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肩書を与える: Alarms and Discursions Author: G.K. Chesterton * A 事業／計画（する） Gutenberg of Australia eBook * eBook No.: 1301161h.html Language: English Date first 地位，任命するd: 損なう 2013 Most 最近の update: 損なう 2013 This eBook was produced by: Roy Glashan 事業／計画（する） Gutenberg of Australia eBooks are created from printed 版s which are in the public domain in Australia, unless a copyright notice is 含むd. We do NOT keep any eBooks in 同意／服従 with a particular paper 版. Copyright 法律s are changing all over the world. Be sure to check the copyright 法律s for your country before downloading or redistributing this とじ込み／提出する. This eBook is made 利用できる at no cost and with almost no 制限s どれでも. You may copy it, give it away or re-use it under the 条件 of the 事業／計画（する） Gutenberg of Australia License which may be 見解（をとる）d online at http://gutenberg.逮捕する.au/licence.html To 接触する 事業／計画（する） Gutenberg of Australia go to http://gutenberg.逮捕する.au
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Alone at some distance from the wasting 塀で囲むs of a disused abbey I 設立する half sunken in the grass the grey and goggle-注目する，もくろむd visage of one of those graven monsters that made the ornamental water-spouts in the cathedrals of the Middle Ages. It lay there, scoured by 古代の rains or （土地などの）細長い一片d by 最近の fungus, but still looking like the 長，率いる of some 抱擁する dragon 殺害された by a primeval hero. And as I looked at it, I thought of the meaning of the grotesque, and passed into some 象徴的な reverie of the three 広大な／多数の／重要な 行う／開催する／段階s of art.
Once upon a time there lived upon an island a merry and innocent people, mostly shepherds and tillers of the earth. They were 共和国の／共和党のs, like all 原始の and simple souls; they talked over their 事件／事情／状勢s under a tree, and the nearest approach they had to a personal 支配者 was a sort of priest or white witch who said their 祈りs for them. They worshipped the sun, not idolatrously, but as the golden 栄冠を与える of the god whom all such 幼児s see almost as plainly as the sun.
Now this priest was told by his people to build a 広大な／多数の／重要な tower, pointing to the sky in salutation of the Sun-god; and he pondered long and ひどく before he 選ぶd his 構成要素s. For he was 解決するd to use nothing that was not almost as （疑いを）晴らす and exquisite as 日光 itself; he would use nothing that was not washed as white as the rain can wash the heavens, nothing that did not sparkle as spotlessly as that 栄冠を与える of God. He would have nothing grotesque or obscure; he would not have even anything emphatic or even anything mysterious. He would have all the arches as light as laughter and as candid as logic. He built the 寺 in three concentric 法廷，裁判所s, which were cooler and more exquisite in 実体 each than the other. For the outer 塀で囲む was a hedge of white lilies, 階級d so 厚い that a green stalk was hardly to be seen; and the 塀で囲む within that was of 水晶, which 粉砕するd the sun into a million 星／主役にするs. And the 塀で囲む within that, which was the tower itself, was a tower of pure water, 軍隊d up in an everlasting fountain; and upon the very tip and crest of that 泡，激怒することing spire was one big and 炎ing diamond, which the water 投げ上げる／ボディチェックするd up eternally and caught again as a child catches a ball.
"Now," said the priest, "I have made a tower which is a little worthy of the sun."
But about this time the island was caught in a 群れている of 著作権侵害者s; and the shepherds had to turn themselves into rude 軍人s and seamen; and at first they were utterly broken 負かす／撃墜する in 血 and shame; and the 著作権侵害者s might have taken the jewel flung up for ever from their sacred fount. And then, after years of horror and humiliation, they 伸び（る）d a little and began to 征服する／打ち勝つ because they did not mind 敗北・負かす. And the pride of the 著作権侵害者s went sick within them after a few 予期しない 失敗させる／負かすs; and at last the 侵略 rolled 支援する into the empty seas and the island was 配達するd. And for some 推論する／理由 after this men began to talk やめる 異なって about the 寺 and the sun. Some, indeed, said, "You must not touch the 寺; it is classical; it is perfect, since it 収容する／認めるs no imperfections." But the others answered, "In that it 異なるs from the sun, that 向こうずねs on the evil and the good and on mud and monsters everywhere. The 寺 is of the noon; it is made of white marble clouds and sapphire sky. But the sun is not always of the noon. The sun dies daily, every night he is crucified in 血 and 解雇する／砲火／射撃." Now the priest had taught and fought through all the war, and his hair had grown white, but his 注目する，もくろむs had grown young. And he said, "I was wrong and they are 権利. The sun, the symbol of our father, gives life to all those earthly things that are 十分な of ugliness and energy. All the exaggerations are 権利, if they 誇張する the 権利 thing. Let us point to heaven with tusks and horns and fins and trunks and tails so long as they all point to heaven. The ugly animals 賞賛する God as much as the beautiful. The frog's 注目する，もくろむs stand out of his 長，率いる because he is 星／主役にするing at heaven. The giraffe's neck is long because he is stretching に向かって heaven. The donkey has ears to hear—let him hear."
And under the new inspiration they planned a gorgeous cathedral in the Gothic manner, with all the animals of the earth はうing over it, and all the possible ugly things making up one ありふれた beauty, because they all 控訴，上告d to the god. The columns of the 寺 were carved like the necks of giraffes; the ドーム was like an ugly tortoise; and the highest pinnacle was a monkey standing on his 長，率いる with his tail pointing at the sun. And yet the whole was beautiful, because it was 解除するd up in one living and 宗教的な gesture as a man 解除するs his 手渡すs in 祈り.
But this 広大な／多数の／重要な 計画（する） was never 適切に 完全にするd. The people had brought up on 広大な／多数の／重要な wagons the 激しい tortoise roof and the 抱擁する necks of 石／投石する, and all the thousand and one oddities that made up that まとまり, the フクロウs and the efts and the crocodiles and the kangaroos, which hideous by themselves might have been magnificent if 後部d in one 限定された 割合 and 献身的な to the sun. For this was Gothic, this was romantic, this was Christian art; this was the whole 前進する of Shakespeare upon Sophocles. And that symbol which was to 栄冠を与える it all, the ape upside 負かす／撃墜する, was really Christian; for man is the ape upside 負かす／撃墜する.
But the rich, who had grown riotous in the long peace, 妨害するd the thing, and in some squabble a 石／投石する struck the priest on the 長，率いる and he lost his memory. He saw piled in 前線 of him frogs and elephants, monkeys and giraffes, toadstools and sharks, all the ugly things of the universe which he had collected to do honour to God. But he forgot why he had collected them. He could not remember the design or the 反対する. He piled them all wildly into one heap fifty feet high; and when he had done it all the rich and 影響力のある went into a passion of 賞賛 and cried, "This is real art! This is Realism! This is things as they really are!"
That, I fancy, is the only true origin of Realism. Realism is 簡単に Romanticism that has lost its 推論する／理由. This is so not 単に in the sense of insanity but of 自殺. It has lost its 推論する／理由; that is its 推論する／理由 for 存在するing. The old Greeks 召喚するd godlike things to worship their god. The 中世 Christians 召喚するd all things to worship theirs, dwarfs and pelicans, monkeys and madmen. The modern realists 召喚する all these million creatures to worship their god; and then have no god for them to worship. Paganism was in art a pure beauty; that was the 夜明け. Christianity was a beauty created by controlling a million monsters of ugliness; and that in my belief was the zenith and the noon. Modern art and science 事実上 mean having the million monsters and 存在 unable to 支配（する）／統制する them; and I will 投機・賭ける to call that the disruption and the decay. The finest lengths of the Elgin marbles consist splendid houses going to the 寺 of a virgin. Christianity, with its gargoyles and grotesques, really 量d to 説 this: that a donkey could go before all the horses of the world when it was really going to the 寺. Romance means a 宗教上の donkey going to the 寺. Realism means a lost donkey going nowhere.
The fragments of futile journalism or (n)艦隊／(a)素早いing impression which are here collected are very like the 難破させるs and riven 封鎖するs that were piled in a heap 一連の会議、交渉／完成する my imaginary priest of the sun. They are very like that grey and gaping 長，率いる of 石／投石する that I 設立する overgrown with the grass. Yet I will 投機・賭ける to make even of these trivial fragments the high 誇る that I am a medievalist and not a modern. That is, I really have a notion of why I have collected all the nonsensical things there are. I have not the patience nor perhaps the 建設的な 知能 to 明言する／公表する the connecting link between all these 大混乱／混沌とした papers. But it could be 明言する／公表するd. This 列／漕ぐ／騒動 of shapeless and ungainly monsters which I now 始める，決める before the reader does not consist of separate idols 削減（する） out capriciously in lonely valleys or さまざまな islands. These monsters are meant for the gargoyles of a 限定された cathedral. I have to carve the gargoyles, because I can carve nothing else; I leave to others the angels and the arches and the spires. But I am very sure of the style of the architecture, and of the consecration of the church.
Evert man, though he were born in the very belfry of 屈服する and spent his 幼少／幼藍期 climbing の中で chimneys, has waiting for him somewhere a country house which he has never seen; but which was built for him in the very 形態／調整 of his soul. It stands 根気よく waiting to be 設立する, 膝-深い in orchards of Kent or mirrored in pools of Lincoln; and when the man sees it he remembers it, though he has never seen it before. Even I have been 軍隊d to 自白する this at last, who am a Cockney, if ever there was one, a Cockney not only on 原則, but with savage pride. I have always 持続するd, やめる 本気で, that the Lord is not in the 勝利，勝つd or 雷鳴 of the waste, but if anywhere in the still small 発言する／表明する of (n)艦隊／(a)素早い Street. I 心から 持続する that Nature-worship is more morally dangerous than the most vulgar man-worship of the cities; since it can easily be perverted into the worship of an impersonal mystery, carelessness, or cruelty. Thoreau would have been a jollier fellow if he had 充てるd himself to a greengrocer instead of to greens. Swinburne would have been a better moralist if he had worshipped a fishmonger instead of worshipping the sea. I prefer the philosophy of bricks and 迫撃砲 to the philosophy of turnips. To call a man a turnip may be playful, but is seldom respectful. But when we wish to 支払う／賃金 emphatic honour to a man, to 賞賛する the firmness of his nature, the squareness of his 行為／行う, the strong humility with which he is interlocked with his equals in silent 相互の support, then we invoke the nobler Cockney metaphor, and call him a brick.
But, にもかかわらず all these theories, I have 降伏するd; I have struck my colours at sight; at a mere glimpse through the 開始 of a hedge. I shall come 負かす／撃墜する to living in the country, like any ありふれた 社会主義者 or Simple Lifer. I shall end my days in a village, in the character of the Village Idiot, and be a spectacle and a judgment to mankind. I have already learnt the rustic manner of leaning upon a gate; and I was thus gymnastically 占領するd at the moment when my 注目する，もくろむ caught the house that was made for me. It stood 井戸／弁護士席 支援する from the road, and was built of a good yellow brick; it was 狭くする for its 高さ, like the tower of some 国境 robber; and over the 前線 door was carved in large letters, "1908." That last burst of 誠実, that superb 軽蔑（する） of antiquarian 感情, 圧倒するd me finally. I の近くにd my 注目する，もくろむs in a 肉親，親類d of ecstasy. My friend (who was helping me to lean on the gate) asked me with some curiosity what I was doing.
"My dear fellow," I said, with emotion, "I am bidding 別れの（言葉，会） to forty-three hansom cabmen."
"井戸／弁護士席," he said, "I suppose they would think this 郡 rather outside the 半径."
"Oh, my friend," I cried brokenly, "how beautiful London is! Why do they only 令状 poetry about the country? I could turn every lyric cry into Cockney.
"'My heart leaps up when I behold
A sky-調印する in the sky,'
"as I 観察するd in a 容積／容量 which is too little read, 設立するd on the older English poets. You never saw my 'Golden 財務省 Regilded; or, The Classics Made Cockney'—it 含む／封じ込めるd some 罰金 lines.
"'O Wild West End, thou breath of London's 存在,'
"or the reminiscence of Keats, beginning
"'City of smuts and mellow fogfulness.';
"I have written many such lines on the beauty of London; yet I never realized that London was really beautiful till now. Do you ask me why? It is because I have left it for ever."
"If you will take my advice," said my friend, "you will 謙虚に endeavour not to be a fool. What is the sense of this mad modern notion that every literary man must live in the country, with the pigs and the donkeys and the squires? Chaucer and Spenser and Milton and Dryden lived in London; Shakespeare and Dr. Johnson （機の）カム to London because they had had やめる enough of the country. And as for trumpery topical 新聞記者／雑誌記者s like you, why, they would 削減（する） their throats in the country. You have 自白するd it yourself in your own last words. You hunger and かわき after the streets; you think London the finest place on the 惑星. And if by some 奇蹟 a Bayswater omnibus could come 負かす／撃墜する this green country 小道／航路 you would utter a yell of joy."
Then a light burst upon my brain, and I turned upon him with terrible sternness.
"Why, 哀れな aesthete," I said in a 発言する／表明する of 雷鳴, "that is the true country spirit! That is how the real rustic feels. The real rustic does utter a yell of joy at the sight of a Bayswater omnibus. The real rustic does think London the finest place on the 惑星. In the few moments that I have stood by this stile, I have grown rooted here like an 古代の tree; I have been here for ages. Petulant 郊外の, I am the real rustic. I believe that the streets of London are 覆うd with gold; and I mean to see it before I die."
The evening 微風 freshened の中で the little 投げ上げる／ボディチェックするing trees of that 小道／航路, and the purple evening clouds piled up and darkened behind my Country Seat, the house that belonged to me, making, by contrast, its yellow bricks gleam like gold. At last my friend said: "To 削減（する） it short, then, you mean that you will live in the country because you won't like it. What on earth will you do here; dig up the garden?"
"Dig!" I answered, in honourable 軽蔑（する）. "Dig! Do work at my Country Seat; no, thank you. When I find a Country Seat, I sit in it. And for your other 反対, you are やめる wrong. I do not dislike the country, but I like the town more. Therefore the art of happiness certainly 示唆するs that I should live in the country and think about the town. Modern nature-worship is all upside 負かす／撃墜する. Trees and fields せねばならない be the ordinary things; terraces and 寺s せねばならない be 驚くべき／特命の／臨時の. I am on the 味方する of the man who lives in the country and wants to go to London. I abominate and abjure the man who lives in London and wants to go to the country; I do it with all the more heartiness because I am that sort of man myself. We must learn to love London again, as rustics love it. Therefore (I 引用する again from the 広大な／多数の／重要な Cockney 見解／翻訳／版 of The Golden 財務省)—
"'Therefore, ye gas-麻薬を吸うs, ye asbestos stoves,
Forbode not any 厳しいing of our loves.
I have 放棄するd but your earthly sight,
To 持つ／拘留する you dear in a more distant way.
I'll love the 'buses 板材ing through the wet,
Even more than when I lightly tripped as they.
The grimy colour of the London clay
Is lovely yet,'
"because I have 設立する the house where I was really born; the tall and 静かな house from which I can see London afar off, as the 奇蹟 of man that it is."
A sunset of 巡査 and gold had just broken 負かす／撃墜する and gone to pieces in the west, and grey colours were はうing over everything in earth and heaven; also a 勝利，勝つd was growing, a 勝利，勝つd that laid a 冷淡な finger upon flesh and spirit. The bushes at the 支援する of my garden began to whisper like conspirators; and then to wave like wild 手渡すs in signal. I was trying to read by the last light that died on the lawn a long poem of the decadent period, a poem about the old gods of Babylon and Egypt, about their 炎ing and obscene 寺s, their cruel and colossal 直面するs.
"Or didst thou love the God of 飛行機で行くs who 疫病／悩ますd the Hebrews
and was splashed
With ワイン unto the waist, or Pasht who had green beryls for
her 注目する，もくろむs?"
I read this poem because I had to review it for the Daily News; still it was 本物の poetry of its 肉親，親類d. It really gave out an atmosphere, a fragrant and 窒息させるing smoke that seemed really to come from the Bondage of Egypt or the 重荷（を負わせる） of Tyre There is not much in ありふれた (thank God) between my garden with the grey-green English sky-line beyond it, and these mad 見通しs of painted palaces 抱擁する, headless idols and monstrous 孤独s of red or golden sand. にもかかわらず (as I 自白するd to myself) I can fancy in such a 嵐の twilight some such smell of death and 恐れる. The 廃虚d sunset really looks like one of their 廃虚d 寺s: a 粉々にするd heap of gold and green marble. A 黒人／ボイコット flapping thing detaches itself from one of the sombre trees and ぱたぱたするs to another. I know not if it is フクロウ or flittermouse; I could fancy it was a 黒人／ボイコット cherub, an infernal cherub of 不明瞭, not with the wings of a bird and the 長，率いる of a baby, but with the 長，率いる of a goblin and the wings of a bat. I think, if there were light enough, I could sit here and 令状 some very creditable creepy tale, about how I went up the crooked road beyond the church and met Something—say a dog, a dog with one 注目する，もくろむ. Then I should 会合，会う a horse, perhaps, a horse without a rider, the horse also would have one 注目する，もくろむ. Then the 残忍な silence would be broken; I should 会合，会う a man (need I say, a one-注目する，もくろむd man?) who would ask me the way to my own house. Or perhaps tell me that it was burnt to the ground. I could tell a very cosy little tale along some such lines. Or I might dream of climbing for ever the tall dark trees above me. They are so tall that I feel as if I should find at their 最高の，を越すs the nests of the angels; but in this mood they would be dark and dreadful angels; angels of death.
Only, you see, this mood is all bosh. I do not believe in it in the least. That one-注目する，もくろむd universe, with its one-注目する，もくろむd men and beasts, was only created with one 全世界の／万国共通の wink. At the 最高の，を越す of the 悲劇の trees I should not find the Angel's Nest. I should only find the 損なう's Nest; the dreamy and divine nest is not there. In the 損なう's Nest I shall discover that 薄暗い, enormous opalescent egg from which is hatched the Nightmare. For there is nothing so delightful as a nightmare—when you know it is a nightmare.
