Trinity,
it would not have been language, for there would have been no
covenant between sayer and sayee as to what the symbol should
represent, there would have been no previously established
association of ideas in the mind of the butler of St. John's between
beer and snuff-box; the connection was artificial, arbitrary, and by
no means one of those in respect of which an impromptu bargain might
be proposed by the very symbol itself, and assented to without
previous formality by the person to whom it was presented.  More
briefly, the butler of St. John's would not have been able to
understand and read it aright.  It would have been a dead letter to
him--a snuff-box and not a letter; whereas to the butler of Trinity
it was a letter and not a snuff-box.  You will also note that it was
only at the moment when he was looking at it and accepting it as a
message that it flashed forth from snuff-box-hood into the light and
life of living utterance.  As soon as it had kindled the butler into
sending a single quart of beer, its force was spent until Mrs.
Bentley threw her soul into it again and charged it anew by wanting
more beer, and sending it down accordingly.

Again, take the ring which the Earl of Essex sent to Queen
Elizabeth, but which the queen did not receive.  This was intended
as a sentence, but failed to become effectual language because the
sensible material symbol never reached those sentient organs which
it was intended to affect.  A book, again, however full of excellent
words it may be, is not language when it is merely standing on a
bookshelf.  It speaks to no one, unless when being actually read, or
quoted from by an act of memory.  It is potential language as a
lucifer-match is potential fire, but it is no more language till it
is in contact with a recipient mind, than a match is fire till it is
struck, and is being consumed.

A piece of music, again, without any words at all, or a song with
words that have nothing in the world to do with the ideas which it
is nevertheless made to convey, is very often effectual language.
Much lying, and all irony depends on tampering with covenanted
symbols, and making those that are usually associated with one set
of ideas convey by a sleight of mind others of a different nature.
That is why irony is intolerably fatiguing unless very sparingly
used.  Take the song which Blondel sang under the window of King
Richard's prison.  There was not one syllable in it to say that
Blondel was there, and was going to help the king to get out of
prison.  It was about some silly love affair, but it was a letter
all the same, and the king made language of what would otherwise
have been no language, by guessing the meaning, that is to say, by
perceiving that he was expected to enter then and there into a new
covenant as to the meaning of the symbols that were presented to
him, understanding what this covenant was to be, and acquiescing in
it.

On the other hand, no ingenuity can torture "language" into being a
fit word to use in connection with either sounds or any other
symbols that have not been intended to convey a meaning, or again in
connection with either sounds or symbols in respect of which there
has been no covenant between sayer and sayee.  When we hear people
speaking a foreign language--we will say Welsh--we feel that though
they are no doubt using what is very good language as between
themselves, there is no language whatever as far as we are
concerned.  We call it lingo, not language.  The Chinese letters on
a tea-chest might as well not be there, for all that they say to us,
though the Chinese find them very much to the purpose.  They are a
covenant to which we have been no parties--to which our intelligence
has affixed no signature.

We have already seen that it is in virtue of such an understood
covenant that symbols so unlike one another as the written word
"stone" and the spoken word alike at once raise the idea of a stone
in our minds.  See how the same holds good as regards the different
languages that pass current in different nations.  The letters p, i,
e, r, r, e convey the idea of a stone to a Frenchman as readily as
s, t, o, n, e do to ourselves.  And why? because that is the
covenant that has been struck between those who speak and those who
are spoken to.  Our "stone" conveys no idea to a Frenchman, nor his
"pierre" to us, unless we have done what is commonly called
acquiring one another's language.  To acquire a foreign language is
only to learn and adhere to the covenants in respect of symbols
which the nation in question has adopted and adheres to.  Till we
have done this we neither of us know the rules, so to speak, of the
game that the other is playing, and cannot, therefore, play
together; but the convention being once known and consented to, it
does not matter whether we raise the idea of a stone by the words
"lapis," or by "lithos," "pietra," "pierre," "stein," "stane" or
"stone"; we may choose what symbols written or spoken we choose, and
one set, unless they are of unwieldy length, will do as well as
another, if we can get other people to choose the same and stick to
them; it is the accepting and sticking to them that matters, not the
symbols.  The whole power of spoken language is vested in the
invariableness with which certain symbols are associated with
certain ideas.  If we are strict in always connecting the same
symbols with the same ideas, we speak well, keep our meaning clear
to ourselves, and convey it readily and accurately to anyone who is
also fairly strict.  If, on the other hand, we use the same
combination of symbols for one thing one day and for another the
next, we abuse our symbols instead of using them, and those who
indulge in slovenly habits in this respect ere long lose the power
alike of thinking and of expressing themselves correctly.  The
symbols, however, in the first instance, may be anything in the wide
world that we have a fancy for.  They have no more to do with the
ideas they serve to convey than money has with the things that it
serves to buy.

The principle of association, as everyone knows, involves that
whenever two things have been associated sufficiently together, the
suggestion of one of them to the mind shall immediately raise a
suggestion of the other.  It is in virtue of this principle that
language, as we so call it, exists at all, for the essence of
language consists, as I have said perhaps already too often, in the
fixity with which certain ideas are invariably connected with
certain symbols.  But this being so, it is hard to see how we can
deny that the lower animals possess the germs of a highly rude and
unspecialized, but still true language, unless we also deny that
they have any ideas at all; and this I gather is what Professor Max
Muller in a quiet way rather wishes to do.  Thus he says, "It is
easy enough to show that animals communicate, but this is a fact
which has never been doubted.  Dogs who growl and bark leave no
doubt in the minds of other dogs or cats, or even of man, of what
they mean, but growling and barking are not language, nor do they
even contain the elements of language." {230}

I observe the Professor says that animals communicate without saying
what it is that they communicate.  I believe this to have been
because if he said that the lower animals communicate their ideas,
this would be to admit that they have ideas; if so, and if, as they
present every appearance of doing, they can remember, reflect upon,
modify these ideas according to modified surroundings, and
interchange them with one another, how is it possible to deny them
the germs of thought, language, and reason--not to say a good deal
more than the germs?  It seems to me that not knowing what else to
say that animals communicated if it was not ideas, and not knowing
what mess he might not get into if he admitted that they had ideas
at all, he thought it safer to omit his accusative case altogether.

That growling and barking cannot be called a very highly specialized
language goes without saying; they are, however, so much diversified
in character, according to circumstances, that they place a
considerable number of symbols at an animal's command, and he
invariably attaches the same symbol to the same idea.  A cat never
purrs when she is angry, nor spits when she is pleased.  When she
rubs her head against anyone affectionately it is her symbol for
saying that she is very fond of him, and she expects, and usually
finds that it will be understood.  If she sees her mistress raise
her hand as though to pretend to strike her, she knows that it is
the symbol her mistress invariably attaches to the idea of sending
her away, and as such she accepts it.  Granted that the symbols in
use among the lower animals are fewer and less highly differentiated
than in the case of any known human language, and therefore that
animal language is incomparably less subtle and less capable of
expressing delicate shades of meaning than our own, these
differences are nevertheless only those that exist between highly
developed and inchoate language; they do not involve those that
distinguish language from no language.  They are the differences
between the undifferentiated protoplasm of the amoeba and our own
complex organization; they are not the differences between life and
no life.  In animal language as much as in human there is a mind
intentionally making use of a symbol accepted by another mind as
invariably attached to a certain idea, in order to produce that idea
in the mind which it is desired to affect--more briefly, there is a
sayer, a sayee, and a covenanted symbol designedly applied.  Our own
speech is vertebrated and articulated by means of nouns, verbs, and
the rules of grammar.  A dog's speech is invertebrate, but I do not
see how it is possible to deny that it possesses all the essential
elements of language.

I have said nothing about Professor R. L. Garner's researches into
the language of apes, because they have not yet been so far verified
and accepted as to make it safe to rely upon them; but when he lays
it down that all voluntary sounds are the products of thought, and
that, if they convey a meaning to another, they perform the
functions of human speech, he says what I believe will commend
itself to any unsophisticated mind.  I could have wished, however,
that he had not limited himself to sounds, and should have preferred
his saying what I doubt not he would readily accept--I mean, that
all symbols or tokens of whatever kind, if voluntarily adopted as
such, are the products of thought, and perform the functions of
human speech; but I cannot too often remind you that nothing can be
considered as fulfilling the conditions of language, except a
voluntary application of a recognized token in order to convey a
more or less definite meaning, with the intention doubtless of thus
purchasing as it were some other desired meaning and consequent
sensation.  It is astonishing how closely in this respect money and
words resemble one another.  Money indeed may be considered as the
most universal and expressive of all languages.  For gold and silver
coins are no more money when not in the actual process of being
voluntarily used in purchase, than words not so in use are language.
Pounds, shillings and pence are recognized covenanted tokens, the
outward and visible signs of an inward and spiritual purchasing
power, but till in actual use they are only potential money, as the
symbols of language, whatever they may be, are only potential
language till they are passing between two minds.  It is the power
and will to apply the symbols that alone gives life to money, and as
long as these are in abeyance the money is in abeyance also; the
coins may be safe in one's pocket, but they are as dead as a log
till they begin to burn in it, and so are our words till they begin
to burn within us.

The real question, however, as to the substantial underlying
identity between the language of the lower animals and our own,
turns upon that other question whether or no, in spite of an
immeasurable difference of degree, the thought and reason of man and
of the lower animals is essentially the same.  No one will expect a
dog to master and express the varied ideas that are incessantly
arising in connection with human affairs.  He is a pauper as against
a millionaire.  To ask him to do so would be like giving a street-
boy sixpence and telling him to go and buy himself a founder's share
in the New River Company.  He would not even know what was meant,
and even if he did it would take several millions of sixpences to
buy one.

It is astonishing what a clever workman will do with very modest
tools, or again how far a thrifty housewife will make a very small
sum of money go, or again in like manner how many ideas an
intelligent brute can receive and convey with its very limited
vocabulary; but no one will pretend that a dog's intelligence can
ever reach the level of a man's.  What we do maintain is that,
within its own limited range, it is of the same essential character
as our own, and that though a dog's ideas in respect of human
affairs are both vague and narrow, yet in respect of canine affairs
they are precise enough and extensive enough to deserve no other
name than thought or reason.  We hold moreover that they communicate
their ideas in essentially the same manner as we do--that is to say,
by the instrumentality of a code of symbols attached to certain
states of mind and material objects, in the first instance
arbitrarily, but so persistently, that the presentation of the
symbol immediately carries with it the idea which it is intended to
convey.  Animals can thus receive and impart ideas on all that most
concerns them.  As my great namesake said some two hundred years
ago, they know "what's what, and that's as high as metaphysic wit
can fly."  And they not only know what's what themselves, but can
impart to one another any new what's-whatness that they may have
acquired, for they are notoriously able to instruct and correct one
another.

Against this Professor Max Muller contends that we can know nothing
of what goes on in the mind of any lower animal, inasmuch as we are
not lower animals ourselves.  "We can imagine anything we like about
what passes in the mind of an animal," he writes, "we can know
absolutely nothing." {234}  It is something to have it in evidence
that he conceives animals as having a mind at all, but it is not
easy to see how they can be supposed to have a mind, without being
able to acquire ideas, and having acquired, to read, mark, learn and
inwardly digest them.  Surely the mistake of requiring too much
evidence is hardly less great than that of being contented with too
little.  We, too, are animals, and can no more refuse to infer
reason from certain visible actions in their case than we can in our
own.  If Professor Max Muller's plea were allowed, we should have to
deny our right to infer confidently what passes in the mind of
anyone not ourselves, inasmuch as we are not that person.  We never,
indeed, can obtain irrefragable certainty about this or any other
matter, but we can be sure enough in many cases to warrant our
staking all that is most precious to us on the soundness of our
opinion.  Moreover, if the Professor denies our right to infer that
animals reason, on the ground that we are not animals enough
ourselves to be able to form an opinion, with what right does he
infer so confidently himself that they do not reason?  And how, if
they present every one of those appearances which we are accustomed
to connect with the communication of an idea from one mind to
another, can we deny that they have a language of their own, though
it is one which in most cases we can neither speak nor understand?
How can we say that a sentinel rook, when it sees a man with a gun
and warns the other rooks by a concerted note which they all show
that they understand by immediately taking flight, should not be
credited both with reason and the germs of language?

After all, a professor, whether of philology, psychology, biology,
or any other ology, is hardly the kind of person to whom we should
appeal on such an elementary question as that of animal intelligence
and language.  We might as well ask a botanist to tell us whether
grass grows, or a meteorologist to tell us if it has left off
raining.  If it is necessary to appeal to anyone, I should prefer
the opinion of an intelligent gamekeeper to that of any professor,
however learned.  The keepers, again, at the Zoological Gardens,
have exceptional opportunities for studying the minds of animals--
modified, indeed, by captivity, but still minds of animals.  Grooms,
again, and dog-fanciers, are to the full as able to form an
intelligent opinion on the reason and language of animals as any
University Professor, and so are cat's-meat men.  I have repeatedly
asked gamekeepers and keepers at the Zoological Gardens whether
animals could reason and converse with one another, and have always
found myself regarded somewhat contemptuously for having even asked
the question.  I once said to a friend, in the hearing of a keeper
at the Zoological Gardens, that the penguin was very stupid.  The
man was furious, and jumped upon me at once.  "He's not stupid at
all," said he; "he's very intelligent."

Who has not seen a cat, when it wishes to go out, raise its fore
paws on to the handle of the door, or as near as it can get, and
look round, evidently asking someone to turn it for her?  Is it
reasonable to deny that a reasoning process is going on in the cat's
mind, whereby she connects her wish with the steps necessary for its
fulfilment, and also with certain invariable symbols which she knows
her master or mistress will interpret?  Once, in company with a
friend, I watched a cat playing with a house-fly in the window of a
ground-floor room.  We were in the street, while the cat was inside.
When we came up to the window she gave us one searching look, and,
having satisfied herself that we had nothing for her, went on with
her game.  She knew all about the glass in the window, and was sure
we could do nothing to molest her, so she treated us with absolute
contempt, never even looking at us again.

The game was this.  She was to catch the fly and roll it round and
round under her paw along the window-sill, but so gently as not to
injure it nor prevent it from being able to fly again when she had
done rolling it.  It was very early spring, and flies were scarce,
in fact there was not another in the whole window.  She knew that if
she crippled this one, it would not be able to amuse her further,
and that she would not readily get another instead, and she liked
the feel of it under her paw.  It was soft and living, and the
quivering of its wings tickled the ball of her foot in a manner that
she found particularly grateful; so she rolled it gently along the
whole length of the window-sill.  It then became the fly's turn.  He
was to get up and fly about in the window, so as to recover himself
a little; then she was to catch him again, and roll him softly all
along the window-sill, as she had done before.

