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"Mist' Steerin's, Miss Sally."

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Now, this is one of the natural appetites with which any lively literature has to count. The desire for knowledge, I had almost added the desire for meat, is not more deeply seated than this demand for fit and striking incident. The dullest of clowns tells, or tries to tell, himself a story, as the feeblest of children uses invention in his play; and even as the imaginative grown person, joining in the game, at once enriches it with many delightful circumstances, the great creative writer shows us the realisation and the apotheosis of the day-dreams of common men. His stories may be nourished with the realities of life, but their true mark is to satisfy the nameless longings of the reader, and to obey the ideal laws of the day-dream. The right kind of thing should fall out in the right kind of place; the right kind of thing should follow; and not only the characters talk aptly and think naturally, but all the circumstances in a tale answer one to another like notes in music. The threads of a story come from time to time together and make a picture in the web; the characters fall from time to time into some attitude to each other or to nature, which stamps the story home like an illustration. Crusoe recoiling from the footprint, Achilles shouting over against the Trojans, Ulysses bending the great bow, Christian running with his fingers in his ears, these are each culminating moments in the legend, and each has been printed on the mind’s eye for ever. Other things we may forget; we may forget the words, although they are beautiful; we may forget the author’s comment, although perhaps it was ingenious and true; but these epoch-making scenes, which put the last mark of truth upon a story and fill up, at one blow, our capacity for sympathetic pleasure, we so adopt into the very bosom of our mind that neither time nor tide can efface or weaken the impression. This, then, is the plastic part of literature: to embody character, thought, or emotion in some act or attitude that shall be remarkably striking to the mind’s eye. This is the highest and hardest thing to do in words; the thing which, once accomplished, equally delights the schoolboy and the sage, and makes, in its own right, the quality of epics. Compared with this, all other purposes in literature, except the purely lyrical or the purely philosophic, are bastard in nature, facile of execution, and feeble in result. It is one thing to write about the inn at Burford, or to describe scenery with the word-painters; it is quite another to seize on the heart of the suggestion and make a country famous with a legend. It is one thing to remark and to dissect, with the most cutting logic, the complications of life, and of the human spirit; it is quite another to give them body and blood in the story of Ajax or of Hamlet. The first is literature, but the second is something besides, for it is likewise art.

"Where's your wound?"

She looked after him, slowly replacing the bonnet on her head.

Chapter 12

I’ll tell you another story about fear. I’ve heard of women whoare afraid of mice. And I’ve personally known women and men whoare afraid of dogs. But this woman was afraid of cats. I’m not talkingabout a wild cat—just common, ordinary household cats. Now therewere cats in her neighborhood.All of her friends had cats. Every timeshe encountered a cat she screamed, she ran, she became hysterical.

There is a buzz of admiration about the tables. Aimee herself is in a dream of happiness; for she has alarms but no jealousies, and the glory of her lover is her glory.

“And,” I finished, “I hadn’t the faintest recollection of doing it. My mind was blank on the matter.”

It was as he expected. The bed, the room also, was empty. And what was stranger, even to his heavy intelligence, on the bedroom chair and along the rail of the bed were scattered the garments, the only garments so far as he knew, and the bandages of their guest. His big slouch hat even was cocked jauntily over the bed-post.

'I have been privileged,' said Psmith, 'to hear Comrade Bickersdyke speak both in his sanctum and in public. He has, as you suggest, a ready flow of speech. What, exactly was the cause of the turmoil?'

1.

2.He looked back into the deep vista of his past. The historical and prehistorical ages of humanity crowded his t memory. As a man may peer back into his youth, and even into the mists of his infancy, so the spirit of Man reviewed his life. Every phase of his whole past lay open to him. And at the earliest point of all he saw the first of his remembered ages knotted into the dark womb of his subhuman ancestry. Out of that darkness he had sprung to life as a certain individual fully human infant, a male child, the first true human being, offspring of subhuman parents. By whatever mutation of genes he had been created, there he was, the I. one bright individuality in a certain almost human but still subhuman family, the one twinkling star of half-lucidity in the dark world of the subhuman. And he himself was in appearance scarcely distinguishable from his subhuman kin. Only in his half-lucid spirit was he man.

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