That is the 必須の. That is the 厳しい 条件 laid upon all artists touching this 高級な of 恐れる. The terror must be fundamentally frivolous. Sanity may play with insanity; but insanity must not be 許すd to play with sanity. Let such poets as the one I was reading in the garden, by all means, be 解放する／自由な to imagine what outrageous deities and violent landscapes they like. By all means let them wander 自由に まっただ中に their あへん pinnacles and 視野s. But these 抱擁する gods, these high cities, are toys; they must never for an instant be 許すd to be anything else. Man, a gigantic child, must play with Babylon and Nineveh, with Isis and with Ashtaroth. By all means let him dream of the Bondage of Egypt, so long as he is 解放する／自由な from it. By all means let him （問題を）取り上げる the 重荷（を負わせる） of Tyre, so long as he can take it lightly. But the old gods must be his dolls, not his idols. His central sanctities, his true 所有／入手s, should be Christian and simple. And just as a child would 心にいだく most a 木造の horse or a sword that is a mere cross of 支持を得ようと努めるd, so man, the 広大な／多数の／重要な child, must 心にいだく most the old plain things of poetry and piety; that horse of 支持を得ようと努めるd that was the epic end of Ilium, or that cross of 支持を得ようと努めるd that redeemed and 征服する／打ち勝つd the world.
In one of Stevenson's letters there is a characteristically humorous 発言／述べる about the appalling impression produced on him in childhood by the beasts with many 注目する，もくろむs in the 調書をとる／予約する of 発覚s: "If that was heaven, what in the 指名する of Davy Jones was hell like?" Now in sober truth there is a magnificent idea in these monsters of the Apocalypse. It is, I suppose, the idea that 存在s really more beautiful or more 全世界の／万国共通の than we are might appear to us frightful and even 混乱させるd. 特に they might seem to have senses at once more multiplex and more 星／主役にするing; an idea very imaginatively 掴むd in the multitude of 注目する，もくろむs. I like those monsters beneath the 王位 very much. But I like them beneath the 王位. It is when one of them goes wandering in 砂漠s and finds a 王位 for himself that evil 約束s begin, and there is (literally) the devil to 支払う／賃金—to 支払う／賃金 in dancing girls or human sacrifice. As long as those misshapen elemental 力／強力にするs are around the 王位, remember that the thing that they worship is the likeness of the 外見 of a man.
That is, I fancy, the true doctrine on the 支配する of Tales of Terror and such things, which unless a man of letters do 井戸／弁護士席 and truly believe, without 疑問 he will end by blowing his brains out or by 令状ing 不正に. Man, the central 中心存在 of the world must be upright and straight; around him all the trees and beasts and elements and devils may crook and curl like smoke if they choose. All really imaginative literature is only the contrast between the weird curves of Nature and the straightness of the soul. Man may behold what ugliness he likes if he is sure that he will not worship it; but there are some so weak that they will worship a thing only because it is ugly. These must be chained to the beautiful. It is not always wrong even to go, like Dante, to the brink of the lowest promontory and look 負かす／撃墜する at hell. It is when you look up at hell that a serious miscalculation has probably been made.
Therefore I see no wrong in riding with the Nightmare to-night; she whinnies to me from the 激しく揺するing tree-最高の，を越すs and the roaring 勝利，勝つd; I will catch her and ride her through the awful 空気／公表する. 支持を得ようと努めるd and 少しのd are alike tugging at the roots in the rising tempest, as if all wished to 飛行機で行く with us over the moon, like that wild amorous cow whose child was the Moon-Calf. We will rise to that mad infinite where there is neither up nor 負かす／撃墜する, the high topsy-turveydom of the heavens. I will answer the call of 大混乱 and old night. I will ride on the Nightmare; but she shall not ride on me.
My friend and I were walking in one of those wastes of pine- 支持を得ようと努めるd which make inland seas of 孤独 in every part of Western Europe; which have the true terror of a 砂漠, since they are uniform, and so one may lose one's way in them. Stiff, straight, and 類似の, stood up all around us the pines of the 支持を得ようと努めるd, like the pikes of a silent 反乱（を起こす）. There is a truth in talking of the variety of Nature; but I think that Nature often shows her 長，指導者 strangeness in her sameness. There is a weird rhythm in this very repetition; it is as if the earth were 解決するd to repeat a 選び出す／独身 形態／調整 until the 形態／調整 shall turn terrible.
Have you ever tried the 実験 of 説 some plain word, such as "dog," thirty times? By the thirtieth time it has become a word like "snark" or "pobble." It does not become tame, it becomes wild, by repetition. In the end a dog walks about as startling and undecipherable as Leviathan or Croquemitaine.
It may be that this explains the repetitions in Nature, it may be for this 推論する／理由 that there are so many million leaves and pebbles. Perhaps they are not repeated so that they may grow familiar. Perhaps they are repeated only in the hope that they may at last grow unfamiliar. Perhaps a man is not startled at the first cat he sees, but jumps into the 空気／公表する with surprise at the seventy-ninth cat. Perhaps he has to pass through thousands of pine trees before he finds the one that is really a pine tree. However this may be, there is something singularly thrilling, even something 緊急の and intolerant, about the endless forest repetitions; there is the hint of something like madness in that musical monotony of the pines.
I said something like this to my friend; and he answered with sardonic truth, "Ah, you wait till we come to a telegraph 地位，任命する."
My friend was 権利, as he occasionally is in our discussions, 特に upon points of fact. We had crossed the pine forest by one of its paths which happened to follow the wires of the 地方の telegraphy; and though the 政治家s occurred at long intervals they made a difference when they （機の）カム. The instant we （機の）カム to the straight 政治家 we could see that the pines were not really straight. It was like a hundred straight lines drawn with schoolboy pencils all brought to judgment suddenly by one straight line drawn with a 支配者. All the amateur lines seemed to reel to 権利 and left. A moment before I could have sworn they stood as straight as lances; now I could see them curve and waver everywhere, like scimitars and yataghans. Compared with the telegraph 地位，任命する the pines were crooked—and alive. That lonely vertical 棒 at once deformed and enfranchised the forest. It 絡まるd it all together and yet made it 解放する／自由な, like any grotesque undergrowth of oak or holly.
"Yes," said my 暗い／優うつな friend, answering my thoughts. "You don't know what a wicked shameful thing straightness is if you think these trees are straight. You never will know till your precious 知識人 civilization builds a forty-mile forest of telegraph 政治家s."
We had started walking from our 一時的な home later in the day than we ーするつもりであるd; and the long afternoon was already lengthening itself out into a yellow evening when we （機の）カム out of the forest on to the hills above a strange town or village, of which the lights had already begun to glitter in the darkening valley. The change had already happened which is the 実験（する） and 鮮明度／定義 of evening. I mean that while the sky seemed still as 有望な, the earth was growing blacker against it, 特に at the 辛勝する／優位s, the hills and the pine-最高の，を越すs. This brought out yet more 明確に the owlish secrecy of pine-支持を得ようと努めるd; and my friend cast a regretful ちらりと見ること at them as he （機の）カム out under the sky. Then he turned to the 見解（をとる） in 前線; and, as it happened, one of the telegraph 地位，任命するs stood up in 前線 of him in the last sunlight. It was no longer crossed and 軟化するd by the more delicate lines of pine 支持を得ようと努めるd; it stood up ugly, 独断的な, and angular as any 天然のまま 人物／姿／数字 in geometry. My friend stopped, pointing his stick at it, and all his anarchic philosophy 急ぐd to his lips.
"Demon," he said to me 簡潔に, "behold your work. That palace of proud trees behind us is what the world was before you civilized men, Christians or 民主主義者s or the 残り／休憩（する）, （機の）カム to make it dull with your dreary 支配するs of morals and equality. In the silent fight of that forest, tree fights speechless against tree, 支店 against 支店. And the upshot of that dumb 戦う／戦い is 不平等—and beauty. Now 解除する up your 注目する，もくろむs and look at equality and ugliness. See how 定期的に the white buttons are arranged on that 黒人／ボイコット stick, and defend your dogmas if you dare."
"Is that telegraph 地位，任命する so much a symbol of 僕主主義?" I asked. "I fancy that while three men have made the telegraph to get （株主への）配当s, about a thousand men have 保存するd the forest to 削減（する） 支持を得ようと努めるd. But if the telegraph 政治家 is hideous (as I 収容する／認める) it is not 予定 to doctrine but rather to 商業の anarchy. If any one had a doctrine about a telegraph 政治家 it might be carved in ivory and decked with gold. Modern things are ugly, because modern men are careless, not because they are careful."
"No," answered my friend with his 注目する，もくろむ on the end of a splendid and sprawling sunset, "there is something intrinsically deadening about the very idea of a doctrine. A straight line is always ugly. Beauty is always crooked. These rigid 地位，任命するs at 正規の／正選手 intervals are ugly because they are carrying across the world the real message of 僕主主義."
"At this moment," I answered, "they are probably carrying across the world the message, 'Buy Bulgarian Rails.' They are probably the 誘発する communication between some two of the wealthiest and wickedest of His children with whom God has ever had patience. No; these telegraph 政治家s are ugly and detestable, they are 残忍な and indecent. But their baseness lies in their privacy, not in their publicity. That 黒人／ボイコット stick with white buttons is not the 創造 of the soul of a multitude. It is the mad 創造 of the souls of two millionaires."
"At least you have to explain," answered my friend 厳粛に, "how it is that the hard democratic doctrine and the hard telegraphic 輪郭（を描く） have appeared together; you have... But bless my soul, we must be getting home. I had no idea it was so late. Let me see, I think this is our way through the 支持を得ようと努めるd. Come, let us both 悪口を言う／悪態 the telegraph 地位，任命する for 完全に different 推論する／理由s and get home before it is dark."
We did not get home before it was dark. For one 推論する／理由 or another we had underestimated the swiftness of twilight and the suddenness of night, 特に in the threading of 厚い 支持を得ようと努めるd. When my friend, after the first five minutes' march, had fallen over a スピードを出す／記録につける, and I, ten minutes after, had stuck nearly to the 膝s in 苦境に陥る, we began to have some 疑惑 of our direction. At last my friend said, in a low, husky 発言する／表明する:
"I'm afraid we're on the wrong path. It's pitch dark."
"I thought we went the 権利 way," I said, 試験的に.
"井戸／弁護士席," he said; and then, after a long pause, "I can't see any telegraph 政治家s. I've been looking for them."
"So have I," I said. "They're so straight."
We groped away for about two hours of 不明瞭 in the 厚い of the fringe of trees which seemed to dance 一連の会議、交渉／完成する us in derision. Here and there, however, it was possible to trace the 輪郭（を描く） of something just too 築く and rigid to be a pine tree. By these we finally felt our way home, arriving in a 冷淡な green twilight before 夜明け.
In a small grey town of 石／投石する in one of the 広大な／多数の／重要な Yorkshire dales, which is 十分な of history, I entered a hall and saw an old puppet-play 正確に／まさに as our fathers saw it five hundred years ago. It was admirably translated from the old German, and was the 初めの tale of Faust. The dolls were at once comic and 納得させるing; but if you cannot at once laugh at a thing and believe in it, you have no 商売／仕事 in the Middle Ages. Or in the world, for that 事柄.
The puppet-play in question belongs, I believe, to the fifteenth century; and indeed the whole legend of Dr. Faustus has the colour of that grotesque but somewhat 暗い／優うつな time. It is very unfortunate that we so often know a thing that is past only by its tail end. We remember yesterday only by its sunsets. There are many instances. One is Napoleon. We always think of him as a fat old despot, 判決，裁定 Europe with a ruthless 軍の machine. But that, as Lord Rosebery would say, was only "The Last 段階"; or at least the last but one. During the strongest and most startling part of his career, the time that made him immortal, Napoleon was a sort of boy, and not a bad sort of boy either, 弾丸-長，率いるd and ambitious, but honestly in love with a woman, and honestly enthusiastic for a 原因（となる）, the 原因（となる） of French 司法（官） and equality.
Another instance is the Middle Ages, which we also remember only by the odour of their ultimate decay. We think of the life of the Middle Ages as a dance of death, 十分な of devils and deadly sins, lepers and 燃やすing 異端者s. But this was not the life of the Middle Ages, but the death of the Middle Ages. It is the spirit of Louis XI and Richard III, not of Louis IX and Edward I.
This grim but not unwholesome fable of Dr. Faustus, with its rebuke to the mere arrogance of learning, is sound and stringent enough; but it is not a fair 見本 of the mediaeval soul at its happiest and sanest. The heart of the true Middle Ages might be 設立する far better, for instance, in the noble tale of Tannhauser, in which the dead staff broke into leaf and flower to rebuke the pontiff who had 宣言するd even one human 存在 beyond the strength of 悲しみ and 容赦.
But there were in the play two 広大な／多数の／重要な human ideas which the mediaeval mind never lost its 支配する on, through the heaviest nightmares of its 解散. They were the two 広大な／多数の／重要な jokes of mediaevalism, as they are the two eternal jokes of mankind. Wherever those two jokes 存在する there is a little health and hope; wherever they are absent, pride and insanity are 現在の. The first is the idea that the poor man せねばならない get the better of the rich man. The other is the idea that the husband is afraid of the wife.
I have heard that there is a place under the 膝 which, when struck, should produce a sort of jump; and that if you do not jump, you are mad. I am sure that there are some such places in the soul. When the human spirit does not jump with joy at either of those two old jokes, the human spirit must be struck with incurable paralysis. There is hope for people who have gone 負かす／撃墜する into the hells of greed and 経済的な 圧迫 (at least, I hope there is, for we are such a people ourselves), but there is no hope for a people that does not exult in the abstract idea of the 小作農民 得点する／非難する／２０ing off the prince. There is hope for the idle and the adulterous, for the men that 砂漠 their wives and the men that （警官の）巡回区域，受持ち区域 their wives. But there is no hope for men who do not 誇る that their wives いじめ（る） them.
The first idea, the idea about the man at the 底（に届く） coming out on 最高の，を越す, is 表明するd in this puppet-play in the person of Dr. Faustus' servant, Caspar. Sentimental old トンs, regretting the 封建的 times, いつかs complain that in these days Jack is as good as his master. But most of the actual tales of the 封建的 times turn on the idea that Jack is much better than his master, and certainly it is so in the 事例／患者 of Caspar and Faust. The play ends with the damnation of the learned and illustrious doctor, followed by a cheerful and animated dance by Caspar, who has been made watchman of the city.
But there was a much keener 一打／打撃 of mediaeval irony earlier in the play. The learned doctor has been ransacking all the libraries of the earth to find a 確かな rare 決まり文句／製法, now almost unknown, by which he can 支配（する）／統制する the infernal deities. At last he procures the one precious 容積／容量, opens it at the proper page, and leaves it on the （米）棚上げする／（英）提議する while he 捜し出すs some other part of his 魔法 器具／備品. The servant comes in, reads off the 決まり文句／製法, and すぐに becomes an emperor of the elemental spirits. He gives them a horrible time. He 召喚するs and 解任するs them alternately with the rapidity of a piston-棒 working at high 速度(を上げる）; he keeps them 飛行機で行くing between the doctor's house and their own more unmentionable 住居s till they faint with 激怒（する） and 疲労，（軍の）雑役. There is all the best of the Middle Ages in that; the idea of the 広大な／多数の／重要な levellers, luck and laughter; the idea of a sense of humour 反抗するing and 支配するing hell.
One of the best points in the play as 成し遂げるd in this Yorkshire town was that the servant Caspar was made to talk Yorkshire, instead of the German rustic dialect which he talked in the 初めの. That also smacks of the good 空気／公表する of that 時代. In those old pictures and poems they always made things living by making them 地元の. Thus, queerly enough, the one touch that was not in the old mediaeval 見解／翻訳／版 was the most mediaeval touch of all.
That other 古代の and Christian jest, that a wife is a 宗教上の terror, occurs in the last scene, where the doctor (who wears a fur coat throughout, to make him seem more offensively rich and 精製するd) is 試みる／企てるing to escape from the avenging demons, and 会合，会うs his old servant in the street. The servant obligingly points out a house with a blue door, and 堅固に recommends Dr. Faustus to take 避難 in it. "My old woman lives there," he says, "and the devils are more afraid of her than you are of them." Faustus does not take this advice, but goes on meditating and 反映するing (which had been his mistake all along) until the clock strikes twelve, and dreadful 発言する／表明するs talk Latin in heaven. So Faustus, in his fur coat, is carried away by little 黒人／ボイコット imps; and serve him 権利 for 存在 an 知識人.
At a little 駅／配置する, which I 拒絶する／低下する to 明示する, somewhere between Oxford and Guildford, I 行方不明になるd a 関係 or miscalculated a 大勝する in such manner that I was left 立ち往生させるd for rather more than an hour. I adore waiting at 鉄道 駅／配置するs, but this was not a very sumptuous 見本／標本. There was nothing on the 壇・綱領・公約 except a chocolate (a)自動的な／(n)自動拳銃 machine, which 熱望して 吸収するd pennies but produced no corresponding chocolate, and a small paper-立ち往生させる with a few remaining copies of a cheap 皇室の 組織／臓器 which we will call the Daily Wire. It does not 事柄 which 皇室の 組織／臓器 it was, as they all say the same thing.
Though I knew it やめる 井戸／弁護士席 already, I read it with gravity as I strolled out of the 駅／配置する and up the country road. It opened with the striking phrase that the 過激なs were setting class against class. It went on to 発言／述べる that nothing had 与える／捧げるd more to make our Empire happy and enviable, to create that obvious 名簿（に載せる）／表（にあげる） of glories which you can 供給（する） for yourself, the 繁栄 of all classes in our 広大な／多数の／重要な cities, our populous and growing villages, the success of our 支配する in Ireland, etc., etc., than the sound Anglo-Saxon 準備完了 of all classes in the 明言する／公表する "to work heartily 手渡す-in-手渡す." It was this alone, the paper 保証するd me, that had saved us from the horrors of the French 革命. "It is 平易な for the 過激なs," it went on very solemnly, "to make jokes about the dukes. Very few of these 革命の gentlemen have given to the poor one half of the earnest thought, tireless unselfishness, and truly Christian patience that are given to them by the 広大な／多数の／重要な landlords of this country. We are very sure that the English people, with their sturdy ありふれた sense, will prefer to be in the 手渡すs of English gentlemen rather than in the miry claws of Socialistic buccaneers."