It was plain that the cat knew the rules of her game perfectly well,
and enjoyed it keenly.  It was equally plain that the fly could not
make head or tail of what it was all about.  If it had been able to
do so it would have gone to play in the upper part of the window,
where the cat could not reach it.  Perhaps it was always hoping to
get through the glass, and escape that way; anyhow, it kept pretty
much to the same pane, no matter how often it was rolled.  At last,
however, the fly, for some reason or another, did not reappear on
the pane, and the cat began looking everywhere to find it.  Her
annoyance when she failed to do so was extreme.  It was not only
that she had lost her fly, but that she could not conceive how she
should have ever come to do so.  Presently she noted a small knot in
the woodwork of the sill, and it flashed upon her that she had
accidentally killed the fly, and that this was its dead body.  She
tried to move it gently with her paw, but it was no use, and for the
time she satisfied herself that the knot and the fly had nothing to
do with one another.  Every now and then, however, she returned to
it as though it were the only thing she could think of, and she
would try it again.  She seemed to say she was certain there had
been no knot there before--she must have seen it if there had been;
and yet, the fly could hardly have got jammed so firmly into the
wood.  She was puzzled and irritated beyond measure, and kept
looking in the same place again and again, just as we do when we
have mislaid something.  She was rapidly losing temper and dignity
when suddenly we saw the fly reappear from under the cat's stomach
and make for the window-pane, at the very moment when the cat
herself was exclaiming for the fiftieth time that she wondered where
that stupid fly ever could have got to.  No man who has been hunting
twenty minutes for his spectacles could be more delighted when he
suddenly finds them on his own forehead.  "So that's where you
were," we seemed to hear her say, as she proceeded to catch it, and
again began rolling it very softly without hurting it, under her
paw.

My friend and I both noticed that the cat, in spite of her
perplexity, never so much as hinted that we were the culprits.  The
question whether anything outside the window could do her good or
harm had long since been settled by her in the negative, and she was
not going to reopen it; she simply cut us dead, and though her
annoyance was so great that she was manifestly ready to lay the
blame on anybody or anything with or without reason, and though she
must have perfectly well known that we were watching the whole
affair with amusement, she never either asked us if we had happened
to see such a thing as a fly go down our way lately, or accused us
of having taken it from her--both of which ideas she would, I am
confident, have been very well able to convey to us if she had been
so minded.

Now what are thought and reason if the processes that were going
through this cat's mind were not both one and the other?  It would
be childish to suppose that the cat thought in words of its own, or
in anything like words.  Its thinking was probably conducted through
the instrumentality of a series of mental images.  We so habitually
think in words ourselves that we find it difficult to realize
thought without words at all; our difficulty, however, in imagining
the particular manner in which the cat thinks has nothing to do with
the matter.  We must answer the question whether she thinks or no,
not according to our own ease or difficulty in understanding the
particular manner of her thinking, but according as her action does
or does not appear to be of the same character as other action that
we commonly call thoughtful.  To say that the cat is not
intelligent, merely on the ground that we cannot ourselves fathom
her intelligence--this, as I have elsewhere said, is to make
intelligence mean the power of being understood, rather than the
power of understanding.  This nevertheless is what, for all our
boasted intelligence, we generally do.  The more we can understand
an animal's ways, the more intelligent we call it, and the less we
can understand these, the more stupid do we declare it to be.  As
for plants--whose punctuality and attention to all the details and
routine of their somewhat restricted lines of business is as obvious
as it is beyond all praise--we understand the working of their minds
so little that by common consent we declare them to have no
intelligence at all.

Before concluding I should wish to deal a little more fully with
Professor Max Muller's contention that there can be no reason
without language, and no language without reason.  Surely when two
practised pugilists are fighting, parrying each other's blows, and
watching keenly for an unguarded point, they are thinking and
reasoning very subtly the whole time, without doing so in words.
The machination of their thoughts, as well as its expression, is
actual--I mean, effectuated and expressed by action and deed, not
words.  They are unaware of any logical sequence of thought that
they could follow in words as passing through their minds at all.
They may perhaps think consciously in words now and again, but such
thought will be intermittent, and the main part of the fighting will
be done without any internal concomitance of articulated phrases.
Yet we cannot doubt that their action, however much we may
disapprove of it, is guided by intelligence and reason; nor should
we doubt that a reasoning process of the same character goes on in
the minds of two dogs or fighting-cocks when they are striving to
master their opponents.

Do we think in words, again, when we wind up our watches, put on our
clothes, or eat our breakfasts?  If we do, it is generally about
something else.  We do these things almost as much without the help
of words as we wink or yawn, or perform any of those other actions
that we call reflex, as it would almost seem because they are done
without reflection.  They are not, however, the less reasonable
because wordless.

Even when we think we are thinking in words, we do so only in half
measure.  A running accompaniment of words no doubt frequently
attends our thoughts; but, unless we are writing or speaking, this
accompaniment is of the vaguest and most fitful kind, as we often
find out when we try to write down or say what we are thinking
about, though we have a fairly definite notion of it, or fancy that
we have one, all the time.  The thought is not steadily and
coherently governed by and moulded in words, nor does it steadily
govern them.  Words and thought interact upon and help one another,
as any other mechanical appliances interact on and help the
invention that first hit upon them; but reason or thought, for the
most part, flies along over the heads of words, working its own
mysterious way in paths that are beyond our ken, though whether some
of our departmental personalities are as unconscious of what is
passing, as that central government is which we alone dub with the
name of "we" or "us," is a point on which I will not now touch.

I cannot think, then, that Professor Max Muller's contention that
thought and language are identical--and he has repeatedly affirmed
this--will ever be generally accepted.  Thought is no more identical
with language than feeling is identical with the nervous system.
True, we can no more feel without a nervous system than we can
discern certain minute organisms without a microscope.  Destroy the
nervous system, and we destroy feeling.  Destroy the microscope, and
we can no longer see the animalcules; but our sight of the
animalcules is not the microscope, though it is effectuated by means
of the microscope, and our feeling is not the nervous system, though
the nervous system is the instrument that enables us to feel.

The nervous system is a device which living beings have gradually
perfected--I believe I may say quite truly--through the will and
power which they have derived from a fountain-head, the existence of
which we can infer, but which we can never apprehend.  By the help
of this device, and in proportion as they have perfected it, living
beings feel ever with great definiteness, and hence formulate their
feelings in thought with more and more precision.  The higher
evolution of thought has reacted on the nervous system, and the
consequent higher evolution of the nervous system has again reacted
upon thought.  These things are as power and desire, or supply and
demand, each one of which is continually outstripping, and being in
turn outstripped by the other; but, in spite of their close
connection and interaction, power is not desire, nor demand supply.
Language is a device evolved sometimes by leaps and bounds, and
sometimes exceedingly slowly, whereby we help ourselves alike to
greater ease, precision, and complexity of thought, and also to more
convenient interchange of thought among ourselves.  Thought found
rude expression, which gradually among other forms assumed that of
words.  These reacted upon thought, and thought again on them, but
thought is no more identical with words than words are with the
separate letters of which they are composed.

To sum up, then, and to conclude.  I would ask you to see the
connection between words and ideas as in the first instance
arbitrary.  No doubt in some cases an imitation of the cry of some
bird or wild beast would suggest the name that should be attached to
it; occasionally the sound of an operation such as grinding may have
influenced the choice of the letters g, r, as the root of many words
that denote a grinding, grating, grasping, crushing action; but I
understand that the number of words due to direct imitation is
comparatively few in number, and that they have been mainly coined
as the result of connections so far-fetched and fanciful as to
amount practically to no connection at all.  Once chosen, however,
they were adhered to for a considerable time among the dwellers in
any given place, so as to become acknowledged as the vulgar tongue,
and raise readily in the mind of the inhabitants of that place the
ideas with which they had been artificially associated.

As regards our being able to think and reason without words, the
Duke of Argyll has put the matter as soundly as I have yet seen it
stated.  "It seems to me," he wrote, "quite certain that we can and
do constantly think of things without thinking of any sound or word
as designating them.  Language seems to me to be necessary for the
progress of thought, but not at all for the mere act of thinking.
It is a product of thought, an expression of it, a vehicle for the
communication of it, and an embodiment which is essential to its
growth and continuity; but it seems to me altogether erroneous to
regard it as an inseparable part of cogitation."

The following passages, again, are quoted from Sir William Hamilton
in Professor Max Muller's own book, with so much approval as to lead
one to suppose that the differences between himself and his
opponents are in reality less than he believes them to be.

"Language," says Sir W. Hamilton, "is the attribution of signs to
our cognitions of things.  But as a cognition must have already been
there before it could receive a sign, consequently that knowledge
which is denoted by the formation and application of a word must
have preceded the symbol that denotes it.  A sign, however, is
necessary to give stability to our intellectual progress--to
establish each step in our advance as a new starting-point for our
advance to another beyond.  A country may be overrun by an armed
host, but it is only conquered by the establishment of fortresses.
Words are the fortresses of thought.  They enable us to realize our
dominion over what we have already overrun in thought; to make every
intellectual conquest the base of operations for others still
beyond."

"This," says Professor Max Muller, "is a most happy illustration,"
and he proceeds to quote the following, also from Sir William
Hamilton, which he declares to be even happier still.

"You have all heard," says Sir William Hamilton, "of the process of
tunnelling through a sandbank.  In this operation it is impossible
to succeed unless every foot, nay, almost every inch of our progress
be secured by an arch of masonry before we attempted the excavation
of another.  Now language is to the mind precisely what the arch is
to the tunnel.  The power of thinking and the power of excavation
are not dependent on the words in the one case or on the mason-work
in the other; but without these subsidiaries neither could be
carried on beyond its rudimentary commencement.  Though, therefore,
we allow that every movement forward in language must be determined
by an antecedent movement forward in thought, still, unless thought
be accompanied at each point of its evolutions by a corresponding
evolution of language, its further development is arrested."

Man has evolved an articulate language, whereas the lower animals
seem to be without one.  Man, therefore, has far outstripped them in
reasoning faculty as well as in power of expression.  This, however,
does not bar the communications which the lower animals make to one
another from possessing all the essential characteristics of
language, and, as a matter of fact, wherever we can follow them we
find such communications effectuated by the aid of arbitrary symbols
covenanted upon by the living beings that wish to communicate, and
persistently associated with certain corresponding feelings, states
of mind, or material objects.  Human language is nothing more than
this in principle, however much further the principle has been
carried in our own case than in that of the lower animals.

This being admitted, we should infer that the thought or reason on
which the language of men and animals is alike founded differs as
between men and brutes in degree but not in kind.  More than this
cannot be claimed on behalf of the lower animals, even by their most
enthusiastic admirer.



The Deadlock in Darwinism:  Part I {245}


It will be readily admitted that of all living writers Mr. Alfred
Russel Wallace is the one the peculiar turn of whose mind best fits
him to write on the subject of natural selection, or the
accumulation of fortunate but accidental variations through descent
and the struggle for existence.  His mind in all its more essential
characteristics closely resembles that of the late Mr. Charles
Darwin himself, and it is no doubt due to this fact that he and Mr.
Darwin elaborated their famous theory at the same time, and
independently of one another.  I shall have occasion in the course
of the following article to show how misled and misleading both
these distinguished men have been, in spite of their unquestionable
familiarity with the whole range of animal and vegetable phenomena.
I believe it will be more respectful to both of them to do this in
the most outspoken way.  I believe their work to have been as
mischievous as it has been valuable, and as valuable as it has been
mischievous; and higher, whether praise or blame, I know not how to
give.  Nevertheless I would in the outset, and with the utmost
sincerity, admit concerning Messrs. Wallace and Darwin that neither
can be held as the more profound and conscientious thinker; neither
can be put forward as the more ready to acknowledge obligation to
the great writers on evolution who had preceded him, or to place his
own developments in closer and more conspicuous historical
connection with earlier thought upon the subject; neither is the
more ready to welcome criticism and to state his opponent's case in
the most pointed and telling way in which it can be put; neither is
the more quick to encourage new truth; neither is the more genial,
generous adversary, or has the profounder horror of anything even
approaching literary or scientific want of candour; both display the
same inimitable power of putting their opinions forward in the way
that shall best ensure their acceptance; both are equally unrivalled
in the tact that tells them when silence will be golden, and when on
the other hand a whole volume of facts may be advantageously brought
forward.  Less than the foregoing tribute both to Messrs. Darwin and
Wallace I will not, and more I cannot pay.

Let us now turn to the most authoritative exponent of latter-day
evolution--I mean to Mr. Wallace, whose work, entitled Darwinism,
though it should have been entitled Wallaceism, is still so far
Darwinistic that it develops the teaching of Mr. Darwin in the
direction given to it by Mr. Darwin himself--so far, indeed, as this
can be ascertained at all--and not in that of Lamarck.  Mr. Wallace
tells us, on the first page of his preface, that he has no intention
of dealing even in outline with the vast subject of evolution in
general, and has only tried to give such an account of the theory of
natural selection as may facilitate a clear conception of Darwin's
work.  How far he has succeeded is a point on which opinion will
probably be divided.  Those who find Mr. Darwin's works clear will
also find no difficulty in understanding Mr. Wallace; those, on the
other hand, who find Mr. Darwin puzzling are little likely to be
less puzzled by Mr. Wallace.  He continues:--

"The objections now made to Darwin's theory apply solely to the
particular means by which the change of species has been brought
about, not to the fact of that change."

But "Darwin's theory"--as Mr. Wallace has elsewhere proved that he
understands--has no reference "to the fact of that change"--that is
to say, to the fact that species have been modified in course of
descent from other species.  This is no more Mr. Darwin's theory
than it is the reader's or my own.  Darwin's theory is concerned
only with "the particular means by which the change of species has
been brought about"; his contention being that this is mainly due to
the natural survival of those individuals that have happened by some
accident to be born most favourably adapted to their surroundings,
or, in other words, through accumulation in the common course of
nature of the more lucky variations that chance occasionally
purveys.  Mr. Wallace's words, then, in reality amount to this, that
the objections now made to Darwin's theory apply solely to Darwin's
theory, which is all very well as far as it goes, but might have
been more easily apprehended if he had simply said, "There are
several objections now made to Mr. Darwin's theory."

It must be remembered that the passage quoted above occurs on the
first page of a preface dated March, 1889, when the writer had
completed his task, and was most fully conversant with his subject.
Nevertheless, it seems indisputable either that he is still
confusing evolution with Mr. Darwin's theory, or that he does not
know when his sentences have point and when they have none.

I should perhaps explain to some readers that Mr. Darwin did not
modify the main theory put forward, first by Buffon, to whom it
indisputably belongs, and adopted from him by Erasmus Darwin,
Lamarck, and many other writers in the latter half of the eighteenth
century and the earlier years of the nineteenth.  The early
evolutionists maintained that all existing forms of animal and
vegetable life, including man, were derived in course of descent
with modification from forms resembling the lowest now known.

Mr. Darwin went as far as this, and farther no one can go.  The
point at issue between him and his predecessors involves neither the
main fact of evolution, nor yet the geometrical ratio of increase,
and the struggle for existence consequent thereon.  Messrs. Darwin
and Wallace have each thrown invaluable light upon these last two
points, but Buffon, as early as 1756, had made them the keystone of
his system.  "The movement of nature," he then wrote, "turns on two
immovable pivots:  one, the illimitable fecundity which she has
given to all species:  the other, the innumerable difficulties which
reduce the results of that fecundity."  Erasmus Darwin and Lamarck
followed in the same sense.  They thus admit the survival of the
fittest as fully as Mr. Darwin himself, though they do not make use
of this particular expression.  The dispute turns not upon natural
selection, which is common to all writers on evolution, but upon the
nature and causes of the variations that are supposed to be selected
from and thus accumulated.  Are these mainly attributable to the
inherited effects of use and disuse, supplemented by occasional
sports and happy accidents?  Or are they mainly due to sports and
happy accidents, supplemented by occasional inherited effects of use
and disuse?

