CHAPTER XVII
THE AUTHOR"S WORKS SUMMARIZED
A Boy"s Conservatism--Poetic Ambitions--The Philosophy of Religious Belief--The Philosophy of Industrial Conservatism--Intellectual Torpor of Conservatives--Final Treatises and Fiction.
I began these memoirs with observing that they are in part a mere series of sketches and social anecdotes strung on the thread of the writer"s own experiences, and as such ill.u.s.trating the tenor of his social and mental life, but that in part they are ill.u.s.trative in a wider sense than this. His literary activities may be looked on as exemplifying the moral and social reactions of a large number of persons, to the great changes and movements in thought and in social politics by which the aspect of the world has been affected, both for them and him, from the middle years of the reign of Queen Victoria onward. Regarding myself, then, as more or less of a type, and reviewing my own activities as circ.u.mstances have called them into play and as these memoirs record them, I may briefly redescribe them, and indicate their sequence thus.
Having been born and brought up in an atmosphere of strict Conservative tradition--conservative in a religious and social sense alike--I had unconsciously a.s.sumed in effect, if not in so many words, that any revolt or protest against the established order was indeed an impertinence, but was otherwise of no great import. Accordingly, my temperament being that of an instinctive poet, the object of my earliest ambitions was to effect within a very limited circle (for the idea of popular literature never entered my head) a radical change in the poetic taste of England, and restore it to what it had been in the cla.s.sical age of Pope. But, as I left childhood behind me and approached maturer youth I gradually came to realize that the whole order of things--literary, religious, and social--which the cla.s.sical poetry a.s.sumed, and which I had previously taken as impregnable, was being a.s.sailed by forces which it was impossible any longer to ignore. Threats of social change, indeed, in any radical sense continued for a long time to affect me merely as vague noises in the street, which would now and again interrupt polite conversation, and presently die away, having seriously altered nothing; but the attack on orthodox religion seemed to me much more menacing, and was rarely absent from the sphere of my adolescent thought. The attacking parties I still looked on as ludicrous, but I began to fear them as formidable; and they were for me rendered more formidable still by the very unfortunate fact that the defenders of orthodoxy seemed to me, in respect of their tactics, to be hardly less ludicrous than their opponents. The only way in which the former could successfully make good their defense was--such was my conclusion--by appeal to common experience: by showing how supernatural religion was implicit in all civilized life, and how grotesque and tragic would be the ruin in which such life would collapse if supernatural faith were eliminated.
Such, as I have explained already, was the moral of my four early books, _The New Republic_, _The New Paul and Virginia_, _Is Life Worth Living?_ and _A Romance of the Nineteenth Century_. All these attempts at attacking modern atheistic philosophy were based on a demonstration of its results, and appealed not so much to pure religious emotion as to the intellect, a sense of humor, and what is called a knowledge of the world.
The writing of these works, the first of which I had begun while I was still an undergraduate, occupied about six or seven years. Meanwhile, side by side with the preaching of atheism in religion and morals, a growth had become apparent in the preaching of extreme democracy or Socialist Radicalism in politics, a preaching of which Bright was in this country the precursor, and which first came to a head between the years 1880 and 1900, in the writings of Henry George and the English followers of Marx. What I looked on as the fallacies of these new political gospels seemed to me no less dangerous, and also no less absurd, than those which I had previously attacked in the gospel of atheistic philosophy, and my attention being forcibly diverted from religious problems to social, I devoted myself to the writing of my first political work, _Social Equality_ (published 1882), in which all questions of religion were for the moment set aside. In my novel _The Old Order Changes_, published four or five years later, the religious problem and the social problem are united, and an attempt is made to suggest the general terms on which the ideals of a true Conservatism may be harmonized with those of an enlightened Socialism. As a result of my political writings, I was asked, and with certain reservations I consented, to become a candidate for a Scotch const.i.tuency.
Between the years 1890 and 1895 I turned again to social politics pure and simple in two books, the first of which was _Labor and the Popular Welfare_, the second being _Aristocracy and Evolution_.
My dealings with social politics being for the time exhausted, I devoted about five years--1895 to 1900--to the composition of three novels, _A Human Doc.u.ment_, _The Heart of Life_, and _The Individualist_, which were studies of the relation of religion to the pa.s.sions, feelings, and foibles of which for most men the experiences of life consist.