Just when I had reached this point I nearly ran into a man. にもかかわらず the populousness and growth of our villages, he appeared to be the only man for miles, but the road up which I had wandered turned and 狭くするd with equal abruptness, and I nearly knocked him off the gate on which he was leaning. I pulled up to わびる, and since he seemed ready for society, and even pathetically pleased with it, I 投げ上げる／ボディチェックするd the Daily Wire over a hedge and fell into speech with him. He wore a 難破させる of respectable 着せる／賦与するs, and his 直面する had that plebeian refinement which one sees in small tailors and watchmakers, in poor men of sedentary 貿易（する）s. Behind him a 新たな展開d group of winter trees stood up as gaunt and tattered as himself, but I do not think that the 悲劇 that he symbolized was a mere fancy from the spectral 支持を得ようと努めるd. There was a 直す／買収する，八百長をするd look in his 直面する which told that he was one of those who in keeping 団体／死体 and soul together have difficulties not only with the 団体／死体, but also with the soul.
He was a Cockney by birth, and 保持するd the touching accent of those streets from which I am an 追放する; but he had lived nearly all his life in this countryside; and he began to tell me the 事件／事情／状勢s of it in that formless, tail-真っ先の way in which the poor gossip about their 広大な／多数の／重要な 隣人s. 指名するs kept coming and going in the narrative like charms or （一定の）期間s, unaccompanied by any biographical explanation. In particular the 指名する of somebody called Sir Joseph multiplied itself with the omnipresence of a deity. I took Sir Joseph to be the 主要な／長／主犯 landowner of the 地区; and as the 混乱させるd picture 広げるd itself, I began to form a 限定された and by no means pleasing picture of Sir Joseph. He was spoken of in a strange way, frigid and yet familiar, as a child might speak of a stepmother or an 避けられない nurse; something intimate, but by no means tender; something that was waiting for you by your own bed and board; that told you to do this and forbade you to do that, with a caprice that was 冷淡な and yet somehow personal. It did not appear that Sir Joseph was popular, but he was "a 世帯 word." He was not so much a public man as a sort of 私的な god or omnipotence. The particular man to whom I spoke said he had "been in trouble," and that Sir Joseph had been "pretty hard on him."
And under that grey and silver cloudland, with a background of those 霜-bitten and 勝利，勝つd-拷問d trees, the little Londoner told me a tale which, true or 誤った, was as heartrending as Romeo and Juliet.
He had slowly built up in the village a small 商売／仕事 as a photographer, and he was engaged to a girl at one of the 宿泊するs, whom he loved with passion. "I'm the sort that '広告 better marry," he said; and for all his frail 人物／姿／数字 I knew what he meant. But Sir Joseph, and 特に Sir Joseph's wife, did not want a photographer in the village; it made the girls vain, or perhaps they disliked this particular photographer. He worked and worked until he had just enough to marry on honestly; and almost on the eve of his wedding the 賃貸し（する） 満了する／死ぬd, and Sir Joseph appeared in all his glory. He 辞退するd to 新たにする the 賃貸し（する）; and the man went wildly どこかよそで. But Sir Joseph was ubiquitous; and the whole of that place was 閉めだした against him. In all that country he could not find a shed to which to bring home his bride. The man 控訴，上告d and explained; but he was disliked as a demagogue, 同様に as a photographer. Then it was as if a 黒人／ボイコット cloud （機の）カム across the winter sky; for I knew what was coming. I forget even in what words he told of Nature maddened and 始める，決める 解放する／自由な. But I still see, as in a photograph, the grey muscles of the winter trees standing out like tight ropes, as if all Nature were on the rack.
"She '広告 to go away," he said.
"Wouldn't her parents," I began, and hesitated on the word "許す."
"Oh, her people forgave her," he said. "But Her Ladyship..."
"Her Ladyship made the sun and moon and 星／主役にするs," I said, impatiently. "So of course she can come between a mother and the child of her 団体／死体."
"井戸／弁護士席, it does seem a bit 'ard..." he began with a break in his 発言する／表明する.
"But, good Lord, man," I cried, "it isn't a 事柄 of hardness! It's a 事柄 of impious and indecent wickedness. If your Sir Joseph knew the passions he was playing with, he did you a wrong for which in many Christian countries he would have a knife in him."
The man continued to look across the frozen fields with a frown. He certainly told his tale with real 憤慨, whether it was true or 誤った, or only 誇張するd. He was certainly sullen and 負傷させるd; but he did not seem to think of any avenue of escape. At last he said:
"井戸／弁護士席, it's a bad world; let's 'ope there's a better one."
"Amen," I said. "But when I think of Sir Joseph, I understand how men have hoped there was a worse one."
Then we were silent for a long time and felt the 冷淡な of the day はうing up, and at last I said, 突然の:
"The other day at a 予算 会合, I heard."
He took his 肘s off the stile and seemed to change from 長，率いる to foot like a man coming out of sleep with a yawn. He said in a 全く new 発言する／表明する, louder but much more careless, "Ah yes, sir,... this 'ere 予算... the 過激なs are doing a lot of 'arm."
I listened intently, and he went on. He said with a sort of careful precision, "Settin' class against class; that's what I call it. Why, what's made our Empire except the 準備完了 of all classes to work 'eartily 'and-in-'and."
He walked a little up and 負かす／撃墜する the 小道／航路 and stamped with the 冷淡な. Then he said, "What I say is, what else kept us from the 'errors of the French 革命?"
My memory is good, and I waited in 緊張した 切望 for the phrase that （機の）カム next. "They may laugh at Dukes; I'd like to see them 'alf as 肉親，親類d and Christian and 患者 as lots of the landlords are. Let me tell you, sir," he said, 直面するing 一連の会議、交渉／完成する at me with the final 空気／公表する of one 開始する，打ち上げるing a paradox. "The English people 'ave some ありふれた sense, and they'd rather be in the 'ands of gentlemen than in the claws of a lot of 社会主義者 thieves."
I had an indescribable sense that I せねばならない applaud, as if I were a public 会合. The insane 分離 in the man's soul between his experience and his ready-made theory was but a type of what covers a ４半期/4分の1 of England. As he turned away, I saw the Daily Wire sticking out of his shabby pocket. He bade me 別れの（言葉，会） in やめる a 炎 of catchwords, and went stumping up the road. I saw his 人物／姿／数字 grow smaller and smaller in the 広大な／多数の／重要な green landscape; even as the 解放する／自由な Man has grown smaller and smaller in the English countryside.
I was walking the other day in a kitchen garden, which I find has somehow got 大（公）使館員d to my 前提s, and I was wondering why I liked it. After a 長引かせるd spiritual self-分析 I （機の）カム to the 結論 that I like a kitchen garden because it 含む／封じ込めるs things to eat. I do not mean that a kitchen garden is ugly; a kitchen garden is often very beautiful. The mixture of green and purple on some monstrous cabbage is much subtler and grander than the mere freakish and theatrical splashing of yellow and violet on a pansy. Few of the flowers 単に meant for ornament are so ethereal as a potato. A kitchen garden is as beautiful as an orchard; but why is it that the word "orchard" sounds as beautiful as the word "flower-garden," and yet also sounds more 満足な? I 示唆する again my extraordinarily dark and delicate 発見: that it 含む／封じ込めるs things to eat.
The cabbage is a solid; it can be approached from all 味方するs at once; it can be realized by all senses at once. Compared with that the sunflower, which can only be seen, is a mere pattern, a thing painted on a flat 塀で囲む. Now, it is this sense of the solidity of things that can only be uttered by the metaphor of eating. To 表明する the 立方（体）の content of a turnip, you must be all 一連の会議、交渉／完成する it at once. The only way to get all 一連の会議、交渉／完成する a turnip at once is to eat the turnip. I think any poetic mind that has loved solidity, the thickness of trees, the squareness of 石／投石するs, the firmness of clay, must have いつかs wished that they were things to eat. If only brown peat tasted as good as it looks; if only white firwood were digestible! We talk rightly of giving 石／投石するs for bread: but there are in the 地質学の Museum 確かな rich crimson marbles, 確かな 分裂（する） 石／投石するs of blue and green, that make me wish my teeth were stronger.
Somebody 星／主役にするing into the sky with the same ethereal appetite 宣言するd that the moon was made of green cheese. I never could conscientiously 受託する the 十分な doctrine. I am Modernist in this 事柄. That the moon is made of cheese I have believed from childhood; and in the course of every month a 巨大（な） (of my 知識) bites a big 一連の会議、交渉／完成する piece out of it. This seems to me a doctrine that is above 推論する／理由, but not contrary to it. But that the cheese is green seems to be in some degree 現実に 否定するd by the senses and the 推論する／理由; first because if the moon were made of green cheese it would be 住むd; and second because if it were made of green cheese it would be green. A blue moon is said to be an unusual sight; but I cannot think that a green one is much more ありふれた. In fact, I think I have seen the moon looking like every other sort of cheese except a green cheese. I have seen it look 正確に／まさに like a cream cheese: a circle of warm white upon a warm faint violet sky above a とうもろこし畑／穀物畑 in Kent. I have seen it look very like a Dutch cheese, rising a dull red 巡査 disk まっただ中に masts and dark waters at Honfleur. I have seen it look like an ordinary sensible Cheddar cheese in an ordinary sensible Prussian blue sky; and I have once seen it so naked and ruinous-looking, so strangely lit up, that it looked like a Gruyere cheese, that awful 火山の cheese that has horrible 穴を開けるs in it, as if it had come in boiling unnatural milk from mysterious and unearthly cattle. But I have never yet seen the lunar cheese green; and I incline to the opinion that the moon is not old enough. The moon, like everything else, will ripen by the end of the world; and in the last days we shall see it taking on those 火山の sunset colours, and leaping with that enormous and fantastic life.
But this is a parenthesis; and one perhaps わずかに 欠如（する）ing in prosaic actuality. Whatever may be the value of the above 憶測s, the phrase about the moon and green cheese remains a good example of this imagery of eating and drinking on a large 規模. The same 抱擁する fancy is in the phrase "if all the trees were bread and cheese," which I have 特記する／引用するd どこかよそで in this 関係; and in that noble nightmare of a Scandinavian legend, in which Thor drinks the 深い sea nearly 乾燥した，日照りの out of a horn. In an essay like the 現在の (first ーするつもりであるd as a paper to be read before the 王室の Society) one cannot be too exact; and I will 譲歩する that my theory of the 漸進的な vire-scence of our 衛星 is to be regarded rather as an 代案／選択肢 theory than as a 法律 finally 論証するd and universally 受託するd by the 科学の world. It is a hypothesis that 持つ／拘留するs the field, as the scientists say of a theory when there is no 証拠 for it so far.
But the reader need be under no 逮捕 that I have suddenly gone mad, and shall start biting large pieces out of the trunks of trees; or 本気で altering (by large semicircular mouthfuls) the exquisite 輪郭（を描く） of the mountains. This feeling for 表明するing a fresh solidity by the image of eating is really a very old one. So far from 存在 a paradox of perversity, it is one of the oldest commonplaces of 宗教. If any one wandering about wants to have a good trick or 実験（する） for separating the wrong idealism from the 権利, I will give him one on the 位置／汚点／見つけ出す. It is a 示す of 誤った 宗教 that it is always trying to 表明する 固める／コンクリート facts as abstract; it calls sex affinity; it calls ワイン alcohol; it calls brute 餓死 the 経済的な problem. The 実験（する） of true 宗教 is that its energy 運動s 正確に／まさに the other way; it is always trying to make men feel truths as facts; always trying to make abstract things as plain and solid as 固める／コンクリート things; always trying to make men, not 単に 収容する／認める the truth, but see, smell, 扱う, hear, and devour the truth. All 広大な／多数の／重要な spiritual scriptures are 十分な of the 招待 not to 実験（する）, but to taste; not to 診察する, but to eat. Their phrases are 十分な of living water and heavenly bread, mysterious manna and dreadful ワイン. Worldliness, and the polite society of the world, has despised this instinct of eating; but 宗教 has never despised it. When we look at a 会社／堅い, fat, white cliff of chalk at Dover, I do not 示唆する that we should 願望（する） to eat it; that would be 高度に 異常な. But I really mean that we should think it good to eat; good for some one else to eat. For, indeed, some one else is eating it; the grass that grows upon its 最高の，を越す is devouring it silently, but, doubtless, with an uproarious appetite.
It is a platitude, and 非，不，無 the いっそう少なく true for that, that we need to have an ideal in our minds with which to 実験（する） all realities. But it is 平等に true, and いっそう少なく 公式文書，認めるd, that we need a reality with which to 実験（する） ideals. Thus I have selected Mrs. Buttons, a charwoman in Battersea, as the touchstone of all modern theories about the 集まり of women. Her 指名する is not Buttons; she is not in the least a contemptible nor 完全に a comic 人物／姿／数字. She has a powerful stoop and an ugly, attractive 直面する, a little like that of Huxley—without the whiskers, of course. The courage with which she supports the most 残虐な bad luck has something やめる creepy about it. Her irony is incessant and inventive; her practical charity very large; and she is wholly unaware of the philosophical use to which I put her.
But when I hear the modern generalization about her sex on all 味方するs I 簡単に 代用品，人 her 指名する, and see how the thing sounds then. When on the one 味方する the mere sentimentalist says, "Let woman be content to be dainty and exquisite, a 保護するd piece of social art and 国内の ornament," then I 単に repeat it to myself in the "other form," "Let Mrs. Buttons be content to be dainty and exquisite, a 保護するd piece of social art, etc." It is 驚くべき／特命の／臨時の what a difference the substitution seems to make. And on the other 手渡す, when some of the Suffragettes say in their 小冊子s and speeches, "Woman, leaping to life at the trumpet call of Ibsen and Shaw, 減少（する）s her tawdry 高級なs and 需要・要求するs to しっかり掴む the sceptre of empire and the firebrand of 思索的な thought"—ーするために understand such a 宣告，判決 I say it over again in the 修正するd form: "Mrs. Buttons, leaping to life at the trumpet call of Ibsen and Shaw, 減少（する）s her tawdry 高級なs and 需要・要求するs to しっかり掴む the sceptre of empire and the firebrand of 思索的な thought." Somehow it sounds やめる different. And yet when you say Woman I suppose you mean the 普通の／平均（する） woman; and if most women are as 有能な and 批判的な and morally sound as Mrs. Buttons, it is as much as we can 推定する／予想する, and a 広大な／多数の／重要な 取引，協定 more than we deserve.
But this 熟考する／考慮する is not about Mrs. Buttons; she would 要求する many 熟考する／考慮するs. I will take a いっそう少なく impressive 事例／患者 of my 原則, the 原則 of keeping in the mind an actual personality when we are talking about types or 傾向s or generalized ideals. Take, for example, the question of the education of boys. Almost every 地位，任命する brings me 小冊子s expounding some 前進するd and suggestive 計画／陰謀 of education; the pupils are to be taught separate; the sexes are to be taught together; there should be no prizes; there should be no 罰s; the master should 解除する the boys to his level; the master should descend to their level; we should encourage the heartiest comradeship の中で boys, and also the tenderest spiritual intimacy with masters; toil must be pleasant and holidays must be instructive; with all these things I am daily impressed and somewhat bewildered. But on the 広大な／多数の／重要な Buttons' 原則 I keep in my mind and 適用する to all these ideals one still vivid fact; the 直面する and character of a particular schoolboy whom I once knew. I am not taking a mere individual oddity, as you will hear. He was exceptional, and yet the 逆転する of eccentric; he was (in a やめる sober and strict sense of the words) exceptionally 普通の／平均（する）. He was the incarnation and the exaggeration of a 確かな spirit which is the ありふれた spirit of boys, but which nowhere else became so obvious and outrageous. And because he was an incarnation he was, in his way, a 悲劇.
I will call him Simmons. He was a tall, healthy 人物／姿／数字, strong, but a little slouching, and there was in his walk something between a slight swagger and a 船員's roll; he 一般的に had his 手渡すs in his pockets. His hair was dark, straight, and undistinguished; and his 直面する, if one saw it after his 人物／姿／数字, was something of a surprise. For while the form might be called big and braggart, the 直面する might have been called weak, and was certainly worried. It was a hesitating 直面する, which seemed to blink doubtfully in the daylight. He had even the look of one who has received a buffet that he cannot return. In all 占領／職業s he was the 普通の／平均（する） boy; just 十分に good at sports, just 十分に bad at work to be universally 満足な. But he was 目だつ in nothing, for prominence was to him a thing like bodily 苦痛. He could not 耐える, without 不快 量ing to desperation, that any boy should be noticed or sensationally separated from the long line of boys; for him, to be distinguished was to be 不名誉d.
Those who 解釈する／通訳する schoolboys as 単に 木造の and barbarous, unmoved by anything but a savage 真面目さ about tuck or cricket, make the mistake of forgetting how much of the schoolboy life is public and 儀式の, having 言及／関連 to an ideal; or, if you like, to an affectation. Boys, like dogs, have a sort of romantic ritual which is not always their real selves. And this romantic ritual is 一般に the ritual of not 存在 romantic; the pretence of 存在 much more masculine and materialistic than they are. Boys in themselves are very sentimental. The most sentimental thing in the world is to hide your feelings; it is making too much of them. Stoicism is the direct 製品 of sentimentalism; and schoolboys are sentimental 個々に, but stoical collectively.
For example, there were numbers of boys at my school besides myself who took a 私的な 楽しみ in poetry; but red-hot アイロンをかける would not have induced most of us to 収容する／認める this to the masters, or to repeat poetry with the faintest inflection of rhythm or 知能. That would have been anti-social egoism; we called it "showing off." I myself remember running to school (an 驚くべき／特命の／臨時の thing to do) with mere 内部の ecstasy in repeating lines of Walter Scott about the taunts of Marmion or the 誇るs of Roderick Dhu, and then repeating the same lines in class with the colourless decorum of a hurdy-gurdy. We all wished to be invisible in our uniformity; a mere pattern of Eton collars and coats.