The Lamarckian system has all along been maintained by Mr. Herbert
Spencer, who, in his Principles of Biology, published in 1865,
showed how impossible it was that accidental variations should
accumulate at all.  I am not sure how far Mr. Spencer would consent
to being called a Lamarckian pure and simple, nor yet how far it is
strictly accurate to call him one; nevertheless, I can see no
important difference in the main positions taken by him and by
Lamarck.

The question at issue between the Lamarckians, supported by Mr.
Spencer and a growing band of those who have risen in rebellion
against the Charles-Darwinian system on the one hand, and Messrs.
Darwin and Wallace with the greater number of our more prominent
biologists on the other, involves the very existence of evolution as
a workable theory.  For it is plain that what Nature can be supposed
able to do by way of choice must depend on the supply of the
variations from which she is supposed to choose.  She cannot take
what is not offered to her; and so again she cannot be supposed able
to accumulate unless what is gained in one direction in one
generation, or series of generations, is little likely to be lost in
those that presently succeed.  Now variations ascribed mainly to use
and disuse can be supposed capable of being accumulated, for use and
disuse are fairly constant for long periods among the individuals of
the same species, and often over large areas; moreover, conditions
of existence involving changes of habit, and thus of organization,
come for the most part gradually; so that time is given during which
the organism can endeavour to adapt itself in the requisite
respects, instead of being shocked out of existence by too sudden
change.  Variations, on the other hand, that are ascribed to mere
chance cannot be supposed as likely to be accumulated, for chance is
notoriously inconstant, and would not purvey the variations in
sufficiently unbroken succession, or in a sufficient number of
individuals, modified similarly in all the necessary correlations at
the same time and place to admit of their being accumulated.  It is
vital therefore to the theory of evolution, as was early pointed out
by the late Professor Fleeming Jenkin and by Mr. Herbert Spencer,
that variations should be supposed to have a definite and persistent
principle underlying them, which shall tend to engender similar and
simultaneous modification, however small, in the vast majority of
individuals composing any species.  The existence of such a
principle and its permanence is the only thing that can be supposed
capable of acting as rudder and compass to the accumulation of
variations, and of making it hold steadily on one course for each
species, till eventually many havens, far remote from one another,
are safely reached.

It is obvious that the having fatally impaired the theory of his
predecessors could not warrant Mr. Darwin in claiming, as he most
fatuously did, the theory of evolution.  That he is still generally
believed to have been the originator of this theory is due to the
fact that he claimed it, and that a powerful literary backing at
once came forward to support him.  It seems at first sight
improbable that those who too zealously urged his claims were
unaware that so much had been written on the subject, but when we
find even Mr. Wallace himself as profoundly ignorant on this subject
as he still either is, or affects to be, there is no limit
assignable to the ignorance or affected ignorance of the kind of
biologists who would write reviews in leading journals thirty years
ago.  Mr. Wallace writes:--

"A few great naturalists, struck by the very slight difference
between many of these species, and the numerous links that exist
between the most different forms of animals and plants, and also
observing that a great many species do vary considerably in their
forms, colours and habits, conceived the idea that they might be all
produced one from the other.  The most eminent of these writers was
a great French naturalist, Lamarck, who published an elaborate work,
the Philosophie Zoologique, in which he endeavoured to prove that
all animals whatever are descended from other species of animals.
He attributed the change of species chiefly to the effect of changes
in the conditions of life--such as climate, food, etc.; and
especially to the desires and efforts of the animals themselves to
improve their condition, leading to a modification of form or size
in certain parts, owing to the well-known physiological law that all
organs are strengthened by constant use, while they are weakened or
even completely lost by disuse. . . .

"The only other important work dealing with the question was the
celebrated Vestiges of Creation, published anonymously, but now
acknowledged to have been written by the late Robert Chambers."

None are so blind as those who will not see, and it would be waste
of time to argue with the invincible ignorance of one who thinks
Lamarck and Buffon conceived that all species were produced from one
another, more especially as I have already dealt at some length with
the early evolutionists in my work Evolution, Old and New, first
published ten years ago, and not, so far as I am aware, detected in
serious error or omission.  If, however, Mr. Wallace still thinks it
safe to presume so far on the ignorance of his readers as to say
that the only two important works on evolution before Mr. Darwin's
were Lamarck's Philosophie Zoologique and the Vestiges of Creation,
how fathomable is the ignorance of the average reviewer likely to
have been thirty years ago, when the Origin of Species was first
published?  Mr. Darwin claimed evolution as his own theory.  Of
course, he would not claim it if he had no right to it.  Then by all
means give him the credit of it.  This was the most natural view to
take, and it was generally taken.  It was not, moreover, surprising
that people failed to appreciate all the niceties of Mr. Darwin's
"distinctive feature" which, whether distinctive or no, was
assuredly not distinct, and was never frankly contrasted with the
older view, as it would have been by one who wished it to be
understood and judged upon its merits.  It was in consequence of
this omission that people failed to note how fast and loose Mr.
Darwin played with his distinctive feature, and how readily he
dropped it on occasion.

It may be said that the question of what was thought by the
predecessors of Mr. Darwin is, after all, personal, and of no
interest to the general public, comparable to that of the main
issue--whether we are to accept evolution or not.  Granted that Buff
on, Erasmus Darwin, and Lamarck bore the burden and heat of the day
before Mr. Charles Darwin was born, they did not bring people round
to their opinion, whereas Mr. Darwin and Mr. Wallace did, and the
public cannot be expected to look beyond this broad and indisputable
fact.

The answer to this is, that the theory which Messrs. Darwin and
Wallace have persuaded the public to accept is demonstrably false,
and that the opponents of evolution are certain in the end to
triumph over it.  Paley, in his Natural Theology, long since brought
forward far too much evidence of design in animal organization to
allow of our setting down its marvels to the accumulation of
fortunate accident, undirected by will, effort and intelligence.
Those who examine the main facts of animal and vegetable
organization without bias will, no doubt, ere long conclude that all
animals and vegetables are derived ultimately from unicellular
organisms, but they will not less readily perceive that the
evolution of species without the concomitance and direction of mind
and effort is as inconceivable as is the independent creation of
every individual species.  The two facts, evolution and design, are
equally patent to plain people.  There is no escaping from either.
According to Messrs. Darwin and Wallace, we may have evolution, but
are on no account to have it as mainly due to intelligent effort,
guided by ever higher and higher range of sensations, perceptions,
and ideas.  We are to set it down to the shuffling of cards, or the
throwing of dice without the play, and this will never stand.

According to the older men, cards did indeed count for much, but
play counted for more.  They denied the teleology of the time--that
is to say, the teleology that saw all adaptation to surroundings as
part of a plan devised long ages since by a quasi-anthropomorphic
being who schemed everything out much as a man would do, but on an
infinitely vaster scale.  This conception they found repugnant alike
to intelligence and conscience, but, though they do not seem to have
perceived it, they left the door open for a design more true and
more demonstrable than that which they excluded.  By making their
variations mainly due to effort and intelligence, they made organic
development run on all-fours with human progress, and with
inventions which we have watched growing up from small beginnings.
They made the development of man from the amoeba part and parcel of
the story that may be read, though on an infinitely smaller scale,
in the development of our most powerful marine engines from the
common kettle, or of our finest microscopes from the dew-drop.

The development of the steam-engine and the microscope is due to
intelligence and design, which did indeed utilize chance
suggestions, but which improved on these, and directed each step of
their accumulation, though never foreseeing more than a step or two
ahead, and often not so much as this.  The fact, as I have elsewhere
urged, that the man who made the first kettle did not foresee the
engines of the Great Eastern, or that he who first noted the
magnifying power of the dew-drop had no conception of our present
microscopes--the very limited amount, in fact, of design and
intelligence that was called into play at any one point--this does
not make us deny that the steam-engine and microscope owe their
development to design.  If each step of the road was designed, the
whole journey was designed, though the particular end was not
designed when the journey was begun.  And so is it, according to the
older view of evolution, with the development of those living
organs, or machines, that are born with us, as part of the
perambulating carpenter's chest we call our bodies.  The older view
gives us our design, and gives us our evolution too.  If it refuses
to see a quasi-anthropomorphic God modelling each species from
without as a potter models clay, it gives us God as vivifying and
indwelling in all His creatures--He in them, and they in Him.  If it
refuses to see God outside the universe, it equally refuses to see
any part of the universe as outside God.  If it makes the universe
the body of God, it also makes God the soul of the universe.  The
question at issue, then, between the Darwinism of Erasmus Darwin and
the neo-Darwinism of his grandson, is not a personal one, nor
anything like a personal one.  It not only involves the existence of
evolution, but it affects the view we take of life and things in an
endless variety of most interesting and important ways.  It is
imperative, therefore, on those who take any interest in these
matters, to place side by side in the clearest contrast the views of
those who refer the evolution of species mainly to accumulation of
variations that have no other inception than chance, and of that
older school which makes design perceive and develop still further
the goods that chance provides.

But over and above this, which would be in itself sufficient, the
historical mode of studying any question is the only one which will
enable us to comprehend it effectually.  The personal element cannot
be eliminated from the consideration of works written by living
persons for living persons.  We want to know who is who--whom we can
depend upon to have no other end than the making things clear to
himself and his readers, and whom we should mistrust as having an
ulterior aim on which he is more intent than on the furthering of
our better understanding.  We want to know who is doing his best to
help us, and who is only trying to make us help him, or to bolster
up the system in which his interests are vested.  There is nothing
that will throw more light upon these points than the way in which a
man behaves towards those who have worked in the same field with
himself, and, again, than his style.  A man's style, as Buffon long
since said, is the man himself.  By style, I do not, of course, mean
grammar or rhetoric, but that style of which Buffon again said that
it is like happiness, and vient de la douceur de l'ame.  When we
find a man concealing worse than nullity of meaning under sentences
that sound plausibly enough, we should distrust him much as we
should a fellow-traveller whom we caught trying to steal our watch.
We often cannot judge of the truth or falsehood of facts for
ourselves, but we most of us know enough of human nature to be able
to tell a good witness from a bad one.

However this may be, and whatever we may think of judging systems by
the directness or indirectness of those who advance them,
biologists, having committed themselves too rashly, would have been
more than human if they had not shown some pique towards those who
dared to say, first, that the theory of Messrs. Darwin and Wallace
was unworkable; and secondly, that even though it were workable it
would not justify either of them in claiming evolution.  When
biologists show pique at all they generally show a good deal of
pique, but pique or no pique, they shunned Mr. Spencer's objection
above referred to with a persistency more unanimous and obstinate
than I ever remember to have seen displayed even by professional
truth-seekers.  I find no rejoinder to it from Mr. Darwin himself,
between 1865 when it was first put forward, and 1882 when Mr. Darwin
died.  It has been similarly "ostrichized" by all the leading
apologists of Darwinism, so far at least as I have been able to
observe, and I have followed the matter closely for many years.  Mr.
Spencer has repeated and amplified it in his recent work The Factors
of Organic Evolution, but it still remains without so much as an
attempt at serious answer, for the perfunctory and illusory remarks
of Mr. Wallace at the end of his Darwinism cannot be counted as
such.  The best proof of its irresistible weight is that Mr. Darwin,
though maintaining silence in respect to it, retreated from his
original position in the direction that would most obviate Mr.
Spencer's objection.

Yet this objection has been repeatedly urged by the more prominent
anti-Charles-Darwinian authorities, and there is no sign that the
British public is becoming less rigorous in requiring people either
to reply to objections repeatedly urged by men of even moderate
weight, or to let judgment go by default.  As regards Mr. Darwin's
claim to the theory of evolution generally, Darwinians are beginning
now to perceive that this cannot be admitted, and either say with
some hardihood that Mr. Darwin never claimed it, or after a few
saving clauses to the effect that this theory refers only to the
particular means by which evolution has been brought about, imply
forthwith thereafter none the less that evolution is Mr. Darwin's
theory.  Mr. Wallace has done this repeatedly in his recent
Darwinism.  Indeed, I should be by no means sure that on the first
page of his preface, in the passage about "Darwin's theory," which I
have already somewhat severely criticized, he was not intending
evolution by "Darwin's theory," if in his preceding paragraph he had
not so clearly shown that he knew evolution to be a theory of
greatly older date than Mr. Darwin's.

The history of science--well exemplified by that of the development
theory--is the history of eminent men who have fought against light
and have been worsted.  The tenacity with which Darwinians stick to
their accumulation of fortuitous variations is on a par with the
like tenacity shown by the illustrious Cuvier, who did his best to
crush evolution altogether.  It always has been thus, and always
will be; nor is it desirable in the interests of Truth herself that
it should be otherwise.  Truth is like money--lightly come, lightly
go; and if she cannot hold her own against even gross
misrepresentation, she is herself not worth holding.
Misrepresentation in the long run makes Truth as much as it mars
her; hence our law courts do not think it desirable that pleaders
should speak their bona fide opinions, much less that they should
profess to do so.  Rather let each side hoodwink judge and jury as
best it can, and let truth flash out from collision of defence and
accusation.  When either side will not collide, it is an axiom of
controversy that it desires to prevent the truth from being
elicited.

Let us now note the courses forced upon biologists by the
difficulties of Mr. Darwin's distinctive feature.  Mr. Darwin and
Mr. Wallace, as is well known, brought the feature forward
simultaneously and independently of one another, but Mr. Wallace
always believed in it more firmly than Mr. Darwin did.  Mr. Darwin
as a young man did not believe in it.  He wrote before 1839,
"Nature, by making habit omnipotent and its effects hereditary, has
fitted the Fuegian for the climate and productions of his country,"
{259a} a sentence than which nothing can coincide more fully with
the older view that use and disuse were the main purveyors of
variations, or conflict more fatally with his own subsequent
distinctive feature.  Moreover, as I showed in my last work on
evolution, {259b} in the peroration to his Origin of Species, he
discarded his accidental variations altogether, and fell back on the
older theory, so that the body of the Origin of Species supports one
theory, and the peroration another that differs from it toto coelo.
Finally, in his later editions, he retreated indefinitely from his
original position, edging always more and more continually towards
the theory of his grandfather and Lamarck.  These facts convince me
that he was at no time a thoroughgoing Darwinian, but was throughout
an unconscious Lamarckian, though ever anxious to conceal the fact
alike from himself and from his readers.