Between the years 1900 and 1907 I published four works on the relation of religious dogmas to philosophy and scientific knowledge--namely, _Doctrine and Doctrinal Disruption_--this volume relating to the Anglican controversies of the time--_Religion as a Credible Doctrine_, _The Veil of the Temple_, and _The Reconstruction of Belief_, to which may be added a novel called _An Immortal Soul_.[4]
As a result of the attention excited by these or by certain of these books, I was in the year 1907 invited to visit America and deliver a series of addresses on the Socialist propaganda of the day. These addresses were presently rewritten and published in a volume called _A Critical Examination of Socialism_.
Between that time and the outbreak of the recent war I played an active part, together with other persons, in devising and setting on foot certain schemes of anti-Socialist propaganda in this country. Most of my own efforts I devoted to the collection and promulgation of sound social statistics, especially those relating to the current distribution of wealth, and I may here mention, without even suggesting a name, that I discussed the importance of such statistics with a leading Conservative statesman, who, expressing his sympathy with my views, added at the same time that, so far as the const.i.tution of his own mind was concerned, they were not temperamentally his own. "To me," he said, "columns of figures are merely so many clouds." I answered, "That may be; but they are clouds which, when taken together, make not clouds, but lightning."
Anyhow, by the outbreak of war these schemes were suspended, and changed conditions may now make methods other than those which seemed then appropriate necessary. But, as for myself, the first four years of war-time I devoted entirely to the production of a new volume, _The Limits of Pure Democracy_, of which a French translation is being issued, and which may, I hope, prove useful to sober conservatives of more than one school and country, as it aims at establishing a formula acceptable, so far as it goes, to persons who are at present adversaries.
In addition to the works here mentioned, two volumes have been published of _Collected Essays_, on which certain of the works just mentioned are based. I have further published, besides my little book on Cyprus, two short volumes of verse, and a poem of which I shall speak presently, called _Lucretius on Life and Death_. All these works indicate, if taken together, the nature of the fallacies--intellectual, religious, and social--which have in succession provoked them, which have not yet exhausted themselves, and which it has been the ambition of the writer to discredit or modify.
Such have been the activities which, devoted to a continuous and developing purpose, have thus far occupied a writer whose life has been spent in alternations of solitude and the life of society. The latter, so far as he is concerned, resembles that of many other persons to whom society is naturally agreeable and have had the opportunity of enjoying it. It is a life which for him has remained substantially the same from his early youth onward, except for the fact that with time his social experiences have widened, that they have been varied by travels more or less extensive, and that they might have been varied also by the vicissitudes of political publicity had not his disposition inclined him, having had some taste of both, to the methods of literature rather than to those of the party platform.
Which method is the best for one who, inspired by tenacious and interconnected convictions, desires to make these prevail is a question which different people will answer in different ways. But let us make one supposition. Let us suppose that a person, such, for instance, as myself, who has dealt with ideas and principles in his opinion fallacious (notably those connected with the current claims of Labor), should have so succeeded in influencing the thoughts and the temper of his contemporaries that the modern strife between employers and employed should be pacified, and arrangements by sober discussion should render all strikes needless. n.o.body would deny that a person who had brought about this result had performed what would be, in the strictest sense, an action--an action of the most practical and signally important kind, and it would be no less practical if accomplished by means of literature than it would be if accomplished by the ingenuity of cabinets or select committees. Such being the case, then, the reflection will here suggest itself that literature and action are by many critics of life constantly spoken of as though they were contrasted or ant.i.thetic things. It will not be inappropriate here, as a conclusion to these memoirs, to consider how far, or in what sense, this contrast is valid.
[4] This work, later in date than the preceding, deals with the religious difficulties arising from the phenomena of multiple personality, a subject which was then being widely discussed in England, on the Continent, and in America.
CHAPTER XVIII
LITERATURE AND ACTION
Literature as Speech Made Permanent--All Written Speech Not Literature--The Essence of Literature for Its Own Sake--Prose as a Fine Art--Some Interesting Aspects of Literature as an End in Itself--Their Comparative Triviality--No Literature Great Which Is Not More Than Literature--Literature as a Vehicle of Religion--Lucretius--_The Reconstruction of Belief_.