But Simmons went even その上の. He felt it as an 侮辱 to brotherly equality if any 仕事 or knowledge out of the ordinary 跡をつける was discovered even by 事故. If a boy had learnt German in 幼少／幼藍期; or if a boy knew some 条件 in music; or if a boy was 軍隊d to 自白する feebly that he had read "The Mill on the Floss"—then Simmons was in a perspiration of 不快. He felt no personal 怒り／怒る, still いっそう少なく any petty jealousy, what he felt was an honourable and generous shame. He hated it as a lady hates coarseness in a pantomime; it made him want to hide himself. Just that feeling of impersonal ignominy which most of us have when some one betrays indecent ignorance, Simmons had when some one betrayed special knowledge. He writhed and went red in the 直面する; he used to put up the lid of his desk to hide his blushes for human dignity, and from behind this 障壁 would whisper 抗議するs which had the hoarse 強調 of 苦痛. "O, shut up, I say... O, I say, shut up.... O, shut it, can't you?" Once when a little boy 認める that he had heard of the Highland claymore, Simmons literally hid his 長，率いる inside his desk and dropped the lid upon it in desperation; and when I was for a moment transferred from the 底（に届く） of the form for knowing the 指名する of 枢機けい／主要な Newman, I thought he would have 急ぐd from the room.
His psychological eccentricity 増加するd; if one can call that an eccentricity which was a wild worship of the ordinary. At last he grew so 極度の慎重さを要する that he could not even 耐える any question answered 正確に without grief. He felt there was a touch of disloyalty, of unfraternal individualism, even about knowing the 権利 answer to a sum. If asked the date of the 戦う／戦い of Hastings, he considered it 予定 to social tact and general good feeling to answer 1067. This chivalrous exaggeration led to bad feeling between him and the school 当局, which ended in a 決裂 突然に violent in the 事例／患者 of so good-humoured a creature. He fled from the school, and it was discovered upon 調査 that he had fled from his home also.
I never 推定する／予想するd to see him again; yet it is one of the two or three 半端物 coincidences of my life that I did see him. At some public sports or recreation ground I saw a group of rather objectless 青年s, one of whom was wearing the dashing uniform of a 私的な in the Lancers. Inside that uniform was the tall 人物／姿／数字, shy 直面する, and dark, stiff hair of Simmons. He had gone to the one place where every one is dressed alike—a 連隊. I know nothing more; perhaps he was killed in Africa. But when England was 十分な of 旗s and 誤った 勝利s, when everybody was talking manly trash about the whelps of the lion and the 勇敢に立ち向かう boys in red, I often heard a 発言する／表明する echoing in the under-caverns of my memory, "Shut up... O, shut up... O, I say, shut it."
My 来たるべき work in five 容積／容量s, "The Neglect of Cheese in European Literature" is a work of such 前例のない and laborious 詳細（に述べる） that it is doubtful if I shall live to finish it. Some overflowings from such a fountain of （警察などへの）密告，告訴（状） may therefore be permitted to springle these pages. I cannot yet wholly explain the neglect to which I 言及する. Poets have been mysteriously silent on the 支配する of cheese. Virgil, if I remember 権利, 言及するs to it several times, but with too much Roman 抑制. He does not let himself go on cheese. The only other poet I can think of just now who seems to have had some sensibility on the point was the nameless author of the nursery rhyme which says: "If all the trees were bread and cheese"—which is, indeed a rich and gigantic 見通し of the higher gluttony. If all the trees were bread and cheese there would be かなりの 森林伐採 in any part of England where I was living. Wild and wide woodlands would reel and fade before me as 速く as they ran after Orpheus. Except Virgil and this 匿名の／不明の rhymer, I can 解任する no 詩（を作る） about cheese. Yet it has every 質 which we 要求する in exalted poetry. It is a short, strong word; it rhymes to "微風" and "seas" (an 必須の point); that it is emphatic in sound is 認める even by the civilization of the modern cities. For their 国民s, with no 明らかな 意向 except 強調, will often say, "Cheese it!" or even "やめる the cheese." The 実体 itself is imaginative. It is 古代の—いつかs in the individual 事例／患者, always in the type and custom. It is simple, 存在 直接／まっすぐに derived from milk, which is one of the ancestral drinks, not lightly to be corrupted with soda-water. You know, I hope (though I myself have only just thought of it), that the four rivers of Eden were milk, water, ワイン, and ale. Aerated waters only appeared after the 落ちる.
But cheese has another 質, which is also the very soul of song. Once in endeavouring to lecture in several places at once, I made an eccentric 旅行 across England, a 旅行 of so 不規律な and even illogical 形態／調整 that it necessitated my having lunch on four 連続する days in four 道端 inns in four different 郡s. In each inn they had nothing but bread and cheese; nor can I imagine why a man should want more than bread and cheese, if he can get enough of it. In each inn the cheese was good; and in each inn it was different. There was a noble Wensleydale cheese in Yorkshire, a Cheshire cheese in Cheshire, and so on. Now, it is just here that true poetic civilization 異なるs from that paltry and mechanical civilization which 持つ／拘留するs us all in bondage. Bad customs are 全世界の／万国共通の and rigid, like modern 軍国主義. Good customs are 全世界の／万国共通の and 変化させるd, like native chivalry and self-defence. Both the good and bad civilization cover us as with a canopy, and 保護する us from all that is outside. But a good civilization spreads over us 自由に like a tree, 変化させるing and 産する／生じるing because it is alive. A bad civilization stands up and sticks out above us like an umbrella—人工的な, mathematical in 形態／調整; not 単に 全世界の／万国共通の, but uniform. So it is with the contrast between the 実体s that 変化させる and the 実体s that are the same wherever they 侵入する. By a wise doom of heaven men were 命令（する）d to eat cheese, but not the same cheese. 存在 really 全世界の／万国共通の it 変化させるs from valley to valley. But if, let us say, we compare cheese with soap (that vastly inferior 実体), we shall see that soap tends more and more to be 単に Smith's Soap or Brown's Soap, sent automatically all over the world. If the Red Indians have soap it is Smith's Soap. If the Grand Lama has soap it is Brown's soap. There is nothing subtly and strangely Buddhist, nothing tenderly Tibetan, about his soap. I fancy the Grand Lama does not eat cheese (he is not worthy), but if he does it is probably a 地元の cheese, having some real relation to his life and 見通し. Safety matches, tinned foods, 特許 薬／医学s are sent all over the world; but they are not produced all over the world. Therefore there is in them a mere dead 身元, never that soft play of slight variation which 存在するs in things produced everywhere out of the 国／地域, in the milk of the 肉親，親類, or the fruits of the orchard. You can get a whisky and soda at every outpost of the Empire: that is why so many Empire-建設業者s go mad. But you are not tasting or touching any 環境, as in the cider of Devonshire or the grapes of the Rhine. You are not approaching Nature in one of her myriad 色合いs of mood, as in the 宗教上の 行為／法令／行動する of eating cheese.
When I had done my 巡礼の旅 in the four wayside public-houses I reached one of the 広大な／多数の／重要な northern cities, and there I proceeded, with 広大な／多数の／重要な rapidity and 完全にする inconsistency, to a large and (a)手の込んだ／(v)詳述する restaurant, where I knew I could get many other things besides bread and cheese. I could get that also, however; or at least I 推定する／予想するd to get it; but I was はっきりと reminded that I had entered Babylon, and left England behind. The waiter brought me cheese, indeed, but cheese 削減（する） up into contemptibly small pieces; and it is the awful fact that, instead of Christian bread, he brought me 薄焼きパン／素焼陶器s. 薄焼きパン／素焼陶器s—to one who had eaten the cheese of four 広大な／多数の／重要な countrysides! 薄焼きパン／素焼陶器s—to one who had 証明するd もう一度 for himself the sanctity of the 古代の wedding between cheese and bread! I 演説（する）／住所d the waiter in warm and moving 条件. I asked him who he was that he should put asunder those whom Humanity had joined. I asked him if he did not feel, as an artist, that a solid but 産する／生じるing 実体 like cheese went 自然に with a solid, 産する／生じるing 実体 like bread; to eat it off 薄焼きパン／素焼陶器s is like eating it off 予定するs. I asked him if, when he said his 祈りs, he was so supercilious as to pray for his daily 薄焼きパン／素焼陶器s. He gave me 一般に to understand that he was only obeying a custom of Modern Society. I have therefore 解決するd to raise my 発言する／表明する, not against the waiter, but against Modern Society, for this 抱擁する and unparalleled modern wrong.
When a man says that 僕主主義 is 誤った because most people are stupid, there are several courses which the philosopher may 追求する. The most obvious is to 攻撃する，衝突する him smartly and with precision on the exact tip of the nose. But if you have scruples (moral or physical) about this course, you may proceed to 雇う 推論する／理由, which in this 事例／患者 has all the savage solidity of a blow with the 握りこぶし. It is stupid to say that "most people" are stupid. It is like 説 "most people are tall," when it is obvious that "tall" can only mean taller than most people. It is absurd to 公然と非難する the 大多数 of mankind as below the 普通の／平均（する） of mankind.
Should the man have been 大打撃を与えるd on the nose and brained with logic, and should he still remain 冷淡な, a third course opens: lead him by the 手渡す (himself half-willing) に向かって some sunlit and yet secret meadow and ask him who made the 指名するs of the ありふれた wild flowers. They were ordinary people, so far as any one knows, who gave to one flower the 指名する of the 星／主役にする of Bethlehem and to another and much commoner flower the tremendous 肩書を与える of the 注目する，もくろむ of Day. If you 粘着する to the snobbish notion that ありふれた people are prosaic, ask any ありふれた person for the 地元の 指名するs of the flowers, 指名するs which 変化させる not only from 郡 to 郡, but even from dale to dale.
But, curiously enough, the 事例／患者 is much stronger than this. It will be said that this poetry is peculiar to the country populace, and that the 薄暗い 僕主主義s of our modern towns at least have lost it. For some 驚くべき／特命の／臨時の 推論する／理由 they have not lost it. Ordinary London slang is 十分な of witty things said by nobody in particular. True, the creed of our cruel cities is not so sane and just as the creed of the old countryside; but the people are just as clever in giving 指名するs to their sins in the city as in giving 指名するs to their joys in the wilderness. One could not better sum up Christianity than by calling a small white insignificant flower "The 星／主役にする of Bethlehem." But then, again, one could not better sum up the philosophy deduced from Darwinism than in the one 言葉の picture of "having your monkey up."
Who first invented these violent felicities of language? Who first spoke of a man "存在 off his 長，率いる"? The obvious comment on a lunatic is that his 長，率いる is off him; yet the other phrase is far more fantastically exact. There is about every madman a singular sensation that his 団体／死体 has walked off and left the important part of him behind.
But the 事例／患者s of this popular perfection in phrase are even stronger when they are more vulgar. What concentrated irony and imagination there is for instance, in the metaphor which 述べるs a man doing a midnight flitting as "狙撃 the moon"? It 表明するs everything about the run away: his eccentric 占領／職業, his improbable explanations, his furtive 空気／公表する as of a hunter, his constant ちらりと見ることs at the blank clock in the sky.
No; the English 僕主主義 is weak enough about a number of things; for instance, it is weak in politics. But there is no 疑問 that 僕主主義 is wonderfully strong in literature. Very few 調書をとる／予約するs that the cultured class has produced of late have been such good literature as the 表現 "絵 the town red."
Oddly enough, this last Cockney epigram 粘着するs to my memory. For as I was walking a little while ago 一連の会議、交渉／完成する a corner 近づく Victoria I realized for the first time that a familiar lamp-地位，任命する was painted all over with a 有望な vermilion just as if it were trying (in spite of the obvious bodily disqualification) to pretend that it was a 中心存在-box. I have since heard 公式の／役人 explanations of these startling and scarlet 反対するs. But my first fancy was that some dissipated gentleman on his way home at four o'clock in the morning had 試みる／企てるd to paint the town red and got only as far as one lamp-地位，任命する.
I began to make a fairy tale about the man; and, indeed, this phrase 含む／封じ込めるs both a fairy tale and a philosophy; it really 明言する／公表するs almost the whole truth about those pure 突発／発生s of pagan enjoyment to which all healthy men have often been tempted. It 表明するs the 願望（する） to have levity on a large 規模 which is the essence of such a mood. The rowdy young man is not content to paint his 教える's door green: he would like to paint the whole city scarlet. The word which to us best 解任するs such gigantesque idiocy is the word "mafficking." The slaves of that saturnalia were not only 絵 the town red; they thought that they were 絵 the 地図／計画する red—that they were 絵 the world red. But, indeed, this 皇室の debauch has in it something worse than the mere larkiness which is my 現在の topic; it has an element of real self-flattery and of sin. The Jingo who wants to admire himself is worse than the blackguard who only wants to enjoy himself. In a very old ninth-century 照明 which I have seen, 描写するing the war of the 反逆者／反逆する angels in heaven, Satan is 代表するd as 分配するing to his 信奉者s peacock feathers—the symbols of an evil pride. Satan also 分配するd peacock feathers to his 信奉者s on Mafeking Night...
But taking the 事例／患者 of ordinary pagan recklessness and 楽しみ 捜し出すing, it is, as we have said, 井戸／弁護士席 表明するd in this image. First, because it 伝えるs this notion of filling the world with one 私的な folly; and secondly, because of the 深遠な idea 伴う／関わるd in the choice of colour. Red is the most joyful and dreadful thing in the physical universe; it is the fiercest 公式文書，認める, it is the highest light, it is the place where the 塀で囲むs of this world of ours wear thinnest and something beyond 燃やすs through. It glows in the 血 which 支えるs and in the 解雇する／砲火／射撃 which destroys us, in the roses of our romance and in the awful cup of our 宗教. It stands for all 熱烈な happiness, as in 約束 or in first love.
Now, the profligate is he who wishes to spread this crimson of conscious joy over everything; to have excitement at every moment; to paint everything red. He bursts a thousand バーレル／樽s of ワイン to incarnadine the streets; and いつかs (in his last madness) he will butcher beasts and men to 下落する his gigantic 小衝突s in their 血. For it 示すs the sacredness of red in nature, that it is secret even when it is ubiquitous, like 血 in the human 団体／死体, which is omnipresent, yet invisible. As long as 血 lives it is hidden; it is only dead 血 that we see. But the earlier parts of the rake's 進歩 are very natural and amusing. 絵 the town red is a delightful thing until it is done. It would be splendid to see the cross of St. Paul's as red as the cross of St. George, and the gallons of red paint running 負かす／撃墜する the ドーム or dripping from the Nelson Column. But when it is done, when you have painted the town red, an 驚くべき／特命の／臨時の thing happens. You cannot see any red at all.
I can see, as in a sort of 見通し, the successful artist standing in the 中央 of that frightful city, hung on all 味方するs with the scarlet of his shame. And then, when everything is red, he will long for a red rose in a green hedge and long in vain; he will dream of a red leaf and be unable even to imagine it. He has desecrated the divine colour, and he can no longer see it, though it is all around. I see him, a 選び出す／独身 黒人／ボイコット 人物／姿／数字 against the red-hot hell that he has kindled, where spires and turrets stand up like immobile 炎上s: he is 強化するd in a sort of agony of 祈り. Then the mercy of Heaven is 緩和するd, and I see one or two flakes of snow very slowly begin to 落ちる.
As I see the corn grow green all about my neighbourhood, there 急ぐs on me for no 推論する／理由 in particular a memory of the winter. I say "急ぐs," for that is the very word for the old 広範囲にわたる lines of the ploughed fields. From some 偶発の turn of a train-旅行 or a walking 小旅行する, I saw suddenly the 猛烈な／残忍な 急ぐ of the furrows. The furrows are like arrows; they 飛行機で行く along an arc of sky. They are like leaping animals; they 丸天井 an inviolable hill and roll 負かす／撃墜する the other 味方する. They are like 乱打するing 大軍; they 急ぐ over a hill with 飛行機で行くing 騎兵大隊s and carry it with a cavalry 告発（する），告訴（する）／料金. They have all the 空気／公表する of Arabs 広範囲にわたる a 砂漠, of ロケット／急騰するs 広範囲にわたる the sky, of 激流s 広範囲にわたる a watercourse. Nothing ever seemed so living as those brown lines as they 発射 sheer from the 高さ of a 山の尾根 負かす／撃墜する to their still whirl of the valley. They were swifter than arrows, fiercer than Arabs, more riotous and rejoicing than ロケット／急騰するs. And yet they were only thin straight lines drawn with difficulty, like a diagram, by painful and 患者 men. The men that ploughed tried to plough straight; they had no notion of giving 広大な／多数の／重要な sweeps and 渦巻くs to the 注目する，もくろむ. Those cataracts of cloven earth; they were done by the grace of God. I had always rejoiced in them; but I had never 設立する any 推論する／理由 for my joy. There are some very clever people who cannot enjoy the joy unless they understand it. There are other and even cleverer people who say that they lose the joy the moment they do understand it. Thank God I was never clever, and I could always enjoy things when I understood them and when I didn't. I can enjoy the 正統派の Tory, though I could never understand him. I can also enjoy the 正統派の 自由主義の, though I understand him only too 井戸／弁護士席.
But the splendour of furrowed fields is this: that like all 勇敢に立ち向かう things they are made straight, and therefore they bend. In everything that 屈服するs gracefully there must be an 成果／努力 at stiffness. 屈服するs arc beautiful when they bend only because they try to remain rigid; and sword-blades can curl like silver 略章s only because they are 確かな to spring straight again. But the same is true of every 堅い curve of the tree-trunk, of every strong-支援するd bend of the bough; there is hardly any such thing in Nature as a mere droop of 証拠不十分. Rigidity 産する／生じるing a little, like 司法（官） swayed by mercy, is the whole beauty of the earth. The cosmos is a diagram just bent beautifully out of 形態／調整. Everything tries to be straight; and everything just fortunately fails.