Not so with Mr. Wallace, who was both more outspoken in the first
instance, and who has persevered along the path of Wallaceism just
as Mr. Darwin with greater sagacity was ever on the retreat from
Darwinism.  Mr. Wallace's profounder faith led him in the outset to
place his theory in fuller daylight than Mr. Darwin was inclined to
do.  Mr. Darwin just waved Lamarck aside, and said as little about
him as he could, while in his earlier editions Erasmus Darwin and
Buffon were not so much as named.  Mr. Wallace, on the contrary, at
once raised the Lamarckian spectre, and declared it exorcized.  He
said the Lamarckian hypothesis was "quite unnecessary."  The giraffe
did not "acquire its long neck by desiring to reach the foliage of
the more lofty shrubs, and constantly stretching its neck for this
purpose, but because any varieties which occurred among its
antitypes with a longer neck than usual at once secured a fresh
range of pasture over the same ground as their shorter-necked
companions, and on the first scarcity of food were thus enabled to
outlive them." {260}

"Which occurred" is evidently "which happened to occur" by some
chance of accident unconnected with use and disuse.  The word
"accident" is never used, but Mr. Wallace must be credited with this
instance of a desire to give his readers a chance of perceiving that
according to his distinctive feature evolution is an affair of luck,
rather than of cunning.  Whether his readers actually did understand
this as clearly as Mr. Wallace doubtless desired that they should,
and whether greater development at this point would not have helped
them to fuller apprehension, we need not now inquire.  What was
gained in distinctness might have been lost in distinctiveness, and
after all he did technically put us upon our guard.

Nevertheless, he too at a pinch takes refuge in Lamarckism.  In
relation to the manner in which the eyes of soles, turbots, and
other flat-fish travel round the head so as to become in the end
unsymmetrically placed, he says:--

"The eyes of these fish are curiously distorted in order that both
eyes may be upon the upper side, where alone they would be of any
use. . . .  Now if we suppose this process, which in the young is
completed in a few days or weeks, to have been spread over thousands
of generations during the development of these fish, those usually
surviving _whose eyes retained more and more of the position into
which the young fish tried to twist them_ [italics mine], the change
becomes intelligible." {261}  When it was said by Professor Ray
Lankester--who knows as well as most people what Lamarck taught--
that this was "flat Lamarckism," Mr. Wallace rejoined that it was
the survival of the modified individuals that did it all, not the
efforts of the young fish to twist their eyes, and the transmission
to descendants of the effects of those efforts.  But this, as I said
in my book Evolution, Old and New, is like saying that horses are
swift runners, not by reason of the causes, whatever they were, that
occasioned the direct line of their progenitors to vary towards ever
greater and greater swiftness, but because their more slow-going
uncles and aunts go away.  Plain people will prefer to say that the
main cause of any accumulation of favourable modifications consists
rather in that which brings about the initial variations, and in the
fact that these can be inherited at all, than in the fact that the
unmodified individuals were not successful.  People do not become
rich because the poor in large numbers go away, but because they
have been lucky, or provident, or more commonly both.  If they would
keep their wealth when they have made it they must exclude luck
thenceforth to the utmost of their power and their children must
follow their example, or they will soon lose their money.  The fact
that the weaker go to the wall does not bring about the greater
strength of the stronger; it is the consequence of this last and not
the cause--unless, indeed, it be contended that a knowledge that the
weak go to the wall stimulates the strong to exertions which they
would not otherwise so make, and that these exertions produce
inheritable modifications.  Even in this case, however, it would be
the exertions, or use and disuse, that would be the main agents in
the modification.  But it is not often that Mr. Wallace thus
backslides.  His present position is that acquired (as distinguished
from congenital) modifications are not inherited at all.  He does
not indeed put his faith prominently forward and pin himself to it
as plainly as could be wished, but under the heading "The Non-
Heredity of Acquired Characters," he writes as follows on p. 440 of
his recent work in reference to Professor Weismann's Theory of
Heredity:--

"Certain observations on the embryology of the lower animals are
held to afford direct proof of this theory of heredity, but they are
too technical to be made clear to ordinary readers.  A logical
result of the theory is the impossibility of the transmission of
acquired characters, since the molecular structure of the germ-plasm
is already determined within the embryo; and Weismann holds that
there are no facts which really prove that acquired characters can
be inherited, although their inheritance has, by most writers, been
considered so probable as hardly to stand in need of direct proof.

"We have already seen in the earlier part of this chapter that many
instances of change, imputed to the inheritance of acquired
variations, are really cases of selection."

And the rest of the remarks tend to convey the impression that Mr.
Wallace adopts Professor Weismann's view, but, curiously enough,
though I have gone through Mr. Wallace's book with a special view to
this particular point, I have not been able to find him definitely
committing himself either to the assertion that acquired
modifications never are inherited, or that they sometimes are so.
It is abundantly laid down that Mr. Darwin laid too much stress on
use and disuse, and a residuary impression is left that Mr. Wallace
is endorsing Professor Weismann's view, but I have found it
impossible to collect anything that enables me to define his
position confidently in this respect.

This is natural enough, for Mr. Wallace has entitled his book
Darwinism, and a work denying that use and disuse produced any
effect could not conceivably be called Darwinism.  Mr. Herbert
Spencer has recently collected many passages from The Origin of
Species and from Animals and Plants under Domestication," {263}
which show how largely, after all, use and disuse entered into Mr.
Darwin's system, and we know that in his later years he attached
still more importance to them.  It was out of the question,
therefore, that Mr. Wallace should categorically deny that their
effects were inheritable.  On the other hand, the temptation to
adopt Professor Weismann's view must have been overwhelming to one
who had been already inclined to minimize the effects of use and
disuse.  On the whole, one does not see what Mr. Wallace could do,
other than what he has done--unless, of course, he changed his
title, or had been no longer Mr. Wallace.

Besides, thanks to the works of Mr. Spencer, Professor Mivart,
Professor Semper, and very many others, there has for some time been
a growing perception that the Darwinism of Charles Darwin was
doomed.  Use and disuse must either do even more than is officially
recognized in Mr. Darwin's later concessions, or they must do a
great deal less.  If they can do as much as Mr. Darwin himself said
they did, why should they not do more?  Why stop where Mr. Darwin
did?  And again, where in the name of all that is reasonable did he
really stop?  He drew no line, and on what principle can we say that
so much is possible as effect of use and disuse, but so much more
impossible?  If, as Mr. Darwin contended, disuse can so far reduce
an organ as to render it rudimentary, and in many cases get rid of
it altogether, why cannot use create as much as disuse can destroy,
provided it has anything, no matter how low in structure, to begin
with?  Let us know where we stand.  If it is admitted that use and
disuse can do a good deal, what does a good deal mean?  And what is
the proportion between the shares attributable to use and disuse and
to natural selection respectively?  If we cannot be told with
absolute precision, let us at any rate have something more definite
than the statement that natural selection is "the most important
means of modification."

Mr. Darwin gave us no help in this respect; and worse than this, he
contradicted himself so flatly as to show that he had very little
definite idea upon the subject at all.  Thus in respect to the
winglessness of the Madeira beetles he wrote:--

"In some cases we might easily put down to disuse modifications of
structure, which are wholly or mainly due to natural selection.  Mr.
Wollaston has discovered the remarkable fact that 200 beetles, out
of the 550 species (but more are now known) inhabiting Madeira, are
so far deficient in wings that they cannot fly; and that of the 29
endemic genera no less than 23 have all their species in this
condition!  Several facts--namely, that beetles in many parts of the
world are frequently blown out to sea and perish; that the beetles
in Madeira, as observed by Mr. Wollaston, lie much concealed until
the wind lulls and the sun shines; that the proportion of wingless
beetles is larger on the exposed Desertas than in Madeira itself;
and especially the extraordinary fact, so strongly insisted on by
Mr. Wollaston, that certain large groups of beetles, elsewhere
excessively numerous, which absolutely require the use of their
wings are here almost entirely absent;--these several considerations
make me believe that the wingless condition of so many Madeira
beetles is mainly due to the action of natural selection, _combined
probably with disuse_ [italics mine].  For during many successive
generations each individual beetle which flew least, either from its
wings having been ever so little less perfectly developed or from
indolent habit, will have had the best chance of surviving, from not
being blown out to sea; and, on the other hand, those beetles which
most readily took to flight would oftenest have been blown to sea,
and thus destroyed." {265}

We should like to know, first, somewhere about how much disuse was
able to do after all, and moreover why, if it can do anything at
all, it should not be able to do all.  Mr. Darwin says:  "Any change
in structure and function which can be effected by small stages is
within the power of natural selection."  "And why not," we ask,
"within the power of use and disuse?"  Moreover, on a later page we
find Mr. Darwin saying:--

"_It appears probable that disuse has been the main agent in
rendering organs rudimentary_ [italics mine].  It would at first
lead by slow steps to the more and more complete reduction of a
part, until at last it has become rudimentary--as in the case of the
eyes of animals inhabiting dark caverns, and of the wings of birds
inhabiting oceanic islands, which have seldom been forced by beasts
of prey to take flight, and have ultimately lost the power of
flying.  Again, an organ, useful under certain conditions, might
become injurious under others, as _with the wings of beetles living
on small and exposed islands_; and in this case natural selection
will have aided in reducing the organ, until it was rendered
harmless and rudimentary [italics mine]." {266}

So that just as an undefined amount of use and disuse was introduced
on the earlier page to supplement the effects of natural selection
in respect of the wings of beetles on small and exposed islands, we
have here an undefined amount of natural selection introduced to
supplement the effects of use and disuse in respect of the identical
phenomena.  In the one passage we find that natural selection has
been the main agent in reducing the wings, though use and disuse
have had an appreciable share in the result; in the other, it is use
and disuse that have been the main agents, though an appreciable
share in the result must be ascribed to natural selection.

Besides, who has seen the uncles and aunts going away with the
uniformity that is necessary for Mr. Darwin's contention?  We know
that birds and insects do often get blown out to sea and perish, but
in order to establish Mr. Darwin's position we want the evidence of
those who watched the reduction of the wings during the many
generations in the course of which it was being effected, and who
can testify that all, or the overwhelming majority, of the beetles
born with fairly well-developed wings got blown out to sea, while
those alone survived whose wings were congenitally degenerate.  Who
saw them go, or can point to analogous cases so conclusive as to
compel assent from any equitable thinker?

Darwinians of the stamp of Mr. Thiselton Dyer, Professor Ray
Lankester, or Mr. Romanes, insist on their pound of flesh in the
matter of irrefragable demonstration.  They complain of us for not
bringing forward someone who has been able to detect the movement of
the hour-hand of a watch during a second of time, and when we fail
to do so, declare triumphantly that we have no evidence that there
is any connection between the beating of a second and the movement
of the hour-hand.  When we say that rain comes from the condensation
of moisture in the atmosphere, they demand of us a rain-drop from
moisture not yet condensed.  If they stickle for proof and cavil on
the ninth part of a hair, as they do when we bring forward what we
deem excellent instances of the transmission of an acquired
characteristic, why may not we, too, demand at any rate some
evidence that the unmodified beetles actually did always, or nearly
always, get blown out to sea, during the reduction above referred
to, and that it is to this fact, and not to the masterly inactivity
of their fathers and mothers, that the Madeira beetles owe their
winglessness?  If we begin stickling for proof in this way, our
opponents would not be long in letting us know that absolute proof
is unattainable on any subject, that reasonable presumption is our
highest certainty, and that crying out for too much evidence is as
bad as accepting too little.  Truth is like a photographic
sensitized plate, which is equally ruined by over and by under
exposure, and the just exposure for which can never be absolutely
determined.

Surely if disuse can be credited with the vast powers involved in
Mr. Darwin's statement that it has probably "been the main agent in
rendering organs rudimentary," no limits are assignable to the
accumulated effects of habit, provided the effects of habit, or use
and disuse, are supposed, as Mr. Darwin supposed them, to be
inheritable at all.  Darwinians have at length woke up to the
dilemma in which they are placed by the manner in which Mr. Darwin
tried to sit on the two stools of use and disuse, and natural
selection of accidental variations, at the same time.  The knell of
Charles-Darwinism is rung in Mr. Wallace's present book, and in the
general perception on the part of biologists that we must either
assign to use and disuse such a predominant share in modification as
to make it the feature most proper to be insisted on, or deny that
the modifications, whether of mind or body, acquired during a single
lifetime, are ever transmitted at all.  If they can be inherited at
all, they can be accumulated.  If they can be accumulated at all,
they can be so, for anything that appears to the contrary, to the
extent of the specific and generic differences with which we are
surrounded.  The only thing to do is to pluck them out root and
branch:  they are as a cancer which, if the smallest fibre be left
unexcised, will grow again, and kill any system on to which it is
allowed to fasten.  Mr. Wallace, therefore, may well be excused if
he casts longing eyes towards Weismannism.

And what was Mr. Darwin's system?  Who can make head or tail of the
inextricable muddle in which he left it?  The Origin of Species in
its latest shape is the reduction of hedging to an absurdity.  How
did Mr. Darwin himself leave it in the last chapter of the last
edition of the Origin of Species?  He wrote:--

"I have now recapitulated the facts and considerations which have
thoroughly convinced me that species have been modified during a
long course of descent.  This has been effected chiefly through the
natural selection of numerous, successive, slight, favourable
variations; aided in an important manner by the inherited effects of
the use and disuse of parts, and in an unimportant manner--that is,
in relation to adaptive structures whether past or present--by the
direct action of external conditions, and by variations which seem
to us in our ignorance to arise spontaneously.  It appears that I
formerly underrated the frequency and value of these latter forms of
variation, as leading to permanent modifications of structure
independently of natural selection."

The "numerous, successive, slight, favourable variations" above
referred to are intended to be fortuitous, accidental, spontaneous.
It is the essence of Mr. Darwin's theory that this should be so.
Mr. Darwin's solemn statement, therefore, of his theory, after he
had done his best or his worst with it, is, when stripped of
surplusage, as follows:--

"The modification of species has been mainly effected by
accumulation of spontaneous variations; it has been aided in an
important manner by accumulation of variations due to use and
disuse, and in an unimportant manner by spontaneous variations; I do
not even now think that spontaneous variations have been very
important, but I used once to think them less important than I do
now."

It is a discouraging symptom of the age that such a system should
have been so long belauded, and it is a sign of returning
intelligence that even he who has been more especially the alter ego
of Mr. Darwin should have felt constrained to close the chapter of
Charles-Darwinism as a living theory, and relegate it to the
important but not very creditable place in history which it must
henceforth occupy.  It is astonishing, however, that Mr. Wallace
should have quoted the extract from the Origin of Species just
given, as he has done on p. 412 of his Darwinism, without betraying
any sign that he has caught its driftlessness--for drift, other than
a desire to hedge, it assuredly has not got.  The battle now turns
on the question whether modifications of either structure or
instinct due to use or disuse are ever inherited, or whether they
are not.  Can the effects of habit be transmitted to progeny at all?
We know that more usually they are not transmitted to any
perceptible extent, but we believe also that occasionally, and
indeed not infrequently, they are inherited and even intensified.
What are our grounds for this opinion?  It will be my object to put
these forward in the following number of the Universal Review.



The Deadlock in Darwinism:  Part II {271}


At the close of my article in last month's number of the Universal
Review, I said I would in this month's issue show why the opponents
of Charles-Darwinism believe the effects of habits acquired during
the lifetime of a parent to produce an effect on their subsequent
offspring, in spite of the fact that we can rarely find the effect
in any one generation, or even in several, sufficiently marked to
arrest our attention.