If we go back to the beginning of things, literature, needless to say, is a development of ordinary speech. It is speech which has been made permanent, partly, indeed, by oral tradition, but mainly by the art of writing. Without speech no human co-operation, other than the rudest, would be possible. Some men at least must speak so as to organize the tasks of others, and the latter must understand speech so as to do what the former bid them. When the Deity determined to confound the builders of Babel, or, in other words, to render co-operative work impossible, he did not cut off their hands, but he virtually took speech away from them, by rendering the language of each unintelligible to all the rest.
Moreover, in the case of tasks the nature of which is highly complex, it is necessary not only that the organizers should make use of speech, but also that what they speak should systematically be written down. The writing down, indeed, is often the most important part of the matter, as in the case of an Act of Parliament or of the delicate and elaborate formulae on which depends the production of chemicals or of great ships.
If written speech, then, of kinds such as these is literature, literature is obviously not ant.i.thetic to action, but is, on the contrary, action in one of its most important forms. To state the case thus, however, is stating no more than half of it. As a matter of fact, laws and chemical formulae, however carefully written, are not what is meant by literature in the common sense of the word. Though the writing down of speech may in such cases be a form of action, it does not follow that all such written speech is literature. Let us compare the compositions of a child, whether in prose or verse, with a page out of the _Nautical Almanac_ or a manual of household medicine. The child"s compositions may intrinsically have no literary value, but they nevertheless represent genuine attempts at literature. A page from the _Nautical Almanac_ or the manual of household medicine may be, for certain purposes, of the highest value imaginable, but the test of literary beauty would be the last test we should apply to them.
What, then, is the primary difference between written words that _are_ literature and written words that are _not_? The primary difference relates to the objects at which severally the writers aim or the motive by which they are impelled to write. The child writes solely because literary composition is a pleasure to him, as for the sake of a similar pleasure another child takes to a piano. The astronomer and the doctor write to help men in navigating ships or mothers in dosing babies.
Between written language which is not literature and written language which _is_ the initial difference is this: that for the writers written language is, in the first case, something which it is not in the second.
In the first case, the writer"s concern with language, and the sole interest which written language has for him, are things which have no dependence on the merits of written language as such, except in so far as it is a means of accomplishing ulterior objects, with which otherwise the mere merits of language have nothing at all to do. Sound injunctions to a nurse, provided that their meaning was clear, would have far greater value in a hospital than mistaken injunctions written with a grace or majesty worthy of Plato or Tacitus. In the second case, writing is a feat the successful achievement of which is, for the writer, an object and a pleasure in itself; and how far success is achieved by him depends not alone on the pleasure which he derives from his own performances personally, but also, and we may say mainly, on the quant.i.ty of kindred pleasure which his writing communicates to his readers.
These observations become more and more true and pungent in proportion as language becomes a more complex instrument, its progress resembling the evolution of an organ from a shepherd"s pipe. As it thus progresses, its delicate possibilities of melody, metaphor, and subtle emphasis increase, and masters of the literary art enchant with ever new surprises mult.i.tudes who have no capacity for the literary art themselves. So far, then, as literature is in this sense literature for its own sake, the contrast between literature and action is, with certain exceptions, justified. Exceptions, however, to this rule exist, and these, briefly stated, are as follows. When a writer writes a book--let us say, for example, a novel--the object of which is to give pleasure, his primary object in writing it may be either to please himself or else to make money by ministering to the taste of others. The importance of this distinction has been clearly brought out by Tolstoy, who defines art, and literary art in particular, as a means by which the artist contrives to arouse in others emotions and interests which he has experienced in his own person. Such being the case, then, there are, says Tolstoy, many works which partake of the nature of literature, but which are not examples of true literary art. Such, according to him, are our modern detective novels, or any novels the interests of which depend on the solution of a mystery, the reason being that the writer is acquainted with the mystery at starting, and experiences himself no emotion whatever with regard to it. His sole object is to t.i.tillate an emotion in others which he does not himself share, and from which, indeed, he is, by the nature of the case, precluded. This is a criticism which might doubtless be pressed too far; but it is within limits fruitful, and, bearing it here in mind, we may say that literature, if we take it in its pure form and regard it as an end in itself, is language, as used to express the personal emotions or personal convictions of the writer, and is raised by him to such a pitch of beauty, of strength or of delicacy that it is a source of pleasure to large cla.s.ses of mankind apart from all thoughts of relationship, if any, to ulterior objects.