The 失敗させる／負かす may curve in the 肺, but there is nothing beautiful about beginning the 戦う／戦い with a crooked 失敗させる／負かす. So the strict 目的（とする）, the strong doctrine, may give a little in the actual fight with facts: but that is no 推論する／理由 for beginning with a weak doctrine or a 新たな展開d 目的（とする）. Do not be an opportunist; try to be theoretic at all the 適切な時期s; 運命／宿命 can be 信用d to do all the opportunist part of it. Do not try to bend, any more than the trees try to bend. Try to grow straight, and life will bend you.
式のs! I am giving the moral before the fable; and yet I hardly think that さもなければ you could see all that I mean in that enormous 見通し of the ploughed hills. These 広大な／多数の／重要な furrowed slopes are the oldest architecture of man: the oldest astronomy was his guide, the oldest botany his 反対する. And for geometry, the mere word 証明するs my 事例／患者.
But when I looked at those 激流s of ploughed 平行のs, that 広大な／多数の／重要な 急ぐ of rigid lines, I seemed to see the whole 抱擁する 業績／成就 of 僕主主義, Here was mere equality: but equality seen in 本体，大部分／ばら積みの is more superb than any 最高位. Equality 解放する／自由な and 飛行機で行くing, equality 急ぐing over hill and dale, equality 非難する the world—that was the meaning of those 軍の furrows, 軍の in their 身元, 軍の in their energy. They sculptured hill and dale with strong curves 単に because they did not mean to curve at all. They made the strong lines of landscape with their stiffly driven swords of the 国／地域. It is not only nonsense, but blasphemy, to say that man has spoilt the country. Man has created the country; it was his 商売／仕事, as the image of God. No hill, covered with ありふれた scrub or patches of purple ヒース／荒れ地, could have been so sublimely hilly as that 山の尾根 up to which the 階級d furrows rose like aspiring angels. No valley, 混乱させるd with needless cottages and towns, can have been so utterly valleyish as that abyss into which the 負かす／撃墜する-急ぐing furrows 激怒（する）d like demons into the 渦巻くing 炭坑，オーケストラ席.
It is the hard lines of discipline and equality that 示す out a landscape and give it all its mould and meaning. It is just because the lines of the furrow arc ugly and even that the landscape is living and superb. As I think I have 発言／述べるd どこかよそで, the 共和国 is 設立するd on the plough.
It would be really 利益／興味ing to know 正確に／まさに why an intelligent person—by which I mean a person with any sort of 知能—can and does dislike sight-seeing. Why does the idea of a char-a-banc 十分な of tourists going to see the birth-place of Nelson or the death-scene of Simon de Montfort strike a strange 冷気／寒がらせる to the soul? I can tell やめる easily what this 薄暗い aversion to tourists and their antiquities does not arise from—at least, in my 事例／患者. Whatever my other 副／悪徳行為s (and they are, of course, of a lurid cast), I can lay my 手渡す on my heart and say that it does not arise from a paltry contempt for the antiquities, nor yet from the still more paltry contempt for the tourists. If there is one thing more dwarfish and pitiful than irreverence for the past, it is irreverence for the 現在の, for the 熱烈な and many-coloured 行列 of life, which 含むs the char-a-banc の中で its many chariots and triumphal cars. I know nothing so vulgar as that contempt for vulgarity which sneers at the clerks on a Bank Holiday or the Cockneys on Margate sands. The man who notices nothing about the clerk except his Cockney accent would have noticed nothing about Simon de Montfort except his French accent. The man who jeers at Jones for having dropped an "h" might have jeered at Nelson for having dropped an arm. 軽蔑（する） springs easily to the essentially vulgar-minded, and it is as 平易な to gibe at Montfort as a foreigner or at Nelson as a 手足を不自由にする／（物事を）損なう, as to gibe at the struggling speech and the maimed 団体／死体s of the 集まり of our comic and 悲劇の race. If I 縮む faintly from this 事件／事情／状勢 of tourists and tombs, it is certainly not because I am so profane as to think lightly either of the tombs or the tourists. I reverence those 広大な／多数の／重要な men who had the courage to die; I reverence also these little men who have the courage to live.
Even if this be 譲歩するd, another suggestion may be made. It may be said that antiquities and commonplace （人が）群がるs are indeed good things, like violets and geraniums; but they do not go together. A billycock is a beautiful 反対する (it may be 熱望して 勧めるd), but it is not in the same style of architecture as Ely Cathedral; it is a ドーム, a small rococo ドーム in the Renaissance manner, and does not go with the pointed arches that 強襲，強姦 heaven like spears. A char-a-banc is lovely (it may be said) if placed upon a pedestal and worshipped for its own 甘い sake; but it does not 調和させる with the curve and 輪郭（を描く） of the old three-decker on which Nelson died; its beauty is やめる of another sort. Therefore (we will suppose our 下落する to argue) antiquity and 僕主主義 should be kept separate, as inconsistent things. Things may be inconsistent in time and space which are by no means inconsistent in 必須の value and idea. Thus the カトリック教徒 Church has water for the new-born and oil for the dying: but she never mixes oil and water.
This explanation is plausible; but I do not find it 適する. The first 反対 is that the same smell of bathos haunts the soul in the 事例／患者 of all 審議する／熟考する and (a)手の込んだ／(v)詳述する visits to "beauty 位置／汚点／見つけ出すs," even by persons of the most elegant position or the most 保護するd privacy. 特に visiting the Coliseum by moonlight always struck me as 存在 as vulgar as visiting it by limelight. One millionaire standing on the 最高の，を越す of Mont Blanc, one millionaire standing in the 砂漠 by the Sphinx, one millionaire standing in the middle of Stonehenge, is just as comic as one millionaire is anywhere else; and that is 説 a good 取引，協定. On the other 手渡す, if the billycock had come 個人として and 自然に into Ely Cathedral, no 熱中している人 for Gothic harmony would think of 反対するing to the billycock—so long, of course, as it was not worn on the 長，率いる. But there is indeed a much deeper 反対 to this theory of the two 相いれない excellences of antiquity and 人気. For the truth is that it has been almost 完全に the antiquities that have 普通は 利益／興味d the populace; and it has been almost 完全に the populace who have systematically 保存するd the antiquities. The Oldest Inhabitant has always been a clodhopper; I have never heard of his 存在 a gentleman. It is the 小作農民s who 保存する all traditions of the 場所／位置s of 戦う／戦いs or the building of churches. It is they who remember, so far as any one remembers, the glimpses of fairies or the graver wonders of saints. In the classes above them the supernatural has been 殺害された by the supercilious. That is a true and tremendous text in Scripture which says that "where there is no 見通し the people 死なせる／死ぬ." But it is 平等に true in practice that where there is no people the 見通しs 死なせる／死ぬ.
The idea must be abandoned, then, that this feeling of faint dislike に向かって popular sight-seeing is 予定 to any inherent incompatibility between the idea of special 神社s and トロフィーs and the idea of large 集まりs of ordinary men. On the contrary, these two elements of sanctity and 僕主主義 have been 特に connected and 連合した throughout history. The 神社s and トロフィーs were often put up by ordinary men. They were always put up for ordinary men. To whatever things the fastidious modern artist may choose to 適用する his theory of specialist judgment, and an aristocracy of taste, he must やむを得ず find it difficult really to 適用する it to such historic and monumental art. 明白に, a public building is meant to impress the public. The most aristocratic tomb is a democratic tomb, because it 存在するs to be seen; the only aristocratic thing is the decaying 死体, not the undecaying marble; and if the man 手配中の，お尋ね者 to be 完全に aristocratic, he should be buried in his own 支援する-garden. The chapel of the most 狭くする and 排除的 sect is 全世界の／万国共通の outside, even if it is 限られた／立憲的な inside, its 塀で囲むs and windows 直面する all points of the compass and all ４半期/4分の1s of the cosmos. It may be small as a dwelling-place, but it is 全世界の／万国共通の as a monument; if its sectarians had really wished to be 私的な they should have met in a 私的な house. Whenever and wherever we 築く a 国家の or 地方自治体の hall, 中心存在, or statue, we are speaking to the （人が）群がる like a demagogue.
The statue of every 政治家 申し込む／申し出s itself for 選挙 as much as the 政治家 himself. Every epitaph on a church 厚板 is put up for the 暴徒 as much as a 掲示 in a General 選挙. And if we follow this 跡をつける of reflection we shall, I think, really find why it is that modern sight-seeing jars on something in us, something that is not a caddish contempt for 墓／厳粛／彫る／重大なs nor an 平等に caddish contempt for cads. For, after all, there is many a—churchyard which consists mostly of dead cads; but that does not make it いっそう少なく sacred or いっそう少なく sad.
The real explanation, I fancy, is this: that these cathedrals and columns of 勝利 were meant, not for people more cultured and self-conscious than modern tourists, but for people much rougher and more casual. Those leaps of live 石／投石する like frozen fountains, were so placed and 均衡を保った as to catch the 注目する，もくろむ of ordinary inconsiderate men going about their daily 商売／仕事; and when they are so seen they are never forgotten. The true way of 生き返らせるing the 魔法 of our 広大な／多数の／重要な minsters and historic sepulchres is not the one which Ruskin was always recommending. It is not to be more careful of historic buildings. Nay, it is rather to be more careless of them. Buy a bicycle in Maidstone to visit an aunt in Dover, and you will see Canterbury Cathedral as it was built to be seen. Go through London only as the shortest way between Croydon and Hampstead, and the Nelson Column will (for the first time in your life) remind you of Nelson. You will 高く評価する／（相場などが）上がる Hereford Cathedral if you have come for cider, not if you have come for architecture. You will really see the Place Vendome if you have come on 商売／仕事, not if you have come for art. For it was for the simple and laborious 世代s of men, practical, troubled about many things, that our fathers 後部d those portents. There is, indeed, another element, not unimportant: the fact that people have gone to cathedrals to pray. But in discussing modern artistic cathedral-lovers, we need not consider this.
When men of science (or, more often, men who talk about science) speak of 熟考する／考慮するing history or human society scientifically they always forget that there are two やめる 際立った questions 伴う／関わるd. It may be that 確かな facts of the 団体／死体 go with 確かな facts of the soul, but it by no means follows that a しっかり掴む of such facts of the 団体／死体 goes with a しっかり掴む of the things of the soul. A man may show very learnedly that 確かな mixtures of race make a happy community, but he may be やめる wrong (he 一般に is) about what communities are happy. A man may explain scientifically how a 確かな physical type 伴う／関わるs a really bad man, but he may be やめる wrong (he 一般に is) about which sort of man is really bad. Thus his whole argument is useless, for he understands only one half of the equation.
The drearier 肉親，親類d of don may come to me and say, "Celts are 不成功の; look at Irishmen, for instance." To which I should reply, "You may know all about Celts; but it is obvious that you know nothing about Irishmen. The Irish are not in the least 不成功の, unless it is 不成功の to wander from their own country over a 広大な／多数の／重要な part of the earth, in which 事例／患者 the English are 不成功の too." A man with a bumpy 長，率いる may say to me (as a 肉親，親類d of New Year 迎える／歓迎するing), "Fools have microcephalous skulls," or what not. To which I shall reply, "ーするために be 確かな of that, you must be a good 裁判官 both of the physical and of the mental fact. It is not enough that you should know a microcephalous skull when you see it. It is also necessary that you should know a fool when you see him; and I have a 疑惑 that you do not know a fool when you see him, even after the most lifelong and intimate of all forms of acquaintanceship."
The trouble with most sociologists, criminologists, etc., is that while their knowledge of their own 詳細（に述べる）s is exhaustive and subtle, their knowledge of man and society, to which these are to be 適用するd, is やめる exceptionally superficial and silly. They know everything about biology, but almost nothing about life. Their ideas of history, for instance, are 簡単に cheap and uneducated. Thus some famous and foolish professor 手段d the skull of Charlotte Corday to ascertain the 犯罪の type; he had not historical knowledge enough to know that if there is any "犯罪の type," certainly Charlotte Corday had not got it. The skull, I believe, afterwards turned out not to be Charlotte Corday's at all; but that is another story. The point is that the poor old man was trying to match Charlotte Corday's mind with her skull without knowing anything whatever about her mind.
But I （機の）カム yesterday upon a yet more 天然のまま and startling example.
In a popular magazine there is one of the usual articles about criminology; about whether wicked men could be made good if their 長，率いるs were taken to pieces. As by far the wickedest men I know of are much too rich and powerful ever to 服従させる／提出する to the 過程, the 憶測 leaves me 冷淡な. I always notice with 苦痛, however, a curious absence of the portraits of living millionaires from such galleries of awful examples; most of the portraits in which we are called upon to 発言／述べる the line of the nose or the curve of the forehead appear to be the portraits of ordinary sad men, who stole because they were hungry or killed because they were in a 激怒（する）. The physical peculiarity seems to 変化させる infinitely; いつかs it is the remarkable square 長，率いる, いつかs it is the unmistakable 一連の会議、交渉／完成する 長，率いる; いつかs the learned draw attention to the 異常な 開発, いつかs to the striking 欠陥／不足 of the 支援する of the 長，率いる. I have tried to discover what is the invariable factor, the one 永久の 示す of the 科学の 犯罪の type; after exhaustive 分類 I have to come to the 結論 that it consists in 存在 poor.
But it was の中で the pictures in this article that I received the final shock; the enlightenment which has left me in 継続している 所有／入手 of the fact that criminologists are 一般に more ignorant than 犯罪のs. の中で the 餓死するd and bitter, but やめる human, 直面するs was one 長，率いる, neat but old-fashioned, with the 砕く of the 18th century and a 確かな almost pert primness in the dress which 示すd the 条約s of the upper middle-class about 1790. The 直面する was lean and 解除するd stiffly up, the 注目する，もくろむs 星／主役にするd 今後 with a frightful 誠実, the lip was 会社／堅い with a heroic firmness; all the more pathetic because of a 確かな delicacy and 欠陥／不足 of male 軍隊, Without knowing who it was, one could have guessed that it was a man in the manner of Shakespeare's Brutus, a man of piercingly pure 意向s, 傾向がある to use 政府 as a mere machine for morality, very 極度の慎重さを要する to the 告発（する），告訴（する）／料金 of inconsistency and a little too proud of his own clean and honourable life. I say I should have known this almost from the 直面する alone, even if I had not known who it was.
But I did know who it was. It was Robespierre. And underneath the portrait of this pale and too eager moralist were written these remarkable words: "欠陥／不足 of 倫理的な instincts," followed by something to the 影響 that he knew no mercy (which is certainly untrue), and by some nonsense about a 退却／保養地ing forehead, a peculiarity which he 株d with Louis XVI and with half the people of his time and ours.
Then it was that I 手段d the staggering distance between the knowledge and the ignorance of science. Then I knew that all criminology might be worse than worthless, because of its utter ignorance of that human 構成要素 of which it is supposed to be speaking. The man who could say that Robespierre was deficient in 倫理的な instincts is a man utterly to be 無視（する）d in all 計算／見積りs of 倫理学. He might 同様に say that John Bunyan was deficient in 倫理的な instincts. You may say that Robespierre was morbid and unbalanced, and you may say the same of Bunyan. But if these two men were morbid and unbalanced they were morbid and unbalanced by feeling too much about morality, not by feeling too little. You may say if you like that Robespierre was (in a 消極的な sort of way) mad. But if he was mad he was mad on 倫理学. He and a company of keen and pugnacious men, intellectually impatient of unreason and wrong, 解決するd that Europe should not be choked up in every channel by oligarchies and 明言する／公表する secrets that already stank. The work was the greatest that was ever given to men to do except that which Christianity did in dragging Europe out of the abyss of 野蛮／未開 after the Dark Ages. But they did it, and no one else could have done it.
Certainly we could not do it. We are not ready to fight all Europe on a point of 司法（官）. We are not ready to fling our most powerful class as mere 辞退する to the foreigner; we are not ready to 粉々にする the 広大な／多数の／重要な 広い地所s at a 一打／打撃; we are not ready to 信用 ourselves in an awful moment of utter 解散 ーするために make all things seem intelligible and all men feel honourable henceforth. We are not strong enough to be as strong as Danton. We are not strong enough to be as weak as Robespierre. There is only one thing, it seems, that we can do. Like a 暴徒 of children, we can play games upon this 古代の 戦場; we can pull up the bones and skulls of the tyrants and 殉教者s of that unimaginable war; and we can chatter to each other childishly and innocently about skulls that are imbecile and 長，率いるs that are 犯罪の. I do not know whose 長，率いるs are 犯罪の, but I think I know whose are imbecile.
The position of the rose の中で flowers is like that of the dog の中で animals. It is so much that both are domesticated as that have some 薄暗い feeling that they were always domesticated. There are wild roses and there are wild dogs. I do not know the wild dogs; wild roses are very nice. But nobody ever thinks of either of them if the 指名する is 突然の について言及するd in a gossip or a poem. On the other 手渡す, there are tame tigers and tame cobras, but if one says, "I have a cobra in my pocket," or "There is a tiger in the music-room," the adjective "tame" has to be somewhat あわてて 追加するd. If one speaks of beasts one thinks first of wild beasts; if of flowers one thinks first of wild flowers.
But there are two 広大な／多数の／重要な exceptions; caught so 完全に into the wheel of man's civilization, entangled so unalterably with his 古代の emotions and images, that the 人工的な 製品 seems more natural than the natural. The dog is not a part of natural history, but of human history; and the real rose grows in a garden. All must regard the elephant as something tremendous, but tamed; and many, 特に in our 広大な／多数の／重要な cultured centres, regard every bull as 推定では a mad bull. In the same way we think of most garden trees and 工場／植物s as 猛烈な／残忍な creatures of the forest or morass taught at last to 耐える the 抑制（する）.
But with the dog and the rose this 直感的に 原則 is 逆転するd. With them we think of the 人工的な as the archetype; the earth-born as the erratic exception. We think ばく然と of the wild dog as if he had run away, like the 逸脱する cat. And we cannot help fancying that the wonderful wild rose of our hedges has escaped by jumping over the hedge. Perhaps they fled together, the dog and the rose: a singular and (on the whole) an imprudent elopement. Perhaps the 背信の dog crept from the kennel, and the 反抗的な rose from the flower-bed, and they fought their way out in company, one with teeth and the other with thorns. かもしれない this is why my dog becomes a wild dog when he sees roses, and kicks them anywhere. かもしれない this is why the wild rose is called a dog-rose. かもしれない not.
