ing circumstances, like instruments in tune, shall build up a trivial but desirable incident, such as we love to prefigure for ourselves; and in the end, in spite of the critics, we may hesitate to give the preference to either. The one may ask more genius- I do not say it does; but at least the other dwells as clearly in the memory.

True romantic art, again, makes a romance of all things. It reaches into the highest abstraction of the ideal; it does not refuse the most pedestrian realism. Robinson Crusoe is as realistic as it is romantic; both qualities are pushed to an extreme, and neither suffers. Nor does romance depend upon the material importance of the incidents. To deal with strong and deadly elements, banditti, pirates, war and murder, is to conjure with great names, and, in the event of failure, to double the disgrace. The arrival of Haydn and Consuelo at the Canon's villa 1 is a very trifling incident; yet we may read a dozen boisterous stories from beginning to end, and not receive so fresh and stirring an impression of adventure. It was the scene of Crusoe at the wreck, if I remember rightly, that so bewitched my blacksmith. Nor is the fact surprising. Every single article the castaway recovers from the hulk is "a joy for ever" to the man who reads of them. They are the things that should be found, and bare enumeration stirs the blood. I found a glimmer of the same interest the other day in a new book, The Sailor's Sweetheart, by Mr. Clark Russell. The whole business of the brig Morning Star is very rightly felt and spiritedly written; but the clothes, the books, and the money satisfy the reader's mind like things to eat. We are dealing here with the old cut-and-dry, legitimate interest of treasure trove. But even treasure trove can be made dull. There are few people who have not groaned under the plethora of goods that fell to the lot of the Swiss Family Robinson, that dreary family. They found article after article, from milk kine to pieces of ordnance, a whole consignment; but no informing taste had presided over the selection, there was no smack or relish in the invoice, and these riches left the fancy cold. The box of goods in Verne's Mysterious Island is another case in point: there was no gusto and no glamour about that; it might have come from 1 In George Sand's Consuelo.

a shop. But the two hundred and seventy-eight Australian sovereigns on board the Morning Star fell upon me like a surprise that I had expected; whole vistas of secondary stories, besides the one in hand, radiated forth from that discovery, as they radiate from a striking particular in life; and I was made for the moment as happy as a reader has a right to be.

To come at all at the nature of this quality of romance, we must bear in mind the peculiarity of our attitude to any art. No art produces illusion; in the theatre we never forget that we are in the theatre; and while we read a story, we sit wavering between two minds, now merely clapping our hands at the merit of the performance, now condescending to take an active part in fancy with the characters. This last is the triumph of romantic story-telling: when the reader consciously plays at being the hero, the scene is a good scene. Now in character studies the pleasure that we take is critical; we watch, we approve, we smile at incongruities, we are moved to sudden heats of sympathy for courage, suffering, or virtue. But the characters are still themselves, they are not us; the more clearly they are depicted, the more widely do they stand away from us, the more imperiously do they thrust us back into our place as a spectator. I cannot identify myself with Rawdon Crawley or with Eugène de Rastignac,1 for I have scarce a hope or fear in common with them. It is not character but incident that woos us out of our reserve. Something happens as we desire to have it happen to ourselves; some situation, that we have long dallied with in fancy, is realized in the story with enticing and appropriate details. Then we forget the characters; then we push the hero aside; then we plunge into the tale in our own person and bathe in fresh experience; and then, and then only, do we say we have been reading a romance. It is not only pleasurable things that we imagine in our day-dreams; there are lights in which we are willing to contemplate even the idea of our own death, ways in which it seems as if it would amuse us to be cheated, wounded, or calumniated. It is thus possible to construct a story, even of tragic import, in which every incident, detail, and trick of circumstance shall be wel

1 Crawley in Thackeray's Vanity Fair; Rastignac in Balzac's Père Goriol and other tales.

come to the reader's thoughts. Fiction is to the grown man what play is to the child; it is there that he changes the atmosphere and tenor of his life; and when the game so chimes with his fancy that he can join in it with all his heart, when it pleases him at every turn, when he loves to recall it and dwells upon its recollection with entire delight, fiction is called romance. . . .

PULVIS ET UMBRA

1888

[Published in Scribner's Magazine for April, and reprinted in the 1892 collection called Across the Plains. The title ("Dust and a Shadow") is from an ode of Horace's (IV, 7): "When we descend where father Æneas, rich Tullus, and Ancus abide, we become dust and a shade.”]