Thus pure literature, as legitimately contrasted with action, is a matter of great interest for a large number of people whom n.o.body would describe as literary or as persons of letters otherwise; and I may, therefore, say something of pure literature as estimated more particularly by myself.
Let me begin with prose, which, merely as a pleasurable art, instinct has urged me, from my earliest days, to cultivate. Of what good prose is I have always had clear notions; and, whether I have been successful in my efforts to achieve it or not, my personal experience of the process may not be without some interest. My own experience is that the composition of good prose--prose that seems good to myself--is a process which requires a very great deal of leisure. True excellence in prose, so I have always felt, involves many subtle qualities which are appreciable by the reader through their final effects alone, which leave no trace of the efforts spent in producing them, but which without such effort could rarely be produced at all.
As examples of these qualities I may mention a melody not too often resonant, which captivates the reader"s attention, and is always producing a mood in him conducive to a favorable reception of what the writer is anxious to convey. Next to such melody I should put a logical adaptation of stress, or of emphasis in the construction of sentences, which corresponds in detail to the movements of the reader"s mind--a halt in the words occurring where the mind halts, a new rapidity in the words when the mind, satisfied thus far, is prepared to resume its progress. To these qualities, as essential to perfection in prose, I might easily add others; but these are so complex and comprehensive that they practically imply the rest.
With regard, then, to these essentials, the practice which I have had to adopt in my own efforts to produce them has been more or less as follows. The general substance of what I proposed to say I have written out first in the loosest language possible, without any regard to melody, to accuracy, or even to correct grammar. I have then rewritten this matter, with a view, not to any verbal improvement, but merely to the rearrangement of ideas, descriptions, or arguments, so that this may accord with the sequence of questions, expectations, or emotions which are likely, by a natural logic, to arise in the reader"s mind--nothing being said too soon, nothing being said too late, and nothing (except for the sake of deliberate emphasis) being said twice over. The different paragraphs would now be like so many stone blocks which had been placed in their proper positions so as to form a polylithic frieze, but each of which still remained to be carved, as though by a sculptor or lapidary, so as to be part of a continuous pattern or a series of connected figures. My next task would be to work at them one by one, till each was sculptured into an image of my own minute intentions. The task of thus carving each and fitting it to its next-door neighbors has always been, merely for its own sake, exceedingly fascinating to myself, but it has generally been long and slow. Most of my own books, when their general substance had been roughly got into order by means of several tentative versions, were, paragraph by paragraph, written again five or six times more, the corrections each time growing more and more minute, and finally the clauses and wording of each individual sentence were transposed, or rebalanced or reworded, whenever such processes should be necessary, in order to capture some nuance of meaning which had previously eluded me as a bird eludes a fowler.
As an example of this process I may mention a single sentence which occurs in my little book on Cyprus. It is a sentence belonging to a description of certain morning scenes--of dewy plains, with peasants moving across them, and here and there a smoke wreath arising from burning weeds. The effect of these scenes in some poignant way was primitive, and I was able at once to reproduce it by saying that the peasants were moving like figures out of the Book of Genesis. I felt, however, that this effect was not produced by the groups of peasants only. I felt that somehow--I could not at first tell how--some part in producing it was played by the smoke wreaths also. At last I managed to capture the suggestion, at first subconscious only, which had so far been eluding me. I finished my original description by adding the following words, "The smoke-wreaths were going up like the smoke of the first sacrifice."
It may be objected that prose built up in this elaborate way loses as much as it gains, because it is bound to lose the charm and the convincing force of spontaneity. This may be so in some cases, but it is not so in all. I have found myself that, so far as my own works are concerned, the pa.s.sages which are easiest to read are precisely those which it has been most laborious to write. And for this, it seems to me, there is a very intelligible reason. Half of the interests and emotions which make up the substance of life are more or less subconscious, and are, for most men, difficult to identify. One of the functions of pure literature is to make the subconscious reveal itself. It is to make men know what they _are_, in addition to what spontaneously they _feel_ themselves to be, but feel only, without clear comprehension of it. As soon as a writer, at the cost of whatever labor, manages to make these spontaneities, otherwise subconscious, intelligible, the spontaneity of the processes described by him adds itself at last to his description.