But there is this degree of 薄暗い 野蛮な truth in the quaint old-world legend that I have just invented. That in these two 事例／患者s the civilized 製品 is felt to be the fiercer, nay, even the wilder. Nobody seems to be afraid of a wild dog: he is classed の中で the jackals and the servile beasts. The terrible 洞穴 canem is written over man's 創造. When we read "Beware of the Dog," it means beware of the tame dog: for it is the tame dog that is terrible. He is terrible in 割合 as he is tame: it is his 忠義 and his virtues that are awful to the stranger, even the stranger within your gates; still more to the stranger halfway over your gates. He is alarmed at such deafening and furious docility; he 逃げるs from that 広大な／多数の／重要な monster of mildness.
井戸／弁護士席, I have much the same feeling when I look at the roses 階級d red and 厚い and resolute 一連の会議、交渉／完成する a garden; they seem to me bold and even blustering. I 急いで to say that I know even いっそう少なく about my own garden than about anybody else's garden. I know nothing about roses, not even their 指名するs. I know only the 指名する Rose; and Rose is (in every sense of the word) a Christian 指名する. It is Christian in the one 絶対の and primordial sense of Christian—that it comes 負かす／撃墜する from the age of pagans. The rose can be seen, and even smelt, in Greek, Latin, Provencal, Gothic, Renascence, and Puritan poems. Beyond this mere word Rose, which (like ワイン and other noble words) is the same in all the tongues of white men, I know literally nothing. I have heard the more evident and advertised 指名するs. I know there is a flower which calls itself the Glory of Dijon—which I had supposed to be its cathedral. In any 事例／患者, to have produced a rose and a cathedral is to have produced not only two very glorious and humane things, but also (as I 持続する) two very soldierly and 反抗的な things. I also know there is a rose called Marechal Niel—公式文書，認める once more the 軍の （犯罪の）一味.
And when I was walking 一連の会議、交渉／完成する my garden the other day I spoke to my gardener (an 企業 of no little valour) and asked him the 指名する of a strange dark rose that had somehow oddly taken my fancy. It was almost as if it reminded me of some turbid element in history and the soul. Its red was not only swarthy, but smoky; there was something congested and wrathful about its colour. It was at once theatrical and sulky. The gardener told me it was called 勝利者 Hugo.
Therefore it is that I feel all roses to have some secret 力／強力にする about them; even their 指名するs may mean something in connexion with themselves, in which they 異なる from nearly all the sons of men. But the rose itself is 王室の and dangerous; long as it has remained in the rich house of civilization, it has never laid off its armour. A rose always looks like a mediaeval gentleman of Italy, with a cloak of crimson and a sword: for the thorn is the sword of the rose.
And there is this real moral in the 事柄; that we have to remember that civilization as it goes on ought not perhaps to grow more fighting—but せねばならない grow more ready to fight. The more 価値のある and reposeful is the order we have to guard, the more vivid should be our ultimate sense of vigilance and 可能性のある 暴力／激しさ. And when I walk 一連の会議、交渉／完成する a summer garden, I can understand how those high mad lords at the end of the Middle Ages, just before their swords 衝突／不一致d, caught at roses for their 直感的に emblems of empire and 競争. For to me any such garden is 十分な of the wars of the roses.
One silver morning I walked into a small grey town of 石／投石する, like twenty other grey western towns, which happened to be called Glastonbury; and saw the 魔法 thorn of 近づく two thousand years growing in the open 空気／公表する as casually as any bush in my garden.
In Glastonbury, as in all noble and humane things, the myth is more important than the history. One cannot say anything stronger of the strange old tale of St. Joseph and the Thorn than that it dwarfs St. Dunstan. Standing の中で the actual 石／投石するs and shrubs one thinks of the first century and not of the tenth; one's mind goes 支援する beyond the Saxons and beyond the greatest 政治家 of the Dark Ages. The tale that Joseph of Arimathea （機の）カム to Britain is 推定では a mere legend. But it is not by any means so incredible or preposterous a legend as many modern people suppose. The popular notion is that the thing is やめる comic and 信じられない; as if one said that Wat Tyler went to Chicago, or that John Bunyan discovered the North 政治家. We think of パレスチナ as little, localized and very 私的な, of Christ's 信奉者s as poor folk, astricti globis, rooted to their towns or 貿易（する）s; and we think of 広大な 大勝するs of travel and constant world-communications as things of 最近の and 科学の origin. But this is wrong; at least, the last part of it is. It is part of that large and placid 嘘（をつく） that the rationalists tell when they say that Christianity arose in ignorance and 野蛮／未開. Christianity arose in the 厚い of a brilliant and bustling cosmopolitan civilization. Long sea-voyages were not so quick, but were やめる as incessant as to-day; and though in the nature of things Christ had not many rich 信奉者s, it is not unnatural to suppose that He had some. And a Joseph of Arimathea may easily have been a Roman 国民 with a ヨット that could visit Britain. The same fallacy is 雇うd with the same 同志／支持者 動機 in the 事例／患者 of the Gospel of St. John; which critics say could not have been written by one of the first few Christians because of its Greek transcendentalism and its Platonic トン. I am no 裁判官 of the philology, but every human 存在 is a divinely 任命するd 裁判官 of the philosophy: and the Platonic トン seems to me to 証明する nothing at all. パレスチナ was not a secluded valley of barbarians; it was an open 州 of a polyglot empire, 侵略（する）／超過（する） with all sorts of people of all 肉親，親類d of education. To take a rough 平行の: suppose some 広大な／多数の／重要な prophet arose の中で the Boers in South Africa. The prophet himself might be a simple or unlettered man. But no one who knows the modern world would be surprised if one of his closest 信奉者s were a Professor from Heidelberg or an M.A. from Oxford.
All this is not 勧めるd here with any notion of 証明するing that the tale of the thorn is not a myth; as I have said, it probably is a myth. It is 勧めるd with the much more important 反対する of pointing out the proper 態度 に向かって such myths.. The proper 態度 is one of 疑問 and hope and of a 肉親，親類d of light mystery. The tale is certainly not impossible; as it is certainly not 確かな . And through all the ages since the Roman Empire men have fed their healthy fancies and their historical imagination upon the very twilight 条件 of such tales. But to-day real agnosticism has 拒絶する／低下するd along with real theology. People cannot leave a creed alone; though it is the essence of a creed to be （疑いを）晴らす. But neither can they leave a legend alone; though it is the essence of a legend to be vague. That sane half scepticism which was 設立する in all rustics, in all ghost tales and fairy tales, seems to be a lost secret. Modern people must make scientifically 確かな that St. Joseph did or did not go to Glastonbury, にもかかわらず the fact that it is now やめる impossible to find out; and that it does not, in a 宗教的な sense, very much 事柄. But it is 必須の to feel that he may have gone to Glastonbury: all songs, arts, and dedications 支店ing and blossoming like the thorn, are rooted in some such sacred 疑問. Taken thus, not ひどく like a problem but lightly like an old tale, the thing does lead one along the road of very strange realities, and the thorn is 設立する growing in the heart of a very secret maze of the soul. Something is really 現在の in the place; some closer 接触する with the thing which covers Europe but is still a secret. Somehow the grey town and the green bush touch across the world the strange small country of the garden and the 墓／厳粛／彫る／重大な; there is verily some communion between the thorn tree and the 栄冠を与える of thorns.
A man never knows what tiny thing will startle him to such ancestral and impersonal 涙／ほころびs. Piles of superb masonry will often pass like a ありふれた panorama; and on this grey and silver morning the 廃虚d towers of the cathedral stood about me somewhat ばく然と like grey clouds. But 負かす／撃墜する in a hollow where the 地元の antiquaries are making a 実りの多い／有益な 穴掘り, a magnificent old ruffian with a pickaxe (whom I believe to have been St. Joseph of Arimathea) showed me a fragment of the old 丸天井d roof which he had 設立する in the earth; and on the whitish grey 石／投石する there was just a faint 小衝突 of gold. There seemed a piercing and swordlike pathos, an 予期しない fragrance of all forgotten or desecrated things, in the 明らかにする 生き残り of that poor little pigment upon the imperishable 激しく揺する. To the strong 形態／調整s of the Roman and the Gothic I had grown accustomed; but that weak touch of colour was at once tawdry and tender, like some popular keepsake. Then I knew that all my fathers were men like me; for the columns and arches were 墓／厳粛／彫る／重大な, and told of the gravity of the 建設業者s; but here was one touch of their gaiety. I almost 推定する／予想するd it to fade from the 石／投石する as I 星／主役にするd. It was as if men had been able to 保存する a fragment of a sunset.
And then I remembered how the artistic critics have always 賞賛するd the 墓／厳粛／彫る／重大な 色合いs and the grim 影をつくる／尾行するs of the 崩壊するing cloisters and abbey towers, and how they themselves often dress up like Gothic 廃虚s in the sombre トンs of 薄暗い grey 塀で囲むs or dark green ivy. I remembered how they hated almost all 最初の／主要な things, but 特に 最初の／主要な colours. I knew they were 高く評価する／（相場などが）上がるing much more delicately and truly than I the sublime 骸骨／概要 and the mighty fungoids of the dead Glastonbury. But I stood for an instant alive in the living Glastonbury, gay with gold and coloured like the toy-調書をとる／予約する of a child.
It was a warm golden evening, fit for October, and I was watching (with 悔いる) a lot of little 黒人／ボイコット pigs 存在 turned out of my garden, when the postman 手渡すd to me, with a perfunctory haste which doubtless masked his emotion, the 宣言 of Futurism. If you ask me what Futurism is, I cannot tell you; even the Futurists themselves seem a little doubtful; perhaps they are waiting for the 未来 to find out. But if you ask me what its 宣言 is, I answer 熱望して; for I can tell you やめる a lot about that. It is written by an Italian 指名するd Marinetti, in a magazine which is called Poesia. It is 長，率いるd "宣言 of Futurism" in enormous letters; it is divided off with little numbers; and it starts straight away like this: "1. We ーするつもりである to glorify the love of danger, the custom of energy, the strengt of daring. 2. The 必須の elements of our poetry will be courage, audacity, and 反乱. 3. Literature having up to now glorified thoughtful immobility, ecstasy, and slumber, we wish to exalt the 積極的な movement, the feverish insomnia, running, the perilous leap, the cuff and the blow." While I am やめる willing to exalt the cuff within 推論する／理由, it scarcely seems such an 完全に new 支配する for literature as the Futurists imagine. It seems to me that even through the slumber which fills the 包囲 of Troy, the Song of Roland, and the Orlando Furioso, and in spite of the thoughtful immobility which 示すs "Pantagruel," "Henry V," and the Ballad of Chevy Chase, there are 時折の gleams of an 賞賛 for courage, a 準備完了 to glorify the love of danger, and even the "strengt of daring," I seem to remember, わずかに 異なって spelt, somewhere in literature.
The distinction, however, seems to be that the 軍人s of the past went in for tournaments, which were at least dangerous for themselves, while the Futurists go in for モーター-cars, which are おもに alarming for other people. It is the Futurist in his モーター who does the "積極的な movement," but it is the 歩行者s who go in for the "running" and the "perilous leap." Section No. 4 says, "We 宣言する that the splendour of the world has been 濃厚にするd with a new form of beauty, the beauty of 速度(を上げる）. A race-automobile adorned with 広大な／多数の／重要な 麻薬を吸うs like serpents with 爆発性の breath.... A race-automobile which seems to 急ぐ over 爆発するing 砕く is more beautiful than the Victory of Samothrace." It is also much easier, if you have the money. It is やめる （疑いを）晴らす, however, that you cannot be a Futurist at all unless you are frightfully rich. Then follows this lucid and soul-stirring 宣告，判決: "5. We will sing the 賞賛するs of man 持つ／拘留するing the flywheel of which the ideal steering-地位，任命する 横断するs the earth impelled itself around the 回路・連盟 of its own 軌道." What a jolly song it would be—so hearty, and with such a simple swing in it! I can imagine the Futurists 一連の会議、交渉／完成する the 解雇する／砲火／射撃 in a tavern trolling out in chorus some ballad with that incomparable 差し控える; shouting over their swaying flagons some such words as these:
A notion （機の）カム into my 長，率いる as new as it was 有望な
That poems might be written on the 支配する of a fight;
No 賞賛する was given to Lancelot, Achilles, Nap or Corbett,
But we will sing the 賞賛するs of man 持つ／拘留するing the flywheel
of which the ideal steering-地位，任命する 横断するs the earth
impelled itself around the 回路・連盟 of its own 軌道.
Then lest it should be supposed that Futurism would be so weak as to 許す any democratic 抑制s upon the 暴力／激しさ and levity of the luxurious classes, there would be a special 詩（を作る） in honour of the モーターs also:
My fathers 規模d the mountains in their 巡礼の旅s far,
But I feel 十分な of energy while sitting in a car;
And 石油 is the perfect ワイン,
I lick it and 吸収する it,
So we will sing the 賞賛するs of man 持つ／拘留するing the flywheel
of which the ideal steering-地位，任命する 横断するs the earth
impelled itself around the 回路・連盟 of its own 軌道.
Yes, it would be a rollicking catch. I wish there were space to finish the song, or to 詳細（に述べる） all the other sections in the 宣言. 十分である it to say that Futurism has a gratifying dislike both of 自由主義の politics and Christian morals; I say gratifying because, however unfortunately the cross and the cap of liberty have quarrelled, they are always 部隊d in the feeble 憎悪 of such silly megalomaniacs as these. They will "glorify war—the only true hygiene of the world—軍国主義, patriotism, the destructive gesture of 無政府主義, the beautiful ideas which kill, and the 軽蔑（する） of woman." They will "destroy museums, libraries, and fight against moralism, feminism, and all utilitarian cowardice." The 布告／宣言 ends with an 驚くべき／特命の／臨時の passage which I cannot understand at all, all about something that is going to happen to Mr. Marinetti when he is forty. As far as I can make out he will then be killed by other poets, who will be 圧倒するd with love and 賞賛 for him. "They will come against us from far away, from everywhere, leaping on the cadence of their first poems, clawing the 空気／公表する with crooked fingers and scenting at the 学院 gates the good smell of our decaying minds." 井戸／弁護士席, it is 満足な to be told, however obscurely, that this sort of thing is coming to an end some day, to be 取って代わるd by some other tomfoolery. And though I 一般的に 差し控える from clawing the 空気／公表する with crooked fingers, I can 保証する Mr. Marinetti that this omission does not disqualify me, and that I scent the good smell of his decaying mind all 権利.
I think the only other point of Futurism is 含む／封じ込めるd in this 宣告，判決: "It is in Italy that we hurl this 倒すing and inflammatory 宣言, with which to-day we 設立する Futurism, for we will 解放する／自由な Italy from her numberless museums which cover her with countless 共同墓地s." I think that rather sums it up. The best way, one would think, of 解放する／自由なing oneself from a museum would be not to go there. Mr. Marinetti's fathers and grandfathers 解放する／自由なd Italy from 刑務所，拘置所s and 拷問 議会s, places where people were held by 軍隊. They, 存在 in the bondage of "moralism," attacked 政府s as 不正な, real 政府s, with real guns. Such was their utilitarian cowardice that they would die in hundreds upon the 銃剣 of Austria. I can 井戸／弁護士席 imagine why Mr. Marinetti in his モーター-car does not wish to look 支援する at the past. If there was one thing that could make him look smaller even than before it is that roll of dead men's 派手に宣伝するs and that dream of Garibaldi going by. The old 過激な ghosts go by, more real than the living men, to 強襲，強姦 I know not what ramparted city in hell. And 一方／合間 the Futurist stands outside a museum in a warlike 態度, and defiantly tells the 公式の／役人 at the turnstile that he will never, never come in.
There is a 確かな solid use in fools. It is not so much that they 急ぐ in where angels 恐れる to tread, but rather that they let out what devils ーするつもりである to do. Some perversion of folly will float about nameless and pervade a whole society; then some lunatic gives it a 指名する, and henceforth it is 害のない. With all really evil things, when the danger has appeared the danger is over. Now it may be hoped that the self-indulgent sprawlers of Poesia have put a 指名する once and for all to their philosophy. In the 事例／患者 of their philosophy, to put a 指名する to it is to put an end to it. Yet their philosophy has been very 普及した in our time; it could hardly have been pointed and finished except by this perfect folly. The creed of which (please God) this is the flower and finish consists 最終的に in this 声明: that it is bold and spirited to 控訴，上告 to the 未来. Now, it is 完全に weak and half-witted to 控訴，上告 to the 未来. A 勇敢に立ち向かう man せねばならない ask for what he wants, not for what he 推定する／予想するs to get. A 勇敢に立ち向かう man who wants Atheism in the 未来 calls himself an Atheist; a 勇敢に立ち向かう man who wants 社会主義, a 社会主義者; a 勇敢に立ち向かう man who wants Catholicism, a カトリック教徒. But a weak-minded man who does not know what he wants in the 未来 calls himself a Futurist.
They have driven all the pigs away. Oh that they had driven away the prigs, and left the pigs! The sky begins to droop with 不明瞭 and all birds and blossoms to descend unfaltering into the healthy 暗黒街 where things slumber and grow. There was just one true phrase of Mr. Marinetti's about himself: "the feverish insomnia." The whole universe is 注ぐing headlong to the happiness of the night. It is only the madman who has not the courage to sleep.
The Duc de Chambertin-Pommard was a small but lively 遺物 of a really aristocratic family, the members of which were nearly all Atheists up to the time of the French 革命, but since that event (有益な in such さまざまな ways) had been very devout. He was a Royalist, a 国家主義者, and a perfectly sincere 愛国者 in that particular style which consists of ceaselessly 主張するing that one's country is not so much in danger as already destroyed. He wrote cheery little articles for the Royalist 圧力（をかける） する権利を与えるd "The End of フラン" or "The Last Cry," or what not, and he gave the final touches to a picture of the Kaiser riding across a pavement of prostrate Parisians with a glow of 愛国的な exultation. He was やめる poor, and even his relations had no money. He walked briskly to all his meals at a little open cafe, and he looked just like everybody else.