I will now show that offspring can be, and not very infrequently is,
affected by occurrences that have produced a deep impression on the
parent organism--the effect produced on the offspring being such as
leaves no doubt that it is to be connected with the impression
produced on the parent.  Having thus established the general
proposition, I will proceed to the more particular one--that habits,
involving use and disuse of special organs, with the modifications
of structure thereby engendered, produce also an effect upon
offspring, which, though seldom perceptible as regards structure in
a single, or even in several generations, is nevertheless capable of
being accumulated in successive generations till it amounts to
specific and generic difference.  I have found the first point as
much as I can treat within the limits of this present article, and
will avail myself of the hospitality of the Universal Review next
month to deal with the second.

The proposition which I have to defend is one which no one till
recently would have questioned, and even now those who look most
askance at it do not venture to dispute it unreservedly; they every
now and then admit it as conceivable, and even in some cases
probable; nevertheless they seek to minimize it, and to make out
that there is little or no connection between the great mass of the
cells of which the body is composed, and those cells that are alone
capable of reproducing the entire organism.  The tendency is to
assign to these last a life of their own, apart from, and
unconnected with that of the other cells of the body, and to cheapen
all evidence that tends to prove any response on their part to the
past history of the individual, and hence ultimately of the race.

Professor Weismann is the foremost exponent of those who take this
line.  He has naturally been welcomed by English Charles-Darwinians;
for if his view can be sustained, then it can be contended that use
and disuse produce no transmissible effect, and the ground is cut
from under Lamarck's feet; if, on the other hand, his view is
unfounded, the Lamarckian reaction, already strong, will gain still
further strength.  The issue, therefore, is important, and is being
fiercely contested by those who have invested their all of
reputation for discernment in Charles-Darwinian securities.

Professor Weismann's theory is, that at every new birth a part of
the substance which proceeds from parents and which goes to form the
new embryo is not used up in forming the new animal, but remains
apart to generate the germ-cells--or perhaps I should say "germ-
plasm"--which the new animal itself will in due course issue.

Contrasting the generally received view with his own, Professor
Weismann says that according to the first of these "the organism
produces germ-cells afresh again and again, and that it produces
them entirely from its own substance."  While by the second "the
germ-cells are no longer looked upon as the product of the parent's
body, at least as far as their essential part--the specific germ-
plasm--is concerned; they are rather considered as something which
is to be placed in contrast with the tout ensemble of the cells
which make up the parent's body, and the germ-cells of succeeding
generations stand in a similar relation to one another as a series
of generations of unicellular organisms arising by a continued
process of cell-division." {274a}  On another page he writes:--

"I believe that heredity depends upon the fact that a small portion
of the effective substance of the germ, the germ-plasm, remains
unchanged during the development of the ovum into an organism, and
that this part of the germ-plasm serves as a foundation from which
the germ-cells of the new organism are produced.  There is,
therefore, continuity of the germ-plasm from one generation to
another.  One might represent the germ-plasm by the metaphor of a
long creeping root-stock from which plants arise at intervals, these
latter representing the individuals of successive generations."
{274b}

Mr. Wallace, who does not appear to have read Professor Weismann's
essays themselves, but whose remarks are, no doubt, ultimately
derived from the sequel to the passage just quoted from page 266 of
Professor Weismann's book, contends that the impossibility of the
transmission of acquired characters follows as a logical result from
Professor Weismann's theory, inasmuch as the molecular structure of
the germ-plasm that will go to form any succeeding generation is
already predetermined within the still unformed embryo of its
predecessor; "and Weismann," continues Mr. Wallace, "holds that
there are no facts which really prove that acquired characters can
be inherited, although their inheritance has, by most writers, been
considered so probable as hardly to stand in need of direct proof."
{275}

Professor Weismann, in passages too numerous to quote, shows that he
recognizes this necessity, and acknowledges that the non-
transmission of acquired characters "forms the foundation of the
views" set forth in his book, p. 291.

Professor Ray Lankester does not commit himself absolutely to this
view, but lends it support by saying (Nature, December 12, 1889):
"It is hardly necessary to say that it has never yet been shown
experimentally that _anything_ acquired by one generation is
transmitted to the next (putting aside diseases)."

Mr. Romanes, writing in Nature, March 13, 1890, and opposing certain
details of Professor Weismann's theory, so far supports it as to say
that "there is the gravest possible doubt lying against the
supposition that any really inherited decrease is due to the
inherited effects of disuse."  The "gravest possible doubt" should
mean that Mr. Romanes regards it as a moral certainty that disuse
has no transmitted effect in reducing an organ, and it should follow
that he holds use to have no transmitted effect in its development.
The sequel, however, makes me uncertain how far Mr. Romanes intends
this, and I would refer the reader to the article which Mr. Romanes
has just published on Weismann in the Contemporary Review for this
current month.

The burden of Mr. Thiselton Dyer's controversy with the Duke of
Argyll (see Nature, January 16, 1890, et seq.) was that there was no
evidence in support of the transmission of any acquired
modification.  The orthodoxy of science, therefore, must be held as
giving at any rate a provisional support to Professor Weismann, but
all of them, including even Professor Weismann himself, shrink from
committing themselves to the opinion that the germ-cells of any
organisms remain in all cases unaffected by the events that occur to
the other cells of the same organism, and until they do this they
have knocked the bottom out of their case.

From among the passages in which Professor Weismann himself shows a
desire to hedge I may take the following from page 170 of his book:--

"I am also far from asserting that the germ-plasm which, as I hold,
is transmitted as the basis of heredity from one generation to
another, is absolutely unchangeable or totally uninfluenced by
forces residing in the organism within which it is transformed into
germ-cells.  I am also compelled to admit it as conceivable that
organisms may exert a modifying influence upon their germ-cells, and
even that such a process is to a certain extent inevitable.  The
nutrition and growth of the individual must exercise some influence
upon its germ-cells . . . "

Professor Weismann does indeed go on to say that this influence must
be extremely slight, but we do not care how slight the changes
produced may be, provided they exist and can be transmitted.  On an
earlier page (p. 101) he said in regard to variations generally that
we should not expect to find them conspicuous; their frequency would
be enough, if they could be accumulated.  The same applies here, if
stirring events that occur to the somatic cells can produce any
effect at all on offspring.  A very small effect, provided it can be
repeated and accumulated in successive generations, is all that even
the most exacting Lamarckian will ask for.

Having now made the reader acquainted with the position taken by the
leading Charles-Darwinian authorities, I will return to Professor
Weismann himself, who declares that the transmission of acquired
characters "at first sight certainly seems necessary," and that "it
appears rash to attempt to dispense with its aid."  He continues:--

"Many phenomena only appear to be intelligible if we assume the
hereditary transmission of such acquired characters as the changes
which we ascribe to the use or disuse of particular organs, or to
the direct influence of climate.  Furthermore, how can we explain
instinct as hereditary habit, unless it has gradually arisen by the
accumulation, through heredity, of habits which were practised in
succeeding generations?" {277}

I may say in passing that Professor Weismann appears to suppose that
the view of instinct just given is part of the Charles-Darwinian
system, for on page 389 of his book he says "that many observers had
followed Darwin in explaining them [instincts] as inherited habits."
This was not Mr. Darwin's own view of the matter.  He wrote:--

"If we suppose any habitual action to become inherited--and I think
it can be shown that this does sometimes happen--then the
resemblance between what originally was a habit and an instinct
becomes so close as not to be distinguished. . . .  But it would be
the most serious error to suppose that the greater number of
instincts have been acquired by habit in one generation, and then
transmitted by inheritance to succeeding generations.  It can be
clearly shown that the most wonderful instincts with which we are
acquainted, namely, those of the hive-bee and of many ants, could
not possibly have been thus acquired."--[Origin of Species, ed.
1859, p. 209.]

Again we read:  "Domestic instincts are sometimes spoken of as
actions which have become inherited solely from long-continued and
compulsory habit, but this, I think, is not true."--Ibid., p. 214.

Again:  "I am surprised that no one has advanced this demonstrative
case of neuter insects, against the well-known doctrine of inherited
habit, as advanced by Lamarck."--[Origin of Species, ed. 1872, p.
233.]

I am not aware that Lamarck advanced the doctrine that instinct is
inherited habit, but he may have done so in some work that I have
not seen.

It is true, as I have more than once pointed out, that in the later
editions of the Origin of Species it is no longer "the _most_
serious" error to refer instincts generally to inherited habit, but
it still remains "a serious error," and this slight relaxation of
severity does not warrant Professor Weismann in ascribing to Mr.
Darwin an opinion which he emphatically condemned.  His tone,
however, is so off-hand, that those who have little acquaintance
with the literature of evolution would hardly guess that he is not
much better informed on this subject than themselves.

Returning to the inheritance of acquired characters, Professor
Weismann says that this has never been proved either by means of
direct observation or by experiment.  "It must be admitted," he
writes, "that there are in existence numerous descriptions of cases
which tend to prove that such mutilations as the loss of fingers,
the scars of wounds, etc., are inherited by the offspring, but in
these descriptions the previous history is invariably obscure, and
hence the evidence loses all scientific value."

The experiments of M. Brown-Sequard throw so much light upon the
question at issue that I will quote at some length from the summary
given by Mr. Darwin in his Variation of Animals and Plants under
Domestication. {279}  Mr. Darwin writes:--

"With respect to the inheritance of structures mutilated by injuries
or altered by disease, it was until lately difficult to come to any
definite conclusion."  [Then follow several cases in which
mutilations practised for many generations are not found to be
transmitted.]  "Notwithstanding," continues Mr. Darwin, "the above
several negative cases, we now possess conclusive evidence that the
effects of operations are sometimes inherited.  Dr. Brown-Sequard
gives the following summary of his observations on guinea-pigs, and
this summary is so important that I will quote the whole:--

"'1st.  Appearance of epilepsy in animals born of parents having
been rendered epileptic by an injury to the spinal cord.

"'2nd.  Appearance of epilepsy also in animals born of parents
having been rendered epileptic by the section of the sciatic nerve.

"'3rd.  A change in the shape of the ear in animals born of parents
in which such a change was the effect of a division of the cervical
sympathetic nerve.

"'4th.  Partial closure of the eyelids in animals born of parents in
which that state of the eyelids had been caused either by the
section of the cervical sympathetic nerve or the removal of the
superior cervical ganglion.

"'5th.  Exophthalmia in animals born of parents in which an injury
to the restiform body had produced that protrusion of the eyeball.
This interesting fact I have witnessed a good many times, and I have
seen the transmission of the morbid state of the eye continue
through four generations.  In these animals modified by heredity,
the two eyes generally protruded, although in the parents usually
only one showed exophthalmia, the lesion having been made in most
cases only on one of the corpora restiformia.

"'6th.  Haematoma and dry gangrene of the ears in animals born of
parents in which these ear-alterations had been caused by an injury
to the restiform body near the nib of the calamus.

"'7th.  Absence of two toes out of the three of the hind leg, and
sometimes of the three, in animals whose parents had eaten up their
hind-leg toes which had become anaesthetic from a section of the
sciatic nerve alone, or of that nerve and also of the crural.
Sometimes, instead of complete absence of the toes, only a part of
one or two or three was missing in the young, although in the parent
not only the toes but the whole foot was absent (partly eaten off,
partly destroyed by inflammation, ulceration, or gangrene).

"'8th.  Appearance of various morbid states of the skin and hair of
the neck and face in animals born of parents having had similar
alterations in the same parts, as effects of an injury to the
sciatic nerve.'

"It should be especially observed that Brown-Sequard had bred during
thirty years many thousand guinea-pigs from animals which had not
been operated upon, and not one of these manifested the epileptic
tendency.  Nor has he ever seen a guinea-pig born without toes,
which was not the offspring of parents which had gnawed off their
own toes owing to the sciatic nerve having been divided.  Of this
latter fact thirteen instances were carefully recorded, and a
greater number were seen; yet Brown-Sequard speaks of such cases as
one of the rarer forms of inheritance.  It is a still more
interesting fact, 'that the sciatic nerve in the congenitally
toeless animal has inherited the power of passing through all the
different morbid states which have occurred in one of its parents
from the time of the division till after its reunion with the
peripheric end.  It is not, therefore, simply the power of
performing an action which is inherited, but the power of performing
a whole series of actions, in a certain order.'

"In most of the cases of inheritance recorded by Brown-Sequard only
one of the two parents had been operated upon and was affected.  He
concludes by expressing his belief that 'what is transmitted is the
morbid state of the nervous system,' due to the operation performed
on the parents."

Mr. Darwin proceeds to give other instances of inherited effects of
mutilations:--

"With the horse there seems hardly a doubt that exostoses on the
legs, caused by too much travelling on hard roads, are inherited.
Blumenbach records the case of a man who had his little finger on
the right hand almost cut off, and which in consequence grew
crooked, and his sons had the same finger on the same hand similarly
crooked.  A soldier, fifteen years before his marriage, lost his
left eye from purulent ophthalmia, and his two sons were
microphthalmic on the same side."

The late Professor Rolleston, whose competence as an observer no one
is likely to dispute, gave Mr. Darwin two cases as having fallen
under his own notice, one of a man whose knee had been severely
wounded, and whose child was born with the same spot marked or
scarred, and the other of one who was severely cut upon the cheek,
and whose child was born scarred in the same place.  Mr. Darwin's
conclusion was that "the effects of injuries, especially when
followed by disease, or perhaps exclusively when thus followed, are
occasionally inherited."

Let us now see what Professor Weismann has to say against this.  He
writes:--

"The only cases worthy of discussion are the well-known experiments
upon guinea-pigs conducted by the French physiologist, Brown-
Sequard.  But the explanation of his results is, in my opinion, open
to discussion.  In these cases we have to do with the apparent
transmission of artificially produced malformations. . . .  All
these effects were said to be transmitted to descendants as far as
the fifth or sixth generation.

"But we must inquire whether these cases are really due to heredity,
and not to simple infection.  In the case of epilepsy, at any rate,
it is easy to imagine that the passage of some specific organism
through the reproductive cells may take place, as in the case of
syphilis.  We are, however, entirely ignorant of the nature of the
former disease.  This suggested explanation may not perhaps apply to
the other cases; but we must remember that animals which have been
subjected to such severe operations upon the nervous system have
sustained a great shock, and if they are capable of breeding, it is
only probable that they will produce weak descendants, and such as
are easily affected by disease.  Such a result does not, however,
explain why the offspring should suffer from the same disease as
that which was artificially induced in the parents.  But this does
not appear to have been by any means invariably the case.  Brown-
Sequard himself says:  'The changes in the eye of the offspring were
of a very variable nature, and were only occasionally exactly
similar to those observed in the parents.'

"There is no doubt, however, that these experiments demand careful
consideration, but before they can claim scientific recognition,
they must be subjected to rigid criticism as to the precautions
taken, the nature and number of the control experiments, etc.

"Up to the present time such necessary conditions have not been
sufficiently observed.  The recent experiments themselves are only
described in short preliminary notices, which, as regards their
accuracy, the possibility of mistake, the precautions taken, and the
exact succession of individuals affected, afford no data on which a
scientific opinion can be founded" (pp. 81, 82).

The line Professor Weismann takes, therefore, is to discredit the
facts; yet on a later page we find that the experiments have since
been repeated by Obersteiner, "who has described them in a very
exact and unprejudiced manner," and that "the fact"--(I imagine that
Professor Weismann intends "the facts")--"cannot be doubted."