A signal example of this fact may be found, not in prose, but in love poems. Most people can fall in love. It takes no trouble to do so, whatever trouble it may bring them. If any human processes are spontaneous, falling in love is one of them. Most lovers feel more than they know until great love poetry explains it to them what they are; but great love poems are great, not because they are composed spontaneously, but because they express spontaneities which are essentially external to themselves. In other words, the achievement of perfection, whether in prose or poetry, is comparable to the task of a piano tuner, who may spend a whole morning in tightening or relaxing the strings, but who knows at once, when he gets them, the minutely precise tones which the laws of music demand.
Whether every reader will agree with me as to these questions or not, they are, at all events, examples of questions purely literary, which are in themselves captivating for large numbers of people, without any reference to ulterior, or what are called practical, objects. To these questions I may add a few others, which have been specially captivating to myself.
One of them is the use of metaphor as an immemorial literary device, especially in the case of poetry. What is the psychology of metaphor?
Let us take an instance from Tennyson, who in one of his poems speaks, with very vivid effect, of Mediterranean bays as colored like "the peac.o.c.k"s neck." The color of the bay is at once made present to the reader"s mind. But why? A discussion of this question occurs in a dialogue between two of the characters in my novel _The Old Order Changes_. The poet, urges one of them, might, if describing a peac.o.c.k, have said with equal effect that the peac.o.c.k"s neck was colored like a Mediterranean bay. How is it that we gain anything by comparing one equally familiar thing to another? The secret of the use of metaphor in the poet"s art is, says the speaker, this. When the mind is at rest its surface is alive with vivid images which have settled on it like sea birds on a rock, but the moment any one of these detects an approach on our part, in order that we may examine it carefully, its wings are spread, and in a flash it is gone. When, however, we use a simile in order to describe something which is obviously our main concern (say the color of a Mediterranean bay), the thing which we are anxious to describe acts as a kind of stalking-horse, which enables us to approach and capture the thing which we use as an ill.u.s.tration (say the neck of a peac.o.c.k) before the peac.o.c.k so much as suspects our neighborhood. We have it alive before us, with all its feathers glittering, and these throw a new light on objects which our direct touch might have frightened away beyond the confines of our field of vision. The more vivid of the two objects communicates its color to the less vivid.
Two other purely literary questions are discussed in _The Veil of the Temple_, the first of these being as follows. One of the speakers calls attention to a criticism which is often and justly made with reference to many, and even to the best of novels, that, while the minor characters are drawn with the utmost skill, the heroes (such as most of Scott"s) have often no characters at all. The reason, he says, is that, in most cases, the hero is not so much an individual, with characteristics peculiar to himself, as a certain point of view, from which all the other characters and incidents of the story are drawn. Or else, if some of these are, as very often happens, not drawn from the point of view of the hero, they are drawn from the point of view of some other ideal spectator, on whose position, moral or local, the whole perspective of the story, mental or ocular, depends. Let us take, for example, a typical opening scene of a kind proverbially frequent in the novels of G. P. R. James. Such scenes were proverbially described very much as follows: "To the right lay a gray wall, which formed, to all appearance, the boundary of some great sheep tract. To the left was a wood of larches. Between these was a road, showing so few signs of use that it might have been a relic of some almost forgotten world.
Proceeding along this road on a late October evening might have been seen three hors.e.m.e.n, of imperfectly distinguishable, yet vaguely sinister, aspect." In the absence of an ideal spectator, who is tacitly identified with the novelist, his hero, or his reader, such a description would mean very little more than nothing. There would be no left or right unless for a supposed spectator standing in a particular place and looking in a particular direction. The aspect of the hors.e.m.e.n could not be sinister or indistinguishable unless there were an a.s.sumed man whose eyes were unable to distinguish it.
The argument here in question will carry us on to certain kindred problems, connected likewise with the novelist"s art, which are these: The necessary a.s.sumption of the author as ideal spectator being given, a question arises with regard to the range of vision which, in his capacity of spectator, the novelist professes to possess. Many novelists mar the effect of their work--and among these Thackeray is notable--by adopting an att.i.tude which in this respect is constantly vacillating.
