English novelist (1879-1970)
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Man, the flower of all flesh, the noblest of all creatures visible, man who had once made god in his image, and had mirrored his strength on the constellations, beautiful naked man was dying, strangled in the garments that he had woven. Century after century had he toiled, and here was his reward. Truly the garment had seemed heavenly at first, shot with colours of culture, sewn with the threads of self-denial. And heavenly it had been so long as man could shed it at will and live by the essence that is his soul, and the essence, equally divine, that is his body.
I realize that all society rests upon force. But all the great creative actions, all the decent human relations, occur during the intervals when force has not managed to come to the front. These intervals are what matter. I want them to be as frequent and as lengthy as possible, and I call them "civilization". Some people idealize force and pull it into the foreground and worship it, instead of keeping it in the background as long as possible. I think they make a mistake, and I think that their opposites, the mystics, err even more when they declare that force does not exist. I believe that it exists, and that one of our jobs is to prevent it from getting out of its box. It gets out sooner or later, and then it destroys us and all the lovely things which we have made. But it is not out all the time, for the fortunate reason that the strong are so stupid.
If escapes the oblivion he so much dreaded, it will be neither as doctor nor as mathematician, but because, at the end of his life, he wrote a little book about himself, and wrote it in the right way. He had always been interested in the subject; and fragments of autobiography occur in most of his works. Now he gives it undivided attention, and endeavours, through fifty-four chapters, to describe his character, constitution, and fortunes. He might have been to us merely a person of some importance in his time—a funny old man who pottered about, four centuries ago, besides the springs of science. Hitherto his egotism has rescued him. He is so supremely interesting to himself, that he cannot but interest others; and his little book ranks among the great autobiographies of the world.
"How can the mind take hold of such a country? Generations of invaders have tried, but they remain in exile. The important towns they build are only retreats, their quarrels the malaise of men who cannot find their way home. India knows of their trouble. She knows of the whole world's trouble, to its uttermost depth. She calls "Come" through her hundred mouths, through objects ridiculous and august. But come to what? She has never defined. She is not a promise, only an appeal."
It so happened that Lucy, who found daily life rather chaotic, entered a more solid world when she opened the piano. She was then no longer either deferential or patronizing; no longer either a rebel or a slave. The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marvelling how he has escaped us, and thinking how we could worship him and love him, would he but translate his visions into human words, and his experiences into human actions. Perhaps he cannot; certainly he does not, or does so very seldom. Lucy had done so never.
She had come to that state where the horror of the universe and its smallness are both visible at the same time — the twilight of the double vision in which so many elderly people are involved. If this world is not to our taste, well, at all events, there is Heaven, Hell, Annihilation — one or other of those large things, that huge scenic background of stars, fires, blue or black air. All heroic endeavour, and all that is known as art, assumes that there is such a background, just as all practical endeavour, when the world is to our taste, assumes that the world is all. But in the twilight of the double vision, a spiritual muddledom is set up for which no high-sounding words can be found; we can neither act nor refrain from action, we can neither ignore nor respect Infinity.
They described the strange feeling of peace that came over them when they handled the Book of the Machine, the pleasure that it was to repeat certain numerals out of it, however little meaning those numerals conveyed to the outward ear, the ecstasy of touching a button, however unimportant, or of ringing an electric bell, however superfluously.
"But the poetry of that kiss, the wonder of it, the magic that there was in life for hours after it — who can describe that? It is so easy for an Englishman to sneer at these chance collisions of human beings. To the insular cynic and the insular moralist they offer an equal opportunity. It is so easy to talk of "passing emotion," and how to forget how vivid the emotion was ere it passed. Our impulse to sneer, to forget, is at root a good one. We recognize that emotion is not enough, and that men and women are personalities capable of sustained relations, not mere opportunities for an electrical discharge. Yet we rate the impulse too highly. We do not admit that by collisions of this trivial sort the doors of heaven may be shaken open."