On a still later page, however, we read:--

"If, for instance, it could be shown that artificial mutilation
spontaneously reappears in the offspring with sufficient frequency
to exclude all possibilities of chance, then such proof [i.e. that
acquired characters can be transmitted] would be forthcoming.  The
transmission of mutilations has been frequently asserted, and has
been even recently again brought forward, but all the supposed
instances have broken down when carefully examined" (p. 390).

Here, then, we are told that proof of the occasional transmission of
mutilations would be sufficient to establish the fact, but on p. 267
we find that no single fact is known which really proves that
acquired characters can be transmitted, "_for the ascertained facts
which seem to point to the transmission of artificially produced
diseases cannot be considered as proof_."  [Italics mine.]  Perhaps;
but it was mutilation in many cases that Professor Weismann
practically admitted to have been transmitted when he declared that
Obersteiner had verified Brown-Sequard's experiments.

That Professor Weismann recognizes the vital importance to his own
theory of the question whether or no mutilations can be transmitted
under any circumstances, is evident from a passage on p. 425 of his
work, on which he says:  "It can hardly be doubted that mutilations
are acquired characters; they do not arise from any tendency
contained in the germ, but are merely the reaction of the body under
certain external influences.  They are, as I have recently expressed
it, purely somatogenic characters--viz. characters which emanate
from the body (soma) only, as opposed to the germ-cells; they are,
therefore, characters that do not arise from the germ itself.

"If mutilations must necessarily be transmitted" [which no one that
I know of has maintained], "or even if they might occasionally be
transmitted" [which cannot, I imagine, be reasonably questioned], "a
powerful support would be given to the Lamarckian principle, and the
transmission of functional hypertrophy or atrophy would thus become
highly probable."

I have not found any further attempt in Professor Weismann's book to
deal with the evidence adduced by Mr. Darwin to show that
mutilations, if followed by diseases, are sometimes inherited; and I
must leave it to the reader to determine how far Professor Weismann
has shown reason for rejecting Mr. Darwin's conclusion.  I do not,
however, dwell upon these facts now as evidence of a transmitted
change of bodily form, or of instinct due to use and disuse or
habit; what they prove is that the germ-cells within the parent's
body do not stand apart from the other cells of the body so
completely as Professor Weismann would have us believe, but that, as
Professor Hering, of Prague, has aptly said, they echo with more or
less frequency and force to the profounder impressions made upon
other cells.

I may say that Professor Weismann does not more cavalierly wave
aside the mass of evidence collected by Mr. Darwin and a host of
other writers, to the effect that mutilations are sometimes
inherited, than does Mr. Wallace, who says that, "as regards
mutilations, it is generally admitted that they are not inherited,
and there is ample evidence on this point."  It is indeed generally
admitted that mutilations, when not followed by disease, are very
rarely, if ever, inherited; and Mr. Wallace's appeal to the "ample
evidence" which he alleges to exist on this head, is much as though
he should say that there is ample evidence to show that the days are
longer in summer than in winter.  "Nevertheless," he continues, "a
few cases of apparent inheritance of mutilations have been recorded,
and these, if trustworthy, are difficulties in the way of the
theory." . . . "The often-quoted case of a disease induced by
mutilation being inherited (Brown-Sequard's epileptic guinea-pigs)
has been discussed by Professor Weismann and shown to be not
conclusive.  The mutilation itself--a section of certain nerves--was
never inherited, but the resulting epilepsy, or a general state of
weakness, deformity, or sores, was sometimes inherited.  It is,
however, possible that the mere injury introduced and encouraged the
growth of certain microbes, which, spreading through the organism,
sometimes reached the germ-cells, and thus transmitted a diseased
condition to the offspring." {286}

I suppose a microbe which made guinea-pigs eat their toes off was
communicated to the germ-cells of an unfortunate guinea-pig which
had been already microbed by it, and made the offspring bite its
toes off too.  The microbe has a good deal to answer for.

On the case of the deterioration of horses in the Falkland Islands
after a few generations, Professor Weismann says:--

"In such a case we have only to assume that the climate which is
unfavourable, and nutriment which is insufficient for horses, affect
not only the animal as a whole but also its germ-cells.  This would
result in the diminution in size of the germ-cells, the effects upon
the offspring being still further intensified by the insufficient
nourishment supplied during growth.  But such results would not
depend upon the transmission by the germ-cells of certain
peculiarities due to the unfavourable climate, which only appear in
the full-grown horse."

But Professor Weismann does not like such cases, and admits that he
cannot explain the facts in connection with the climatic varieties
of certain butterflies, except "by supposing the passive acquisition
of characters produced by the direct influence of climate."

Nevertheless, in his next paragraph but one he calls such cases
"doubtful," and proposes that for the moment they should be left
aside.  He accordingly leaves them, but I have not yet found what
other moment he considered auspicious for returning to them.  He
tells us that "new experiments will be necessary, and that he has
himself already begun to undertake them."  Perhaps he will give us
the results of these experiments in some future book--for that they
will prove satisfactory to him can hardly, I think, be doubted.  He
writes:--

"Leaving on one side, for the moment, these doubtful and
insufficiently investigated cases, we may still maintain that the
assumption that changes induced by external conditions in the
organism as a whole are communicated to the germ-cells after the
manner indicated in Darwin's hypothesis of pangenesis, is wholly
unnecessary for the explanation of these phenomena.  Still we cannot
exclude the possibility of such a transmission occasionally
occurring, for even if the greater part of the effects must be
attributable to natural selection, there might be a smaller part in
certain cases which depends on this exceptional factor."

I repeatedly tried to understand Mr. Darwin's theory of pangenesis,
and so often failed that I long since gave the matter up in despair.
I did so with the less unwillingness because I saw that no one else
appeared to understand the theory, and that even Mr. Darwin's
warmest adherents regarded it with disfavour.  If Mr. Darwin means
that every cell of the body throws off minute particles that find
their way to the germ-cells, and hence into the new embryo, this is
indeed difficult of comprehension and belief.  If he means that the
rhythms or vibrations that go on ceaselessly in every cell of the
body communicate themselves with greater or less accuracy or
perturbation, as the case may be, to the cells that go to form
offspring, and that since the characteristics of matter are
determined by vibrations, in communicating vibrations they in effect
communicate matter, according to the view put forward in the last
chapter of my book Luck or Cunning, then we can better understand
it.  I have nothing, however, to do with Mr. Darwin's theory of
pangenesis beyond avoiding the pretence that I understand either the
theory itself or what Professor Weismann says about it; all I am
concerned with is Professor Weismann's admission, made immediately
afterwards, that the somatic cells may, and perhaps sometimes do,
impart characteristics to the germ-cells.

"A complete and satisfactory refutation of such an opinion," he
continues, "cannot be brought forward at present"; so I suppose we
must wait a little longer, but in the meantime we may again remark
that, if we admit even occasional communication of changes in the
somatic cells to the germ-cells, we have let in the thin end of the
wedge, as Mr. Darwin did when he said that use and disuse did a good
deal towards modification.  Buffon, in his first volume on the lower
animals, {288} dwells on the impossibility of stopping the breach
once made by admission of variation at all.  "If the point," he
writes, "were once gained, that among animals and vegetables there
had been, I do not say several species, but even a single one, which
had been produced in the course of direct descent from another
species; if, for example, it could be once shown that the ass was
but a degeneration from the horse--then there is no farther limit to
be set to the power of Nature, and we should not be wrong in
supposing that with sufficient time she could have evolved all other
organized forms from one primordial type."  So with use and disuse
and transmission of acquired characteristics generally--once show
that a single structure or instinct is due to habit in preceding
generations, and we can impose no limit on the results achievable by
accumulation in this respect, nor shall we be wrong in conceiving it
as possible that all specialization, whether of structure or
instinct, may be due ultimately to habit.

How far this can be shown to be probable is, of course, another
matter, but I am not immediately concerned with this; all I am
concerned with now is to show that the germ-cells not unfrequently
become permanently affected by events that have made a profound
impression upon the somatic cells, in so far that they transmit an
obvious reminiscence of the impression to the embryos which they go
subsequently towards forming.  This is all that is necessary for my
case, and I do not find that Professor Weismann, after all, disputes
it.

But here, again, comes the difficulty of saying what Professor
Weismann does, and what he does not, dispute.  One moment he gives
all that is wanted for the Lamarckian contention, the next he denies
common sense the bare necessaries of life.  For a more exhaustive
and detailed criticism of Professor Weismann's position, I would
refer the reader to an admirably clear article by Mr. Sidney H.
Vines, which appeared in Nature, October 24, 1889.  I can only say
that while reading Professor Weismann's book, I feel as I do when I
read those of Mr. Darwin, and of a good many other writers on
biology whom I need not name.  I become like a fly in a window-pane.
I see the sunshine and freedom beyond, and buzz up and down their
pages, ever hopeful to get through them to the fresh air without,
but ever kept back by a mysterious something, which I feel but
cannot either grasp or see.  It was not thus when I read Buffon,
Erasmus Darwin, and Lamarck; it is not thus when I read such
articles as Mr. Vines's just referred to.  Love of self-display, and
the want of singleness of mind that it inevitably engenders--these,
I suppose, are the sins that glaze the casements of most men's
minds; and from these, no matter how hard he tries to free himself,
nor how much he despises them, who is altogether exempt?

Finally, then, when we consider the immense mass of evidence
referred to briefly, but sufficiently, by Mr. Charles Darwin, and
referred to without other, for the most part, than off-hand
dismissal by Professor Weismann in the last of the essays that have
been recently translated, I do not see how anyone who brings an
unbiased mind to the question can hesitate as to the side on which
the weight of testimony inclines.  Professor Weismann declares that
"the transmission of mutilations may be dismissed into the domain of
fable." {290}  If so, then, whom can we trust?  What is the use of
science at all if the conclusions of a man as competent as I readily
admit Mr. Darwin to have been, on the evidence laid before him from
countless sources, is to be set aside lightly and without giving the
clearest and most cogent explanation of the why and wherefore?  When
we see a person "ostrichizing" the evidence which he has to meet, as
clearly as I believe Professor Weismann to be doing, we shall in
nine cases out of ten be right in supposing that he knows the
evidence to be too strong for him.



The Deadlock in Darwinism:  Part III


Now let me return to the recent division of biological opinion into
two main streams--Lamarckism and Weismannism.  Both Lamarckians and
Weismannists, not to mention mankind in general, admit that the
better adapted to its surroundings a living form may be, the more
likely it is to outbreed its compeers.  The world at large, again,
needs not to be told that the normal course is not unfrequently
deflected through the fortunes of war; nevertheless, according to
Lamarckians and Erasmus-Darwinians, habitual effort, guided by ever-
growing intelligence--that is to say, by continued increase of power
in the matter of knowing our likes and dislikes--has been so much
the main factor throughout the course of organic development, that
the rest, though not lost sight of, may be allowed to go without
saying.  According, on the other hand, to extreme Charles-Darwinians
and Weismannists, habit, effort and intelligence acquired during the
experience of any one life goes for nothing.  Not even a little
fraction of it endures to the benefit of offspring.  It dies with
him in whom it is acquired, and the heirs of a man's body take no
interest therein.  To state this doctrine is to arouse instinctive
loathing; it is my fortunate task to maintain that such a nightmare
of waste and death is as baseless as it is repulsive.

The split in biological opinion occasioned by the deadlock to which
Charles-Darwinism has been reduced, though comparatively recent,
widens rapidly.  Ten years ago Lamarck's name was mentioned only as
a byword for extravagance; now, we cannot take up a number of Nature
without seeing how hot the contention is between his followers and
those of Weismann.  This must be referred, as I implied earlier, to
growing perception that Mr. Darwin should either have gone farther
towards Lamarckism or not so far.  In admitting use and disuse as
freely as he did, he gave Lamarckians leverage for the overthrow of
a system based ostensibly on the accumulation of fortunate
accidents.  In assigning the lion's share of development to the
accumulation of fortunate accidents, he tempted fortuitists to try
to cut the ground from under Lamarck's feet by denying that the
effects of use and disuse can be inherited at all.  When the public
had once got to understand what Lamarck had intended, and wherein
Mr. Charles Darwin had differed from him, it became impossible for
Charles-Darwinians to remain where they were, nor is it easy to see
what course was open to them except to cast about for a theory by
which they could get rid of use and disuse altogether.  Weismannism,
therefore, is the inevitable outcome of the straits to which
Charles-Darwinians were reduced through the way in which their
leader had halted between two opinions.

This is why Charles-Darwinians, from Professor Huxley downwards,
have kept the difference between Lamarck's opinions and those of Mr.
Darwin so much in the background.  Unwillingness to make this
understood is nowhere manifested more clearly than in Dr. Francis
Darwin's life of his father.  In this work Lamarck is sneered at
once or twice and told to go away, but there is no attempt to state
the two cases side by side; from which, as from not a little else, I
conclude that Dr. Francis Darwin has descended from his father with
singularly little modification.

Proceeding to the evidence for the transmissions of acquired habits,
I will quote two recently adduced examples from among the many that
have been credibly attested.  The first was contributed to Nature
(March 14, 1889) by Professor Marcus M. Hartog, who wrote:--

"A. B. is moderately myopic and very astigmatic in the left eye;
extremely myopic in the right.  As the left eye gave such bad images
for near objects, he was compelled in childhood to mask it, and
acquired the habit of leaning his head on his left arm for writing,
so as to blind that eye, or of resting the left temple and eye on
the hand, with the elbow on the table.  At the age of fifteen the
eyes were equalized by the use of suitable spectacles, and he soon
lost the habit completely and permanently.  He is now the father of
two children, a boy and a girl, whose vision (tested repeatedly and
fully) is emmetropic in both eyes, so that they have not inherited
the congenital optical defect of their father.  All the same, they
have both of them inherited his early acquired habit, and need
constant watchfulness to prevent their hiding the left eye when
writing, by resting the head on the left forearm or hand.  Imitation
is here quite out of the question.

"Considering that every habit involves changes in the proportional
development of the muscular and osseous systems, and hence probably
of the nervous system also, the importance of inherited habits,
natural or acquired, cannot be overlooked in the general theory of
inheritance.  I am fully aware that I shall be accused of flat
Lamarckism, but a nickname is not an argument."

To this Professor Ray Lankester rejoined (Nature, March 21, 1889):--

"It is not unusual for children to rest the head on the left forearm
or hand when writing, and I doubt whether much value can be attached
to the case described by Professor Hartog.  The kind of observation
which his letter suggests is, however, likely to lead to results
either for or against the transmission of acquired characters.  An
old friend of mine lost his right arm when a schoolboy, and has ever
since written with his left.  He has a large family and
grandchildren, but I have not heard of any of them showing a
disposition to left-handedness."

From Nature (March 21, 1889) I take the second instance communicated
by Mr. J. Jenner-Weir, who wrote as follows:--

"Mr. Marcus M. Hartog's letter of March 6th, inserted in last week's
number (p. 462), is a very valuable contribution to the growing
evidence that acquired characters may be inherited.  I have long
held the view that such is often the case, and I have myself
observed several instances of the, at least I may say, apparent
fact.