Sometimes it is one of omniscience, sometimes of blind perplexity. At one time he describes the inmost thoughts of his characters which are suffered or pursued in secret, as though he could see through everything. At another time he will startle the reader with some such question as this: "Who shall dare to say--I certainly cannot--what at that solemn moment the lad"s real reflections were?" A partial escape from the sense of unreality which alternations like these produce is to be found in the method which many novelists have adopted--namely, that of dividing the story into so many separate parts, these being told in succession by so many different characters, each recording events as wholly seen from the point of his own unchanged perspective. Such is the method adopted by Wilkie Collins in _The Woman in White_, for example.
The danger of this artifice is that it tends to be too apparent. The most logically complete escape from the difficulties which we are here glancing at is to be found, no doubt, in the method of autobiography in a single and undivided form; unless indeed the a.s.sumption of absolute omniscience on the author"s part can be used with a rigid consistency which it very rarely exhibits.
Another question of a purely literary kind, reflection on which is to me, at least, pleasurable (though many persons of literary taste may, perhaps, regard it as a bore), is the relation of modern prosody to ancient, and more particularly to Latin. It has always seemed to me that the lengthening and shortening of syllables according to their position, as happens in cla.s.sical Latin, with regard to the syllables that follow them, must always have corresponded with the stresses or absence of stress which would naturally be made apparent by the voice of an ideal reciter; and to me, as to some other people, the question has proved amusing of how far in English verse Latin prosody could be reproduced.
Many attempts have been made at deciding this question by experiments.
The most remarkable of these are two which were made by Tennyson. One of them, called "Hendecasyllabics," is little more than a trick played with extreme skill, and in no serious sense does it merit the name of poetry.
The other, "An Ode to Milton," is no less charming as a poem than as a conquest over technical difficulties. Let us take the first stanza:
Oh, mighty-mouthed inventor of harmonies, Oh, skilled to sing of time and eternity, G.o.d-gifted organ voice of England, Milton a name to resound for ages.
Here the stresses which the meaning of the English verse demands fall exclusively on syllables which would, according to Latin prosody, be long; but there are one or two syllables which in Latin verse would be long (such as "of" in the second line) which invite no stress in the English--which do not, indeed, admit of it--and must for that reason be treated by an English reader as short. Aiming at greater completeness, but otherwise in a manner very much less ambitious, I attempted an experiment of a similar kind myself, consisting of a few hexameters, in which not only do the natural stresses fall, and fall exclusively, on syllables which in Latin would be long, but in which also every syllable would be emphasized by an English reciter with a natural stress corresponding to it. These hexameters were a metrical amplification of an advertis.e.m.e.nt which figures prominently in the carriages of the Tube Railway, proclaiming the charms of a suburb called Sudbury Town, and remarkable for its surrounding pine woods. The moment I read the words "Sudbury Town" I recognized in them the beginning of a hexameter cla.s.sically pure; and after many abortive attempts I worked out a sequel--a very short one--as follows:
Sudbury Town stands here. In an old-world region around it Tall, dark pines, like spires, with above them a murmur of umbrage, Guard for us all deep peace. Such peace may the weary suburbans Know not in even a dream. These, these will an omnibus always, Ev"n as they sink to a doze just earned by the toil of a daytime, Rouse, or a horse-drawn dray, too huge to be borne by an Atlas, Shakes all walls, all roofs, with a sound more loud than an earthquake.[5]
The moral of such experiments seems to me to be this: that even if ancient prosody, such as that of the Virgilian hexameter, could be naturalized completely in English, the emotional effect of the meter would in the two languages be different, and that Anglo-Latin hexameters would, with very rare exceptions, mean no more than successes in a graceful and very difficult game. It is indeed for that very reason that I mention this question here. It is a question of pure literature or of purely literary form. As such, it has proved fascinating to many highly cultivated persons; yet even by such persons themselves it will not be seriously regarded as much better than trivial. But this is not all.
From this consideration we are led on to another. If the problems of Anglo-Cla.s.sical prosody are trivial even for those who happen to find them entertaining, may not all literature, even the highest, when cultivated for its own sake only, be, from certain points of view, a triviality also?
According to differences of taste and temperament, different persons will answer this question differently. Since I am not entering here on any formal argument, but am merely recording my own individual views, I should, speaking for myself, answer this question in the affirmative. I may, indeed, confess that the mere artist in literature--the person for whom literature, as such, is the main interest in life--is a person for whom secretly I have always felt some contempt, even though, for myself personally, this magical triviality has been one of life"s chief seductions.