Living in a country where aristocracy does not 存在する, he had a high opinion of it. He would yearn for the swords and the stately manners of the Pommards before the 革命—most of whom had been (in theory) 共和国の／共和党のs. But he turned with a more practical 切望 to the one country in Europe where the tricolour has never flown and men have never been 概略で equalized before the 明言する／公表する. The beacon and 慰安 of his life was England, which all Europe sees 明確に as the one pure aristocracy that remains. He had, moreover, a 穏やかな taste for sport and kept an English bulldog, and he believed the English to be a race of bulldogs, of heroic squires, and hearty yeomen vassals, because he read all this in English 保守的な papers, written by exhausted little Levantine clerks. But his reading was 自然に for the most part in the French 保守的な papers (though he knew English 井戸／弁護士席), and it was in these that he first heard of the horrible 予算. There he read of the confiscatory 革命 planned by the Lord （ドイツなどの）首相／（大学の）学長 of the 国庫, the 悪意のある Georges Lloyd. He also read how chivalrously Prince Arthur Balfour of Burleigh had 反抗するd that demagogue, 補助装置d by Austen the Lord Chamberlain and the gay and witty Walter Lang. And 存在 a きびきびした 同志／支持者 and a 有能な 新聞記者／雑誌記者, he decided to 支払う／賃金 England a special visit and 報告（する）／憶測 to his paper upon the struggle.
He drove for an eternity in an open 飛行機で行く through beautiful 支持を得ようと努めるd, with a letter of introduction in his pocket to one duke, who was to introduce him to another duke. The endless and numberless avenues of bewildering pine 支持を得ようと努めるd gave him a queer feeling that he was 運動ing through the countless 回廊（地帯）s of a dream. Yet the 広大な silence and freshness 傷をいやす／和解させるd his irritation at modern ugliness and 不安. It seemed a background fit for the return of chivalry. In such a forest a king and all his 法廷，裁判所 might lose themselves 追跡（する）ing or a knight errant might 死なせる／死ぬ with no companion but God. The 城 itself when he reached it was somewhat smaller than he had 推定する／予想するd, but he was delighted with its romantic and castellated 輪郭（を描く）. He was just about to alight when somebody opened two enormous gates at the 味方する and the 乗り物 drove briskly through.
"That is not the house?" he 問い合わせd politely of the driver.
"No, sir," said the driver, controlling the corners of his mouth. "The 宿泊する, sir."
"Indeed," said the Duc de Chambertin-Pommard, "that is where the Duke's land begins?"
"Oh no, sir," said the man, やめる in 苦しめる. "We've been in his Grace's land all day."
The Frenchman thanked him and leant 支援する in the carriage, feeling as if everything were incredibly 抱擁する and 広大な, like Gulliver in the country of the Brobdingnags.
He got out in 前線 of a long facade of a somewhat 厳しい building, and a little careless man in a 狙撃 jacket and knickerbockers ran 負かす／撃墜する the steps. He had a weak, fair moustache and dull, blue, babyish 注目する，もくろむs; his features were insignificant, but his manner 極端に pleasant and hospitable, This was the Duke of Aylesbury, perhaps the largest landowner in Europe, and known only as a horsebreeder until he began to 令状 abrupt little letters about the 予算. He led the French Duke upstairs, talking trivialties in a hearty way, and there 現在のd him to another and more important English oligarch, who got up from a 令状ing-desk with a わずかに senile jerk. He had a gleaming bald 長，率いる and glasses; the lower part of his 直面する was masked with a short, dark 耐えるd, which did not 隠す a beaming smile, not unmixed with sharpness. He stooped a little as he ran, like some sedentary 長，率いる clerk or cashier; and even without the cheque-調書をとる／予約する and papers on his desk would have given the impression of a merchant or man of 商売／仕事. He was dressed in a light grey check jacket. He was the Duke of Windsor, the 広大な／多数の／重要な Unionist 政治家. Between these two loose, amiable men, the little Gaul stood 築く in his 黒人／ボイコット frock coat, with the monstrous gravity of French 儀式の good manners. This stiffness led the Duke of Windsor to put him at his 緩和する (like a tenant), and he said, rubbing his 手渡すs:
"I was delighted with your letter... delighted. I shall be very pleased if I can give you—er—any 詳細（に述べる）s."
"My visit," said the Frenchman, "scarcely 十分であるs for the 科学の exhaustion of 詳細（に述べる）. I 捜し出す only the idea. The idea, that is always the 即座の thing."
"やめる so," said the other 速く; "やめる so... the idea."
Feeling somehow that it was his turn (the English Duke having done all that could be 要求するd of him) Pommard had to say: "I mean the idea of aristocracy. I regard this as the last 広大な／多数の／重要な 戦う／戦い for the idea. Aristocracy, like any other thing, must 正当化する itself to mankind. Aristocracy is good because it 保存するs a picture of human dignity in a world where that dignity is often obscured by servile necessities. Aristocracy alone can keep a 確かな high reticence of soul and 団体／死体, a 確かな noble distance between the sexes."
The Duke of Aylesbury, who had a clouded recollection of having squirted soda-water 負かす／撃墜する the neck of a Countess on the previous evening, looked somewhat 暗い／優うつな, as if lamenting the theoretic spirit of the Latin race. The 年上の Duke laughed heartily, and said: "井戸／弁護士席, 井戸／弁護士席, you know; we English are horribly practical. With us the 広大な／多数の／重要な question is the land. Out here in the country ... do you know this part?"
"Yes, yes," cried the Frenchmen 熱望して. "I See what you mean. The country! the old rustic life of humanity! A 宗教上の war upon the bloated and filthy towns. What 権利 have these anarchists to attack your busy and 繁栄する countrysides? Have they not thriven under your 管理／経営? Are not the English villages always growing larger and gayer under the enthusiastic leadership of their encouraging squires? Have you not the Maypole? Have you not Merry England?"
The Duke of Aylesbury made a noise in his throat, and then said very indistinctly: "They all go to London."
"All go to London?" repeated Pommard, with a blank 星／主役にする. "Why?"
This time nobody answered, and Pommard had to attack again.
"The spirit of aristocracy is essentially …に反対するd to the greed of the 産業の cities. Yet in フラン there are 現実に one or two nobles so vile as to 運動 coal and gas 貿易（する）s, and 運動 them hard." The Duke of Windsor looked at the carpet. The Duke of Aylesbury went and looked out of the window. At length the latter said: "That's rather stiff, you know. One has to look after one's own 商売／仕事 in town 同様に."
"Do not say it," cried the little Frenchman, starting up. "I tell you all Europe is one fight between 商売／仕事 and honour. If we do not fight for honour, who will? What other 権利 have we poor two-legged sinners to 肩書を与えるs and ４半期/4分の1d 保護物，者s except that we staggeringly support some idea of giving things which cannot be 需要・要求するd and 避けるing things which cannot be punished? Our only （人命などを）奪う，主張する is to be a 塀で囲む across Christendom against the Jew pedlars and pawnbrokers, against the Goldsteins and the—"
The Duke of Aylesbury swung 一連の会議、交渉／完成する with his 手渡すs in his pockets.
"Oh, I say," he said, "you've been readin' Lloyd George. Nobody but dirty 過激なs can say a word against Goldstein."
"I certainly cannot 許す," said the 年上の Duke, rising rather shakily, "the 尊敬（する）・点d 指名する of Lord Goldstein—"
He ーするつもりであるd to be impressive, but there was something in the Frenchman's 注目する，もくろむ that is not so easily impressed; there shone there that steel which is the mind of フラン.
"Gentlemen," he said, "I think I have all the 詳細（に述べる）s now. You have 支配するd England for four hundred years. By your own account you have not made the countryside endurable to men. By your own account you have helped the victory of vulgarity and smoke. And by your own account you are 手渡す and glove with those very money-grubbers and adventurers whom gentlemen have no other 商売／仕事 but to keep at bay. I do not know what your people will do; but my people would kill you."
Some seconds afterwards he had left the Duke's house, and some hours afterwards the Duke's 広い地所.
I suppose that, taking this summer as a whole, people will not call it an appropriate time for 賞賛するing the English 気候. But for my part I will 賞賛する the English 気候 till I die—even if I die of the English 気候. There is no 天候 so good as English 天候. Nay, in a real sense there is no 天候 at all anywhere but in England. In フラン you have much sun and some rain; in Italy you have hot 勝利，勝つd and 冷淡な 勝利，勝つd; in Scotland and Ireland you have rain, either 厚い or thin; in America you have hells of heat and 冷淡な, and in the Tropics you have sunstrokes 変化させるd by thunderbolts. But all these you have on a 幅の広い and 残虐な 規模, and you settle 負かす／撃墜する into contentment or despair. Only in our own romantic country do you have the 厳密に romantic thing called 天候; beautiful and changing as a woman. The 広大な／多数の／重要な English landscape painters (neglected now like everything that is English) have this salient distinction: that the 天候 is not the atmosphere of their pictures; it is the 支配する of their pictures. They paint portraits of the 天候. The 天候 sat to Constable. The 天候 提起する／ポーズをとるd for Turner, and a ジュース of a 提起する／ポーズをとる it was. This cannot truly be said of the greatest of their 大陸の models or 競争相手s. Poussin and Claude painted 反対するs, 古代の cities or perfect Arcadian shepherds through a （疑いを）晴らす medium of the 気候. But in the English painters 天候 is the hero; with Turner an Adelphi hero, taunting, flashing and fighting, melodramatic but really magnificent. The English 気候, a tall and terrible protagonist, 式服d in rain and 雷鳴 and snow and sunlight, fills the whole canvas and the whole foreground. I 収容する／認める the 優越 of many other French things besides French art. But I will not 産する／生じる an インチ on the 優越 of English 天候 and 天候-絵. Why, the French have not even got a word for 天候: and you must ask for the 天候 in French as if you were asking for the time in English.
Then, again, variety of 気候 should always go with 安定 of abode. The 天候 in the 砂漠 is monotonous; and as a natural consequence the Arabs wander about, hoping it may be different somewhere. But an Englishman's house is not only his 城; it is his fairy 城. Clouds and colours of every 変化させるd 夜明け and eve are perpetually touching and turning it from clay to gold, or from gold to ivory. There is a line of woodland beyond a corner of my garden which is literally different on every one of the three hundred and sixty-five days. いつかs it seems as 近づく as a hedge, and いつかs as far as a faint and fiery evening cloud. The same 原則 (by the way) 適用するs to the difficult problem of wives. Variability is one of the virtues of a woman. It 避けるs the 天然のまま 必要物／必要条件 of polygamy. So long as you have one good wife you are sure to have a spiritual harem.
Now, の中で the heresies that are spoken in this 事柄 is the habit of calling a grey day a "colourless" day. Grey is a colour, and can be a very powerful and pleasing colour. There is also an 侮辱ing style of speech about "one grey day just like another" You might 同様に talk about one green tree just like another. A grey clouded sky is indeed a canopy between us and the sun; so is a green tree, if it comes to that. But the grey umbrellas 異なる as much as the green in their style and 形態／調整, in their 色合い and 攻撃する. One day may be grey like steel, and another grey like dove's plumage. One may seem grey like the deathly 霜, and another grey like the smoke of 相当な kitchens. No things could seem その上の apart than the 疑問 of grey and the 決定／判定勝ち（する） of scarlet. Yet grey and red can mingle, as they do in the morning clouds: and also in a sort of warm smoky 石／投石する of which they build the little towns in the west country. In those towns even the houses that are wholly grey have a glow in them; as if their secret firesides were such furnaces of 歓待 as faintly to transfuse the 塀で囲むs like 塀で囲むs of cloud. And wandering in those westland parts I did once really find a 調印する-地位，任命する pointing up a 法外な crooked path to a town that was called Clouds. I did not climb up to it; I 恐れるd that either the town would not be good enough for the 指名する, or I should not be good enough for the town. Anyhow, the little hamlets of the warm grey 石／投石する have a geniality which is not 達成するd by all the artistic scarlet of the 郊外s; as if it were better to warm one's 手渡すs at the ashes of Glastonbury than at the painted 炎上s of Croydon.
Again, the enemies of grey (those astute, daring and evil-minded men) are fond of bringing 今後 the argument that colours 苦しむ in grey 天候, and that strong sunlight is necessary to all the hues of heaven and earth. Here again there are two words to be said; and it is 必須の to distinguish. It is true that sun is needed to burnish and bring into bloom the tertiary and 疑わしい colours; the colour of peat, pea-soup, Impressionist sketches, brown velvet coats, olives, grey and blue 予定するs, the complexions of vegetarians, the 色合いs of 火山の 激しく揺する, chocolate, cocoa, mud, すす, わずかな／ほっそりした, old boots; the delicate shades of these do need the sunlight to bring out the faint beauty that often 粘着するs to them. But if you have a healthy negro taste in colour, if you choke your garden with poppies and geraniums, if you paint your house sky-blue and scarlet, if you wear, let us say, a golden 最高の，を越す-hat and a crimson frock-coat, you will not only be 明白な on the greyest day, but you will notice that your 衣装 and 環境 produce a 確かな singular 影響. You will find, I mean, that rich colours 現実に look more luminous on a grey day, because they are seen against a sombre background and seem to be 燃やすing with a lustre of their own. Against a dark sky all flowers look like 花火s. There is something strange about them, at once vivid and secret, like flowers traced in 解雇する／砲火／射撃 in the phantasmal garden of a witch. A 有望な blue sky is やむを得ず the high light of the picture; and its brightness kills all the 有望な blue flowers. But on a grey day the larkspur looks like fallen heaven; the red daisies are really the red lost 注目する，もくろむs of day; and the sunflower is the 副／悪徳行為-regent of the sun.
Lastly, there is this value about the colour that men call colourless; that it 示唆するs in some way the mixed and troubled 普通の／平均（する） of 存在, 特に in its 質 of 争い and 期待 and 約束. Grey is a colour that always seems on the eve of changing to some other colour; of brightening into blue or blanching into white or bursting into green and gold. So we may be perpetually reminded of the 不明確な／無期限の hope that is in 疑問 itself; and when there is grey 天候 in our hills or grey hairs in our 長，率いるs, perhaps they may still remind us of the morning.
I have now lived for about two months in the country, and have gathered the last rich autumnal fruit of a 田舎の life, which is a strong 願望（する） to see London. Artists living in my neighbourhood talk rapturously of the rolling liberty of the landscape, the living peace of 支持を得ようと努めるd. But I say to them (with a slight Buckinghamshire accent), "Ah, that is how Cockneys feel. For us real old country people the country is reality; it is the town that is romance. Nature is as plain as one of her pigs, as commonplace, as comic, and as healthy. But civilization is 十分な of poetry, even if it be いつかs an evil poetry. The streets of London are 覆うd with gold; that is, with the very poetry of avarice." With these typically bucolic words I touch my hat and go ambling away on a stick, with a stiffness of gait proper to the Oldest Inhabitant; while in my more animated moments I am taken for the Village Idiot. 交流ing 激しい but courteous salutations with other gaffers, I reach the 駅／配置する, where I ask for a ticket for London where the king lives. Such a 旅行, mingled of 地方の fascination and 恐れる, did I 首尾よく 成し遂げる only a few days ago; and alone and helpless in the 資本／首都, 設立する myself in the 絡まる of roads around the Marble Arch.
A faint prejudice may 所有する the mind that I have わずかに 誇張するd my rusticity and remoteness. And yet it is true as I （機の）カム to that corner of the Park that, for some 不当な 推論する／理由 of mood, I saw all London as a strange city and the civilization itself as one enormous whim. The Marble Arch itself, in its new insular position, with traffic turning dizzily all about it, struck me as a placid monstrosity. What could be wilder than to have a 抱擁する arched gateway, with people going everywhere except under it? If I took 負かす／撃墜する my 前線 door and stood it up all by itself in the middle of my 支援する garden, my village 隣人s (in their 簡単) would probably 星／主役にする. Yet the Marble Arch is now 正確に that; an (a)手の込んだ／(v)詳述する 入り口 and the only place by which no one can enter. By the new 協定 its last weak pretence to be a gate has been taken away. The cabman still cannot 運動 through it, but he can have the delights of riding 一連の会議、交渉／完成する it, and even (on 霧がかかった nights) the rapture of running into it. It has been raised from the 階級 of a fiction to the dignity of an 障害.
As I began to walk across a corner of the Park, this sense of what is strange in cities began to mingle with some sense of what is 厳しい 同様に as strange. It was one of those queer-coloured winter days when a watery sky changes to pink and grey and green, like an enormous opal. The trees stood up grey and angular, as if in 態度s of agony; and here and there on （法廷の）裁判s under the trees sat men as grey and angular as they. It was 冷淡な even for me, who had eaten a large breakfast and 目的d to eat a perfectly Gargantuan lunch; it was colder for the men under the trees. And to eastward through the opalescent 煙霧, the warmer whites and yellows of the houses in Park-小道／航路 shone as unsubstantially as if the clouds themselves had taken on the 形態／調整 of mansions to mock the men who sat there in the 冷淡な. But the mansions were real—like the mockery.
No one 価値（がある） calling a man 許すs his moods to change his 有罪の判決s; but it is by moods that we understand other men's 有罪の判決s. The bigot is not he who knows he is 権利; every sane man knows he is 権利. The bigot is he whose emotions and imagination are too 冷淡な and weak to feel how it is that other men go wrong. At that moment I felt vividly how men might go wrong, even unto dynamite. If one of those 密談する／（身体を）寄せ集めるd men under the trees had stood up and asked for rivers of 血, it would have been erroneous—but not irrelevant. It would have been appropriate and in the picture; that lurid grey picture of insolence on one 味方する and impotence on the other. It may be true (on the whole it is) that this social machine we have made is better than anarchy. Still, it is a machine; and we have made it. It does 持つ／拘留する those poor men helpless: and it does 解除する those rich men high... and such men—good Lord! By the time I flung myself on a （法廷の）裁判 beside another man I was half inclined to try anarchy for a change.