"Many years ago there was a very fine male of the Capra megaceros in
the gardens of the Zoological Society.  To restrain this animal from
jumping over the fence of the enclosure in which he was confined, a
long and heavy chain was attached to the collar round his neck.  He
was constantly in the habit of taking this chain up by his horns and
moving it from one side to another over his back; in doing this he
threw his head very much back, his horns being placed in a line with
the back.  The habit had become quite chronic with him, and was very
tiresome to look at.  I was very much astonished to observe that his
offspring inherited the habit, and although it was not necessary to
attach a chain to their necks, I have often seen a young male
throwing his horns over his back and shifting from side to side an
imaginary chain.  The action was exactly the same as that of his
ancestor.  The case of the kid of this goat appears to me to be
parallel to that of child and parent given by Mr. Hartog.  I think
at the time I made this observation I informed Mr. Darwin of the
fact by letter, and he did not accuse me of 'flat Lamarckism.'"

To this letter there was no rejoinder.  It may be said, of course,
that the action of the offspring in each of these cases was due to
accidental coincidence only.  Anything can be said, but the question
turns not on what an advocate can say, but on what a reasonably
intelligent and disinterested jury will believe; granted they might
be mistaken in accepting the foregoing stories, but the world of
science, like that of commerce, is based on the faith or confidence
which both creates and sustains them.  Indeed the universe itself is
but the creature of faith, for assuredly we know of no other
foundation.  There is nothing so generally and reasonably accepted--
not even our own continued identity--but questions may be raised
about it that will shortly prove unanswerable.  We cannot so test
every sixpence given us in change as to be sure that we never take a
bad one, and had better sometimes be cheated than reduce caution to
an absurdity.  Moreover, we have seen from the evidence given in my
preceding article that the germ-cells issuing from a parent's body
can, and do, respond to profound impressions made on the somatic
cells.  This being so, what impressions are more profound, what
needs engage more assiduous attention than those connected with
self-protection, the procuring of food, and the continuation of the
species?  If the mere anxiety connected with an ill-healing wound
inflicted on but one generation is sometimes found to have so
impressed the germ-cells that they hand down its scars to offspring,
how much more shall not anxieties that have directed action of all
kinds from birth till death, not in one generation only but in a
longer series of generations than the mind can realize to itself,
modify, and indeed control, the organization of every species?

I see Professor S. H. Vines, in the article on Weismann's theory
referred to in my preceding article, says Mr. Darwin "held that it
was not the sudden variations due to altered external conditions
which become permanent, but those slowly produced by what he termed
'the accumulative action of changed conditions of life.'"  Nothing
can be more soundly Lamarckian, and nothing should more conclusively
show that, whatever else Mr. Darwin was, he was not a Charles-
Darwinian; but what evidence other than inferential can from the
nature of the case be adduced in support of this, as I believe,
perfectly correct judgment?  None know better than they who clamour
for direct evidence that their master was right in taking the
position assigned to him by Professor Vines, that they cannot
reasonably look for it.  With us, as with themselves, modification
proceeds very gradually, and it violates our principles as much as
their own to expect visible permanent progress, in any single
generation, or indeed in any number of generations of wild species
which we have yet had time to observe.  Occasionally we can find
such cases, as in that of Branchipus stagnalis, quoted by Mr.
Wallace, or in that of the New Zealand Kea whose skin, I was assured
by the late Sir Julius von Haast, has already been modified as a
consequence of its change of food.  Here we can show that in even a
few generations structure is modified under changed conditions of
existence, but as we believe these cases to occur comparatively
rarely, so it is still more rarely that they occur when and where we
can watch them.  Nature is eminently conservative, and fixity of
type, even under considerable change of conditions, is surely more
important for the well-being of any species than an over-ready power
of adaptation to, it may be, passing changes.  There could be no
steady progress if each generation were not mainly bound by the
traditions of those that have gone before it.  It is evolution and
not incessant revolution that both parties are upholding; and this
being so, rapid visible modification must be the exception, not the
rule.  I have quoted direct evidence adduced by competent observers,
which is, I believe, sufficient to establish the fact that offspring
can be and is sometimes modified by the acquired habits of a
progenitor.  I will now proceed to the still more, as it appears to
me, cogent proof afforded by general considerations.

What, let me ask, are the principal phenomena of heredity?  There
must be physical continuity between parent, or parents, and
offspring, so that the offspring is, as Erasmus Darwin well said, a
kind of elongation of the life of the parent.

Erasmus Darwin put the matter so well that I may as well give his
words in full; he wrote:--

"Owing to the imperfection of language the offspring is termed a new
animal, but is in truth a branch or elongation of the parent, since
a part of the embryon animal is, or was, a part of the parent, and
therefore, in strict language, cannot be said to be entirely new at
the time of its production; and therefore it may retain some of the
habits of the parent system.

"At the earliest period of its existence the embryon would seem to
consist of a living filament with certain capabilities of
irritation, sensation, volition, and association, and also with some
acquired habits or propensities peculiar to the parent; the former
of these are in common with other animals; the latter seem to
distinguish or produce the kind of animal, whether man or quadruped,
with the similarity of feature or form to the parent." {299}

Those who accept evolution insist on unbroken physical continuity
between the earliest known life and ourselves, so that we both are
and are not personally identical with the unicellular organism from
which we have descended in the course of many millions of years,
exactly in the same ways as an octogenarian both is and is not
personally identical with the microscopic impregnate ovum from which
he grew up.  Everything both is and is not.  There is no such thing
as strict identity between any two things in any two consecutive
seconds.  In strictness they are identical and yet not identical, so
that in strictness they violate a fundamental rule of strictness--
namely, that a thing shall never be itself and not itself at one and
the same time; we must choose between logic and dealing in a
practical spirit with time and space; it is not surprising,
therefore, that logic, in spite of the show of respect outwardly
paid to her, is told to stand aside when people come to practice.
In practice identity is generally held to exist where continuity is
only broken slowly and piecemeal; nevertheless, that occasional
periods of even rapid change are not held to bar identity, appears
from the fact that no one denies this to hold between the
microscopically small impregnate ovum and the born child that
springs from it, nor yet, therefore, between the impregnate ovum and
the octogenarian into which the child grows; for both ovum and
octogenarian are held personally identical with the new-born baby,
and things that are identical with the same are identical with one
another.

The first, then, and most important element of heredity is that
there should be unbroken continuity, and hence sameness of
personality, between parents and offspring, in neither more nor less
than the same sense as that in which any other two personalities are
said to be the same.  The repetition, therefore, of its
developmental stages by any offspring must be regarded as something
which the embryo repeating them has already done once, in the person
of one or other parent; and if once, then, as many times as there
have been generations between any given embryo now repeating it, and
the point in life from which we started--say, for example, the
amoeba.  In the case of asexually and sexually produced organisms
alike, the offspring must be held to continue the personality of the
parent or parents, and hence on the occasion of every fresh
development, to be repeating something which in the person of its
parent or parents it has done once, and if once, then any number of
times, already.

It is obvious, therefore, that the germ-plasm (or whatever the fancy
word for it may be) of any one generation is as physically identical
with the germ-plasm of its predecessor as any two things can be.
The difference between Professor Weismann and, we will say,
Heringians consists in the fact that the first maintains the new
germ-plasm when on the point of repeating its developmental
processes to take practically no cognisance of anything that has
happened to it since the last occasion on which it developed itself;
while the latter maintain that offspring takes much the same kind of
account of what has happened to it in the persons of its parents
since the last occasion on which it developed itself, as people in
ordinary life take things that happen to them.  In daily life people
let fairly normal circumstances come and go without much heed as
matters of course.  If they have been lucky they make a note of it
and try to repeat their success.  If they have been unfortunate but
have recovered rapidly they soon forget it; if they have suffered
long and deeply they grizzle over it and are scared and scarred by
it for a long time.  The question is one of cognisance or non-
cognisance on the part of the new germs, of the more profound
impressions made on them while they were one with their parents,
between the occasion of their last preceding development and the new
course on which they are about to enter.  Those who accept the
theory put forward independently by Professor Hering of Prague
(whose work on this subject is translated in my book Unconscious
Memory) and by myself in Life and Habit, believe in cognisance as do
Lamarckians generally.  Weismannites, and with them the orthodoxy of
English science, find non-cognisance more acceptable.

If the Heringian view is accepted, that heredity is only a mode of
memory, and an extension of memory from one generation to another,
then the repetition of its development by any embryo thus becomes
only the repetition of a lesson learned by rote; and, as I have
elsewhere said, our view of life is simplified by finding that it is
no longer an equation of, say, a hundred unknown quantities, but of
ninety-nine only, inasmuch as two of the unknown quantities prove to
be substantially identical.  In this case the inheritance of
acquired characteristics cannot be disputed, for it is postulated in
the theory that each embryo takes note of, remembers and is guided
by the profounder impressions made upon it while in the persons of
its parents, between its present and last preceding development.  To
maintain this is to maintain use and disuse to be the main factors
throughout organic development; to deny it is to deny that use and
disuse can have any conceivable effect.  For the detailed reasons
which led me to my own conclusions I must refer the reader to my
books Life and Habit and Unconscious Memory, the conclusions of
which have been often adopted, but never, that I have seen,
disputed.  A brief resume of the leading points in the argument is
all that space will here allow me to give.

We have seen that it is a first requirement of heredity that there
shall be physical continuity between parents and offspring.  This
holds good with memory.  There must be continued identity between
the person remembering and the person to whom the thing that is
remembered happened.  We cannot remember things that happened to
someone else, and in our absence.  We can only remember having heard
of them.  We have seen, however, that there is as much bona-fide
sameness of personality between parents and offspring up to the time
at which the offspring quits the parent's body, as there is between
the different states of the parent himself at any two consecutive
moments; the offspring therefore, being one and the same person with
its progenitors until it quits them, can be held to remember what
happened to them within, of course, the limitations to which all
memory is subject, as much as the progenitors can remember what
happened earlier to themselves.  Whether it does so remember can
only be settled by observing whether it acts as living beings
commonly do when they are acting under guidance of memory.  I will
endeavour to show that, though heredity and habit based on memory go
about in different dresses, yet if we catch them separately--for
they are never seen together--and strip them there is not a mole nor
strawberry-mark nor trick nor leer of the one, but we find it in the
other also.

What are the moles and strawberry-marks of habitual action, or
actions remembered and thus repeated?  First, the more often we
repeat them the more easily and unconsciously we do them.  Look at
reading, writing, walking, talking, playing the piano, etc.; the
longer we have practised any one of these acquired habits, the more
easily, automatically and unconsciously, we perform it.  Look, on
the other hand, broadly, at the three points to which I called
attention in Life and Habit:--

I.  That we are most conscious of and have most control over such
habits as speech, the upright position, the arts and sciences--which
are acquisitions peculiar to the human race, always acquired after
birth, and not common to ourselves and any ancestor who had not
become entirely human.

II.  That we are less conscious of and have less control over eating
and drinking [provided the food be normal], swallowing, breathing,
seeing, and hearing--which were acquisitions of our prehuman
ancestry, and for which we had provided ourselves with all the
necessary apparatus before we saw light, but which are still,
geologically speaking, recent.

III.  That we are most unconscious of and have least control over
our digestion and circulation--powers possessed even by our
invertebrate ancestry, and, geologically speaking, of extreme
antiquity.

I have put the foregoing very broadly, but enough is given to show
the reader the gist of the argument.  Let it be noted that
disturbance and departure, to any serious extent, from normal
practice tends to induce resumption of consciousness even in the
case of such old habits as breathing, seeing, and hearing, digestion
and the circulation of the blood.  So it is with habitual actions in
general.  Let a player be never so proficient on any instrument, he
will be put out if the normal conditions under which he plays are
too widely departed from, and will then do consciously, if indeed he
can do it at all, what he had hitherto been doing unconsciously.  It
is an axiom as regards actions acquired after birth, that we never
do them automatically save as the result of long practice; the
stages in the case of any acquired facility, the inception of which
we have been able to watch, have invariably been from a nothingness
of ignorant impotence to a little somethingness of highly self-
conscious, arduous performance, and thence to the
unselfconsciousness of easy mastery.  I saw one year a poor blind
lad of about eighteen sitting on a wall by the wayside at Varese,
playing the concertina with his whole body, and snorting like a
child.  The next year the boy no longer snorted, and he played with
his fingers only; the year after that he seemed hardly to know
whether he was playing or not, it came so easily to him.  I know no
exception to this rule.  Where is the intricate and at one time
difficult art in which perfect automatic ease has been reached
except as the result of long practice?  If, then, wherever we can
trace the development of automatism we find it to have taken this
course, is it not most reasonable to infer that it has taken the
same even when it has risen in regions that are beyond our ken?
Ought we not, whenever we see a difficult action performed
automatically, to suspect antecedent practice?  Granted that without
the considerations in regard to identity presented above it would
not have been easy to see where a baby of a day old could have had
the practice which enables it to do as much as it does
unconsciously, but even without these considerations it would have
been more easy to suppose that the necessary opportunities had not
been wanting, than that the easy performance could have been gained
without practice and memory.

When I wrote Life and Habit (originally published in 1877) I said in
slightly different words:--

"Shall we say that a baby of a day old sucks (which involves the
whole principle of the pump and hence a profound practical knowledge
of the laws of pneumatics and hydrostatics), digests, oxygenizes its
blood--millions of years before anyone had discovered oxygen--sees
and hears, operations that involve an unconscious knowledge of the
facts concerning optics and acoustics compared with which the
conscious discoveries of Newton are insignificant--shall we say that
a baby can do all these things at once, doing them so well and so
regularly without being even able to give them attention, and yet
without mistake, and shall we also say at the same time that it has
not learnt to do them, and never did them before?

"Such an assertion would contradict the whole experience of
mankind."

I have met with nothing during the thirteen years since the
foregoing was published that has given me any qualms about its
soundness.  From the point of view of the law courts and everyday
life it is, of course, nonsense; but in the kingdom of thought, as
in that of heaven, there are many mansions, and what would be
extravagance in the cottage or farm-house, as it were, of daily
practice, is but common decency in the palace of high philosophy,
wherein dwells evolution.  If we leave evolution alone, we may stick
to common practice and the law courts; touch evolution and we are in
another world; not higher, nor lower, but different as harmony from
counterpoint.  As, however, in the most absolute counterpoint there
is still harmony, and in the most absolute harmony still
counterpoint, so high philosophy should be still in touch with
common sense, and common sense with high philosophy.

The common-sense view of the matter to people who are not over-
curious and to whom time is money, will be that a baby is not a baby
until it is born, and that when born it should be born in wedlock.
Nevertheless, as a sop to high philosophy, every baby is allowed to
be the offspring of its father and mother.

The high-philosophy view of the matter is that every human being is
still but a fresh edition of the primordial cell with the latest
additions and corrections; there has been no leap nor break in
continuity anywhere; the man of to-day is the primordial cell of
millions of years ago as truly as he is the himself of yesterday; he
can only be denied to be the one on grounds that will prove him not
to be the other.  Everyone is both himself and all his direct
ancestors and descendants as well; therefore, if we would be
logical, he is one also with all his cousins, no matter how distant,
for he and they are alike identical with the primordial cell, and we
have already noted it as an axiom that things which are identical
with the same are identical with one another.  This is practically
making him one with all living things, whether animal or vegetable,
that ever have existed or ever will--something of all which may have
been in the mind of Sophocles when he wrote:--

"Nor seest thou yet the gathering hosts of ill
That shall en-one thee both with thine own self
And with thine offspring."