We look for some reward of our endeavours and are disappointed; not success, not happiness, not even peace of conscience, crowns our ineffectual efforts to do well. Our frailties are invincible, our virtues barren; the battle goes sore against us to the going down of the sun. The canting moralist tells us of right and wrong; and we look abroad, even on the face of our small earth, and find them change with every climate, and no country where some action is not honoured for a virtue and none where it is not branded for a vice; and we look in our experience, and find no vital congruity in the wisest rules, but at the best a municipal fitness. It is not strange if we are tempted to despair of good. We ask too much. Our religions and moralities have been trimmed to flatter us, till they are all emasculate and sentimentalized, and only please and weaken. Truth is of a rougher strain. In the harsh face of life, faith can read a bracing gospel. The human race is a thing more ancient than the Ten Commandments; and the bones and revolutions of the Kosmos, in whose joints we are but moss and fungus, more ancient still.

Of the Kosmos in the last resort, science reports many doubtful things and all of them appalling. There seems no substance to this solid globe on which we stamp, nothing but symbols and ratios. Symbols and ratios carry us and bring

us forth and beat us down; gravity, that swings the incommensurable suns and worlds through space, is but a figment varying inversely as the squares of distances; and the suns and worlds themselves, imponderable figures of abstraction - NH3 and H2O. Consideration dares not dwell upon this view; that way madness lies; science carries us into zones of speculation where there is no habitable city for the mind of

man.

But take the Kosmos with a grosser faith, as our senses give it us. We behold space sown with rotatory islands, suns and worlds and the shards and wrecks of systems; some, like the sun, still blazing; some rotting, like the earth; others, like the moon, stable in desolation. All of these we take to be made of something we call matter, a thing which no analysis can help us to conceive, to whose incredible properties no familiarities can reconcile our minds. This stuff, when not purified by the lustration of fire, rots uncleanly into something we call life; seized through all its atoms with a pediculous malady; swelling in tumours that become independent, sometimes even (by an abhorrent prodigy) locomotory; one splitting into millions, millions cohering into one, as the malady proceeds through varying stages. This vital putrescence of the dust, used as we are to it, yet strikes us with occasional disgust, and the profusion of worms in a piece of ancient turf, or the air of a marsh darkened with insects, will sometimes check our breathing so that we aspire for cleaner places. But none is clean: the moving sand is infected with lice; the pure spring, where it bursts out of the mountain, is a mere issue of worms; even in the hard rock the crystal is forming.

In two main shapes this eruption covers the countenance of the earth: the animal and the vegetable: one in some degree the inversion of the other: the second rooted to the spot; the first coming detached out of its natal mud, and scurrying abroad with the myriad feet of insects, or towering into the heavens on the wings of birds, — a thing so incomprehensible that, if it be well considered, the heart stops. To what passes with the anchored vermin, we have little clue: doubtless they have their joys and sorrows, their delights and killing agonies, — it appears not how. But of the locomotory, to which we ourselves

belong, we can tell more. These share with us a thousand miracles: the miracles of sight, of hearing, of the projection of sound, things that bridge space; the miracles of memory and reason, by which the present is conceived, and when it is gone its image kept living in the brains of man and brute; the miracle of reproduction, with its imperious desires and staggering consequences. And to put the last touch upon this mountain mass of the revolting and the inconceivable, all these prey upon each other, lives tearing other lives in pieces, cramming them inside themselves, and by that summary process growing fat: the vegetarian, the whale, perhaps the tree, not less than the lion of the desert,—for the vegetarian is only the eater of the dumb. Meanwhile our rotatory island loaded with predatory life, and more drenched with blood, both animal and vegetable, than ever mutinied ship, scuds through space with unimaginable speed, and turns alternate cheeks to the reverberation of a blazing world ninety million miles away.

What a monstrous spectre is this man, the disease of the agglutinated dust, lifting alternate feet or lying drugged with slumber; killing, feeding, growing, bringing forth small copies of himself; grown upon with hair like grass, fitted with eyes that move and glitter in his face; a thing to set children screaming; and yet looked at nearlier, known as his fellows know him, how surprising are his attributes! Poor soul, here for so little, cast among so many hardships, filled with desires so incommensurate and so inconsistent, savagely surrounded, savagely descended, irremediably condemned to prey upon his fellow lives: who should have blamed him had he been of a piece with his destiny and a being merely barbarous? And we look and behold him instead filled with imperfect virtues: infinitely childish, often admirably valiant, often touchingly kind; sitting down, amidst his momentary life, to debate of right and wrong and the attributes of the deity; rising up to do battle for an egg or die for an idea; singling out his friends and his mate with cordial affection; bringing forth in pain, rearing with long-suffering solicitude, his young. To touch the heart of his mystery, we find in him one thought, strange to the point of lunacy: the thought of duty; the thought of something