And all this has come of admitting that a man may be the same person
for two days running!  As for sopping common sense it will be enough
to say that these remarks are to be taken in a strictly scientific
sense, and have no appreciable importance as regards life and
conduct.  True they deal with the foundations on which all life and
conduct are based, but like other foundations they are hidden out of
sight, and the sounder they are, the less we trouble ourselves about
them.

What other main common features between heredity and memory may we
note besides the fact that neither can exist without that kind of
physical continuity which we call personal identity?  First, the
development of the embryo proceeds in an established order; so must
all habitual actions based on memory.  Disturb the normal order and
the performance is arrested.  The better we know "God save the
Queen," the less easily can we play or sing it backwards.  The
return of memory again depends on the return of ideas associated
with the particular thing that is remembered--we remember nothing
but for the presence of these, and when enough of these are
presented to us we remember everything.  So, if the development of
an embryo is due to memory, we should suppose the memory of the
impregnate ovum to revert not to yesterday, when it was in the
persons of its parents, but to the last occasion on which it was an
impregnate ovum.  The return of the old environment and the presence
of old associations would at once involve recollection of the course
that should be next taken, and the same should happen throughout the
whole course of development.  The actual course of development
presents precisely the phenomena agreeable with this.  For fuller
treatment of this point I must refer the reader to the chapter on
the abeyance of memory in my book Life and Habit, already referred
to.

Secondly, we remember best our last few performances of any given
kind, so our present performance will probably resemble some one or
other of these; we remember our earlier performances by way of
residuum only, but every now and then we revert to an earlier habit.
This feature of memory is manifested in heredity by the way in which
offspring commonly resembles most its nearer ancestors, but
sometimes reverts to earlier ones.  Brothers and sisters, each as it
were giving their own version of the same story, but in different
words, should generally resemble each other more closely than more
distant relations.  And this is what actually we find.

Thirdly, the introduction of slightly new elements into a method
already established varies it beneficially; the new is soon fused
with the old, and the monotony ceases to be oppressive.  But if the
new be too foreign, we cannot fuse the old and the new--nature
seeming to hate equally too wide a deviation from ordinary practice
and none at all.  This fact reappears in heredity as the beneficial
effects of occasional crossing on the one hand, and on the other, in
the generally observed sterility of hybrids.  If heredity be an
affair of memory, how can an embryo, say of a mule, be expected to
build up a mule on the strength of but two mule-memories?  Hybridism
causes a fault in the chain of memory, and it is to this cause that
the usual sterility of hybrids must be referred.

Fourthly, it requires many repeated impressions to fix a method
firmly, but when it has been engrained into us we cease to have much
recollection of the manner in which it came to be so, or indeed of
any individual repetition, but sometimes a single impression if
prolonged as well as profound, produces a lasting impression and is
liable to return with sudden force, and then to go on returning to
us at intervals.  As a general rule, however, abnormal impressions
cannot long hold their own against the overwhelming preponderance of
normal authority.  This appears in heredity as the normal non-
inheritance of mutilations on the one hand, and on the other as
their occasional inheritance in the case of injuries followed by
disease.

Fifthly, if heredity and memory are essentially the same, we should
expect that no animal would develop new structures of importance
after the age at which its species begins ordinarily to continue its
race; for we cannot suppose offspring to remember anything that
happens to the parent subsequently to the parent's ceasing to
contain the offspring within itself.  From the average age,
therefore, of reproduction, offspring should cease to have any
further steady, continuous memory to fall back upon; what memory
there is should be full of faults, and as such unreliable.  An
organism ought to develop as long as it is backed by memory--that is
to say, until the average age at which reproduction begins; it
should then continue to go for a time on the impetus already
received, and should eventually decay through failure of any memory
to support it, and tell it what to do.  This corresponds absolutely
with what we observe in organisms generally, and explains, on the
one hand, why the age of puberty marks the beginning of completed
development--a riddle hitherto not only unexplained but, so far as I
have seen, unasked; it explains, on the other hand, the phenomena of
old age--hitherto without even attempt at explanation.

Sixthly, those organisms that are the longest in reaching maturity
should on the average be the longest-lived, for they will have
received the most momentous impulse from the weight of memory behind
them.  This harmonizes with the latest opinion as to the facts.  In
his article of Weismann in the Contemporary Review for May, 1890,
Mr. Romanes writes:  "Professor Weismann has shown that there is
throughout the metazoa a general correlation between the natural
lifetime of individuals composing any given species, and the age at
which they reach maturity or first become capable of procreation."
This, I believe, has been the conclusion generally arrived at by
biologists for some years past.

Lateness, then, in the average age of reproduction appears to be the
principle underlying longevity.  There does not appear at first
sight to be much connection between such distinct and apparently
disconnected phenomena as 1, the orderly normal progress of
development; 2, atavism and the resumption of feral characteristics;
3, the more ordinary resemblance inter se of nearer relatives; 4,
the benefit of an occasional cross, and the usual sterility of
hybrids; 5, the unconsciousness with which alike bodily development
and ordinary physiological functions proceed, so long as they are
normal; 6, the ordinary non-inheritance, but occasional inheritance
of mutilations; 7, the fact that puberty indicates the approach of
maturity; 8, the phenomena of middle life and old age; 9, the
principle underlying longevity.  These phenomena have no conceivable
bearing on one another until heredity and memory are regarded as
part of the same story.  Identify these two things, and I know no
phenomenon of heredity that does not immediately become infinitely
more intelligible.  Is it conceivable that a theory which harmonizes
so many facts hitherto regarded as without either connection or
explanation should not deserve at any rate consideration from those
who profess to take an interest in biology?

It is not as though the theory were unknown, or had been condemned
by our leading men of science.  Professor Ray Lankester introduced
it to English readers in an appreciative notice of Professor
Hering's address, which appeared in Nature, July 13, 1876.  He wrote
to the Athenaeum, March 24, 1884, and claimed credit for having done
so, but I do not believe he has ever said more in public about it
than what I have here referred to.  Mr. Romanes did indeed try to
crush it in Nature, January 27,1881, but in 1883, in his Mental
Evolution in Animals, he adopted its main conclusion without
acknowledgment.  The Athenaeum, to my unbounded surprise, called him
to task for this (March 1, 1884), and since that time he has given
the Heringian theory a sufficiently wide berth.  Mr. Wallace showed
himself favourably enough disposed towards the view that heredity
and memory are part of the same story when he reviewed my book Life
and Habit in Nature, March 27, 1879, but he has never since betrayed
any sign of being aware that such a theory existed.  Mr. Herbert
Spencer wrote to the Athenaeum (April 5, 1884), and claimed the
theory for himself, but, in spite of his doing this, he has never,
that I have seen, referred to the matter again.  I have dealt
sufficiently with his claim in my book Luck or Cunning.  Lastly,
Professor Hering himself has never that I know of touched his own
theory since the single short address read in 1870, and translated
by me in 1881.  Everyone, even its originator, except myself, seems
afraid to open his mouth about it.  Of course the inference suggests
itself that other people have more sense than I have.  I readily
admit it; but why have so many of our leaders shown such a strong
hankering after the theory, if there is nothing in it?

The deadlock that I have pointed out as existing in Darwinism will,
I doubt not, lead ere long to a consideration of Professor Hering's
theory.  English biologists are little likely to find Weismann
satisfactory for long, and if he breaks down there is nothing left
for them but Lamarck, supplemented by the important and elucidatory
corollary on his theory proposed by Professor Hering.  When the time
arrives for this to obtain a hearing it will be confirmed,
doubtless, by arguments clearer and more forcible than any I have
been able to adduce; I shall then be delighted to resign the
championship which till then I shall continue, as for some years
past, to have much pleasure in sustaining.  Heretofore my
satisfaction has mainly lain in the fact that more of our prominent
men of science have seemed anxious to claim the theory than to
refute it; in the confidence thus engendered I leave it to any
fuller consideration which the outline I have above given may
incline the reader to bestow upon it.



Footnotes:


{19}  I am indebted to one of Butler's contemporaries at Cambridge,
the Rev Dr. T. G. Bonney, F.R.S., and also to Mr. John F. Harris,
both of St. John's College, for help in finding and dating Butler's
youthful contributions to the Eagle.

{20}  This gentleman, on the death of his father in 1866, became the
Rev. Sir Philip Perring, Bart.

{22}  The late Sir Julius von Haast, K.C.M.G., appointed Provincial
Geologist in 1860, was ennobled by the Austrian Government and
knighted by the British.  He died in 1887.

{59}  A lecture delivered at the Working Men's College, Great Ormond
Street, 30th January, 1892.

{99}  Published in the Universal Review, July, 1888.

{110}  Published in the Universal Review, December, 1890.

{127}  Published in the Universal Review, May, 1889.  As I have
several times been asked if the letters here reprinted were not
fabricated by Butler himself, I take this opportunity of stating
that they are authentic in every particular, and that the originals
are now in my possession.--R. A. S.

{142}  An address delivered at the Somerville Club, February 27th,
1895.

{150}  The Foundations of Belief, by the Right Hon. A. J. Balfour.
Longmans, 1895, p. 48.

{153a}  Published in the Universal Review, November, 1888.

{153b}  Since this essay was written it has been ascertained by
Cavaliere Francesco Negri, of Casale Monferrato, that Tabachetti
died in 1615.  If, therefore, the Sanctuary of Montrigone was not
founded until 1631, it is plain that Tabachetti cannot have worked
there.  All the latest discoveries about Tabachetti's career will be
found in Cavaliere Negri's pamphlet Il Santuario di Crea
(Alessandria, 1902).  See also note on p. 195.--R. A. S.

{166}  Published in the Universal Review, December, 1889.

{188}  Published in the Universal Review, November, 1890.

{190}  M. Ruppen's words run:  "1687 wurde die Kapelle zur hohen
Stiege gebaut, 1747 durch Zusatz vergrossert und 1755 mit Orgeln
ausgestattet.  Anton Ruppen, ein geschickter Steinhauer und
Maurermeister leitete den Kapellebau, und machte darin das kleinere
Altarlein.  Bei der hohen Stiege war fruher kein Gebetshauslein; nur
ein wunderthatiges Bildlein der Mutter Gottes stand da in einer
Mauer vor dem fromme Hirten und viel andachtiges Volk unter freiem
Himmel beteten.

"1709 wurden die kleinen Kapellelein die 15 Geheimnisse des Psalters
vorstellend auf dem Wege zur hohen Stiege gebaut.  Jeder Haushalter
des Viertels Fee ubernahm den Bau eines dieser Geheimnisskapellen,
und ein besonderer Gutthater dieser frommen Unternehmung war
Heinrich Andenmatten, nachhet Bruder der Gesellschaft Jesu."

{195}  The story of Tabachetti's insanity and imprisonment is very
doubtful, and it is difficult to make his supposed visit to Saas fit
in with the authentic facts of his life.  Cavaliere Negri, to whose
pamphlet on Tabachetti I have already referred the reader, mentions
neither.  Tabachetti left his native Dinant in 1585, and from that
date until his death he appears to have lived chiefly at Varallo and
Crea.  In 1588 he was working at Crea; in 1590 he was at Varallo and
again in 1594, 1599, and 1602.  He died in 1615, possibly during a
visit to Varallo, though his home at the time was at Costigliole,
near Asti.--R. A. S.

{196}  This is thus chronicled by M. Ruppen:  "1589 den 9 September
war eine Wassergrosse, die viel Schaden verursachte.  Die
Thalstrasse, die von den Steinmatten an bis zur Kirche am Ufer der
Visp lag, wurde ganz zerstort.  Man ward gezwungen eine neue Strasse
in einiger Entfernung vom Wasser durch einen alten Fussweg
auszuhauen welche vier und einerhalben Viertel der Klafter, oder 6
Schuh und 9 Zoll breit sollte" (p. 43).

{209}  A lecture delivered at the Working Men's College in Great
Ormond Street, March 15th, 1890; rewritten and delivered again at
the Somerville Club, February 13th, 1894.

{210}  Correlation of Forces, Longmans, 1874, p. 15.

{230}  Three Lectures on the Science of Language, Longmans, 1889, p.
4.

{234}  Science of Thought, Longmans, 1887, p. 9.

{245}  Published in the Universal Review, April, May, and June,
1890.

{259a}  Voyages of the "Adventure" and "Beagle," iii. p. 237.

{259b}  Luck or Cunning, pp. 170, 180.

{260}  Journals of the Proceedings of the Linnean Society (Zoology,
vol. iii.), 1859, p. 62.

{261}  Darwinism (Macmillan, 1889), p. 129.

{263}  See Nature, March 6, 1890.

{265}  Origin of Species, sixth edition, 1888, vol. i. p. 168.

{266}  Origin of Species, sixth edition, 1888, vol. ii. p. 261.

{271}  Mr. J. T. Cunningham, of the Marine Biological Laboratory,
Plymouth, has called my attention to the fact that I have ascribed
to Professor Ray Lankester a criticism on Mr. Wallace's remarks upon
the eyes of certain flat-fish, which Professor Ray Lankester was, in
reality, only adopting--with full acknowledgment--from Mr.
Cunningham.  Mr. Cunningham has left it to me whether to correct my
omission publicly or not, but he would so plainly prefer my doing so
that I consider myself bound to insert this note.  Curiously enough,
I find that in my book Evolution, Old and New I gave what Lamarck
actually said upon the eyes of flat-fish, and, having been led to
return to the subject, I may as well quote his words.  He wrote:--

"Need--always occasioned by the circumstances in which an animal is
placed, and followed by sustained efforts at gratification--can not
only modify an organ--that is to say, augment or reduce it--but can
change its position when the case requires its removal.

"Ocean fishes have occasion to see what is on either side of them,
and have their eyes accordingly placed on either side of their head.
Some fishes, however, have their abode near coasts on submarine
banks and inclinations, and are thus forced to flatten themselves as
much as possible in order to get as near as they can to the shore.
In this situation they receive more light from above than from
below, and find it necessary to pay attention to whatever happens to
be above them; this need has involved the displacement of their
eyes, which now take the remarkable position which we observe in the
case of soles, turbots, plaice, etc.  The transfer of position is
not even yet complete in the case of these fishes, and the eyes are
not, therefore, symmetrically placed; but they are so with the
skate, whose head and whole body are equally disposed on either side
a longitudinal section.  Hence the eyes of this fish are placed
symmetrically upon the uppermost side."--Philosophie Zoologique,
tom. i. pp. 250, 251.  Edition C. Martins.  Paris, 1873.

{274a}  Essays on Heredity, etc., Oxford, 1889, p. 171.

{274b}  Ibid., p. 266.

{275}  Darwinism, 1889, p. 440.

{277}  Page 83.

{279}  Vol. i. p. 466, etc.  Ed. 1885.

{286}  Darwinism, p. 440.

{288}  Tom. iv. p. 383.  Ed. 1753.

{290}  Essays, etc., p. 447.

{299}  Zoonomia, 1794, vol. i. p. 480.





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