The other was of more 繁栄する 外見 than most of the men on such seats; still, he was not what one calls a gentleman, and had probably worked at some time like a human 存在. He was a small, sharp-直面するd man, with 墓／厳粛／彫る／重大な, 星／主役にするing 注目する，もくろむs, and a 耐えるd somewhat foreign. His 着せる／賦与するs were 黒人／ボイコット; respectable and yet casual; those of a man who dressed 慣例的に because it was a bore to dress unconventionally—as it is. Attracted by this and other things, and wanting an 爆発 for my bitter social feelings, I tempted him into speech, first about the 冷淡な, and then about the General 選挙. To this the respectable man replied:
"井戸／弁護士席, I don't belong to any party myself. I'm an Anarchist."
I looked up and almost 推定する／予想するd 解雇する／砲火／射撃 from heaven. This coincidence was like the end of the world. I had sat 負かす／撃墜する feeling that somehow or other Park-小道／航路 must be pulled 負かす／撃墜する; and I had sat 負かす／撃墜する beside the man who 手配中の，お尋ね者 to pull it 負かす／撃墜する. I 屈服するd in silence for an instant under the approaching apocalypse; and in that instant the man turned はっきりと and started talking like a 激流.
"Understand me," he said. "Ordinary people think an Anarchist means a man with a 爆弾 in his pocket. Herbert Spencer was an Anarchist. But for that 致命的な admission of his on page 793, he would be a 完全にする Anarchist. さもなければ, he agrees wholly with Pidge."
This was uttered with such blinding rapidity of syllabification as to be a better 実験（する） of teetotalism than the Scotch one of 説 "Biblical 批評" six times. I 試みる／企てるd to speak, but he began again with the same rippling rapidity.
"You will say that Pidge also 収容する／認めるs 政府 in that tenth 一時期／支部 so easily misunderstood. Bolger has attacked Pidge on those lines. But Bolger has no 科学の training. Bolger is a psychometrist, but no sociologist. To any one who has 連合させるd a 熟考する／考慮する of Pidge with the earlier and better 発見s of Kruxy, the fallacy is やめる （疑いを）晴らす. Bolger confounds social coercion with coercional social 活動／戦闘."
His 早い 動揺させるing mouth shut やめる tight suddenly, and he looked 刻々と and triumphantly at me, with his 長，率いる on one 味方する. I opened my mouth, and the mere 動議 seemed to sting him to fresh 言葉の leaps.
"Yes," he said, "that's all very 井戸／弁護士席. The Finland Group has 受託するd Bolger. But," he said, suddenly 解除するing a long finger as if to stop me, "but—Pidge has replied. His 小冊子 is published. He has 証明するd that 可能性のある Social Rebuke is not a 武器 of the true Anarchist. He has shown that just as 宗教的な 当局 and political 当局 have gone, so must emotional 当局 and psychological 当局. He has shown—"
I stood up in a sort of daze. "I think you 発言／述べるd," I said feebly, "that the mere ありふれた populace do not やめる understand 無政府主義"—"やめる so," he said with 燃やすing swiftness; "as I said, they think any Anarchist is a man with a 爆弾, 反して—"
"But 広大な／多数の／重要な heavens, man!" I said; "it's the man with the 爆弾 that I understand! I wish you had half his sense. What do I care how many German dons tie themselves in knots about how this society began? My only 利益／興味 is about how soon it will end. Do you see those fat white houses over in Park-小道／航路, where your masters live?"
He assented and muttered something about 集中s of 資本／首都.
"井戸／弁護士席," I said, "if the time ever comes when we all 嵐／襲撃する those houses, will you tell me one thing? Tell me how we shall do it without 当局? Tell me how you will have an army of 反乱 without discipline?"
For the first instant he was doubtful; and I had bidden him 別れの（言葉，会）, and crossed the street again, when I saw him open his mouth and begin to run after me. He had remembered something out of Pidge.
I escaped, however, and as I leapt on an omnibus I saw again the enormous emblem of the Marble Arch. I saw that 大規模な symbol of the modern mind: a door with no house to it; the gigantic gate of Nowhere.
Readers of Mr. Bernard Shaw and other modern writers may be 利益／興味d to know that the Superman has been 設立する. I 設立する him; he lives in South Croydon. My success will be a 広大な／多数の／重要な blow to Mr. Shaw, who has been に引き続いて やめる a 誤った scent, and is now looking for the creature in Blackpool; and as for Mr. 井戸／弁護士席s's notion of 生成するing him out of gases in a 私的な 研究室／実験室, I always thought it doomed to 失敗. I 保証する Mr. 井戸／弁護士席s that the Superman at Croydon was born in the ordinary way, though he himself, of course, is anything but ordinary.
Nor are his parents unworthy of the wonderful 存在 whom they have given to the world. The 指名する of Lady Hypatia Smythe-Browne (now Lady Hypatia Hagg) will never be forgotten in the East End, where she did such splendid social work. Her constant cry of "Save the children!" referred to the cruel neglect of children's eyesight 伴う／関わるd in 許すing them to play with crudely painted toys. She 引用するd unanswerable 統計（学） to 証明する that children 許すd to look at violet and vermilion often 苦しむd from failing eyesight in their extreme old age; and it was 借りがあるing to her ceaseless crusade that the pestilence of the Monkey-on-the-Stick was almost swept from Hoxton. The 充てるd 労働者 would tramp the streets untiringly, taking away the toys from all the poor children, who were often moved to 涙／ほころびs by her 親切. Her good work was interrupted, partly by a new 利益／興味 in the creed of Zoroaster, and partly by a savage blow from an umbrella. It was （打撃，刑罰などを）与えるd by a dissolute Irish apple-woman, who, on returning from some orgy to her ill-kept apartment, 設立する Lady Hypatia in the bedroom taking 負かす／撃墜する an oleograph, which, to say the least of it, could not really elevate the mind. At this the ignorant and partly intoxicated Celt dealt the social 改革者 a 厳しい blow, 追加するing to it an absurd 告訴，告発 of 窃盗. The lady's exquisitely balanced mind received a shock, and it was during a short mental illness that she married Dr. Hagg.
Of Dr. Hagg himself I hope there is no need to speak. Any one even わずかに 熟知させるd with those daring 実験s in Neo-Individualist Eugenics, which are now the one 吸収するing 利益／興味 of the English 僕主主義, must know his 指名する and often commend it to the personal 保護 of an impersonal 力／強力にする. 早期に in life he brought to 耐える that ruthless insight into the history of 宗教s which he had 伸び（る）d in boyhood as an 電気の engineer. Later he became one of our greatest geologists; and 達成するd that bold and 有望な 見通し upon the 未来 of 社会主義 which only 地質学 can give. At first there seemed something like a 不和, a faint, but perceptible, fissure, between his 見解（をとる）s and those of his aristocratic wife. For she was in favour (to use her own powerful epigram) of 保護するing the poor against themselves; while he 宣言するd pitilessly, in a new and striking metaphor, that the weakest must go to the 塀で囲む. 結局, however, the married pair perceived an 必須の union in the unmistakably modern character of both their 見解（をとる）s, and in this enlightening and intelligible 決まり文句／製法 their souls 設立する peace. The result is that this union of the two highest types of our civilization, the 流行の／上流の lady and the all but vulgar 医療の man, has been blessed by the birth of the Superman, that 存在 whom all the labourers in Battersea are so 熱望して 推定する／予想するing night and day.
I 設立する the house of Dr. and Lady Hypatia Hagg without much difficulty; it is 据えるd in one of the last straggling streets of Croydon, and overlooked by a line of poplars. I reached the door に向かって the twilight, and it was natural that I should fancifully see something dark and monstrous in the 薄暗い 本体，大部分／ばら積みの of that house which 含む／封じ込めるd the creature who was more marvellous than the children of men. When I entered the house I was received with exquisite 儀礼 by Lady Hypatia and her husband; but I 設立する much greater difficulty in 現実に seeing the Superman, who is now about fifteen years old, and is kept by himself in a 静かな room. Even my conversation with the father and mother did not やめる （疑いを）晴らす up the character of this mysterious 存在. Lady Hypatia, who has a pale and poignant 直面する, and is 覆う？ in those impalpable and pathetic greys and greens with which she has brightened so many homes in Hoxton, did not appear to talk of her offspring with any of the vulgar vanity of an ordinary human mother. I took a bold step and asked if the Superman was nice looking.
"He creates his own 基準, you see," she replied, with a slight sigh. "Upon that 計画（する） he is more than Apollo. Seen from our lower 計画（する）, of course—" And she sighed again.
I had a horrible impulse, and said suddenly, "Has he got any hair?"
There was a long and painful silence, and then Dr. Hagg said 滑らかに: "Everything upon that 計画（する） is different; what he has got is not... 井戸／弁護士席, not, of course, what we call hair... but—"
"Don't you think," said his wife, very softly, "don't you think that really, for the sake of argument, when talking to the mere public, one might call it hair?"
"Perhaps you are 権利," said the doctor after a few moments' reflection. "In connexion with hair like that one must speak in parables."
"井戸／弁護士席, what on earth is it," I asked in some irritation, "if it isn't hair? Is it feathers?"
"Not feathers, as we understand feathers," answered Hagg in an awful 発言する／表明する.
I got up in some irritation. "Can I see him, at any 率?" I asked. "I am a 新聞記者／雑誌記者, and have no earthly 動機s except curiosity and personal vanity. I should like to say that I had shaken 手渡すs with the Superman."
The husband and wife had both got ひどく to their feet, and stood, embarrassed. "井戸／弁護士席, of course, you know," said Lady Hypatia, with the really charming smile of the aristocratic hostess. "You know he can't 正確に／まさに shake 手渡すs... not 手渡すs, you know.... The structure, of course—"
I broke out of all social bounds, and 急ぐd at the door of the room which I thought to 含む／封じ込める the incredible creature. I burst it open; the room was pitch dark. But from in 前線 of me （機の）カム a small sad yelp, and from behind me a 二塁打 shriek.
"You have done it, now!" cried Dr. Hagg, burying his bald brow in his 手渡すs. "You have let in a draught on him; and he is dead."
As I walked away from Croydon that night I saw men in 黒人／ボイコット carrying out a 棺 that was not of any human 形態／調整. The 勝利，勝つd wailed above me, whirling the poplars, so that they drooped and nodded like the plumes of some cosmic funeral. "It is, indeed," said Dr. Hagg, "the whole universe weeping over the 失望／欲求不満 of its most magnificent birth." But I thought that there was a hoot of laughter in the high wail of the 勝利，勝つd.
Within a 石／投石する's throw of my house they are building another house. I am glad they are building it, and I am glad it is within a 石／投石する's throw; やめる 井戸／弁護士席 within it, with a good catapult. にもかかわらず, I have not yet cast the first 石／投石する at the new house—not 存在, 厳密に speaking, guiltless myself in the 事柄 of new houses. And, indeed, in such 事例／患者s there is a strong 抗議する to be made. The whole 悪口を言う／悪態 of the last century has been what is called the Swing of the Pendulum; that is the idea that Man must go alternately from one extreme to the other. It is a shameful and even shocking fancy; it is the 否定 of the whole dignity of mankind. When Man is alive he stands still. It is only when he is dead that he swings. But whenever one 会合，会うs modern thinkers (as one often does) 進歩ing に向かって a madhouse, one always finds, on 調査, that they have just had a splendid escape from another madhouse. Thus, hundreds of people become 社会主義者s, not because they have tried 社会主義 and 設立する it nice, but because they have tried Individualism and 設立する it 特に 汚い. Thus, many embrace Christian Science 単独で because they are やめる sick of heathen science; they are so tired of believing that everything is 事柄 that they will even take 避難 in the 反乱ing fable that everything is mind. Man せねばならない march somewhere. But modern man (in his sick reaction) is ready to march nowhere—so long as it is the Other End of Nowhere.
The 事例／患者 of building houses is a strong instance of this. 早期に in the nineteenth century our civilization chose to abandon the Greek and 中世 idea of a town, with 塀で囲むs, 限られた／立憲的な and defined, with a 寺 for 約束 and a market-place for politics; and it chose to let the city grow like a ジャングル with blind cruelty and bestial unconsciousness; so that London and Liverpool are the 広大な／多数の／重要な cities we now see. 井戸／弁護士席, people have 反応するd against that; they have grown tired of living in a city which is as dark and 野蛮な as a forest only not as beautiful, and there has been an exodus into the country of those who could afford it, and some I could 指名する who can't. Now, as soon as this やめる 合理的な／理性的な recoil occurred, it flew at once to the opposite extreme. People went about with beaming 直面するs, 誇るing that they were twenty-three miles from a 駅／配置する. Rubbing their 手渡すs, they exclaimed in rollicking asides that their butcher only called once a month, and that their パン職人 started out with fresh hot loaves which were やめる stale before they reached the （米）棚上げする／（英）提議する. A man would 賞賛する his little house in a 静かな valley, but gloomily 収容する／認める (with a slight shake of the 長，率いる) that a human habitation on the distant horizon was faintly discernible on a （疑いを）晴らす day. 競争相手 ruralists would quarrel about which had the most 完全に inconvenient 郵便の service; and there were many jealous heartburnings if one friend 設立する out any uncomfortable 状況／情勢 which the other friend had thoughtlessly overlooked.
In the feverish summer of this fanaticism there arose the phrase that this or that part of England is 存在 "built over." Now, there is not the slightest 反対, in itself, to England 存在 built over by men, any more than there is to its 存在 (as it is already) built over by birds, or by squirrels, or by spiders. But if birds' nests were so 厚い on a tree that one could see nothing but nests and no leaves at all, I should say that bird civilization was becoming a bit decadent. If whenever I tried to walk 負かす／撃墜する the road I 設立する the whole thoroughfare one はうing carpet of spiders, closely interlocked, I should feel a 苦しめる 瀬戸際ing on distaste. If one were at every turn （人が）群がるd, 肘d, overlooked, overcharged, sweated, rack-rented, 搾取するd, and sold up by avaricious and arrogant squirrels, one might at last remonstrate. But the 広大な／多数の／重要な towns have grown intolerable 単独で because of such 窒息させるing vulgarities and tyrannies. It is not humanity that disgusts us in the 抱擁する cities; it is inhumanity. It is not that there are human 存在s; but that they are not 扱う／治療するd as such. We do not, I hope, dislike men and women; we only dislike their 存在 made into a sort of jam: 鎮圧するd together so that they are not 単に 権力のない but shapeless. It is not the presence of people that makes London appalling. It is 単に the absence of The People.
Therefore, I dance with joy to think that my part of England is 存在 built over, so long as it is 存在 built over in a human way at human intervals and in a human 割合. So long, in short, as I am not myself built over, like a pagan slave buried in the 創立／基礎s of a 寺, or an American clerk in a 星／主役にする-striking pagoda of flats, I am delighted to see the 直面するs and the homes of a race of bipeds, to which I am not only attracted by a strange affection, but to which also (by a touching coincidence) I 現実に happen to belong. I am not one 願望（する）ing 砂漠s. I am not Timon of Athens; if my town were Athens I would stay in it. I am not Simeon Stylites; except in the mournful sense that every Saturday I find myself on the 最高の，を越す of a newspaper column. I am not in the 砂漠 repenting of some monstrous sins; at least, I am repenting of them all 権利, but not in the 砂漠. I do not want the nearest human house to be too distant to see; that is my 反対 to the wilderness. But neither do I want the nearest human house to be too の近くに to see; that is my 反対 to the modern city. I love my fellow-man; I do not want him so far off that I can only 観察する anything of him through a telescope, nor do I want him so の近くに that I can 診察する parts of him with a microscope. I want him within a 石／投石する's throw of me; so that whenever it is really necessary, I may throw the 石／投石する.
Perhaps, after all, it may not be a 石／投石する. Perhaps, after all, it may be a bouquet, or a snowball, or a 花火, or a 解放する／自由な 貿易（する） Loaf; perhaps they will ask for a 石／投石する and I shall give them bread. But it is 必須の that they should be within reach: how can I love my 隣人 as myself if he gets out of 範囲 for snowballs? There should be no 会・原則 out of the reach of an indignant or admiring humanity. I could 攻撃する，衝突する the nearest house やめる 井戸／弁護士席 with the catapult; but the truth is that the catapult belongs to a little boy I know, and, with characteristic youthful 'selfishness, he has taken it away.
The 先行する essay is about a half-built house upon my 私的な horizon; I wrote it sitting in a garden-議長，司会を務める; and as, though it was a week ago, I have scarcely moved since then (to speak of), I do not see why I should not go on 令状ing about it. 厳密に speaking, I have moved; I have even walked across a field—a field of turf all fiery in our 早期に summer sunlight—and 熟考する／考慮するd the 早期に angular red 骸骨／概要 which has turned golden in the sun. It is 半端物 that the 骸骨／概要 of a house is cheerful when the 骸骨／概要 of a man is mournful, since we only see it after the man is destroyed. At least, we think the 骸骨／概要 is mournful; the 骸骨／概要 himself does not seem to think so. Anyhow, there is something strangely 最初の／主要な and poetic about this sight of the scaffolding and main lines of a human building; it is a pity there is no scaffolding 一連の会議、交渉／完成する a human baby. One seems to see 国内の life as the daring and ambitious thing that it is, when one looks at those open staircases and empty 議会s, those spirals of 勝利，勝つd and open halls of sky. Ibsen said that the art of 国内の 演劇 was 単に to knock one 塀で囲む out of the four 塀で囲むs of a 製図／抽選-room. I find the 製図／抽選-room even more impressive when all four 塀で囲むs are knocked out.
I have never understood what people mean by domesticity 存在 tame; it seems to me one of the wildest of adventures. But if you wish to see how high and 厳しい and fantastic an adventure it is, consider only the actual structure of a house itself. A man may march up in a rather bored way to bed; but at least he is 開始するing to a 高さ from which he could kill himself. Every rich, silent, padded staircase, with banisters of oak, stair-棒s of 厚かましさ／高級将校連, and 破産した／（警察が）手入れするs and settees on every 上陸, every such staircase is truly only an awful and naked ladder running up into the Infinite to a deadly 高さ. The millionaire who stumps up inside the house is really doing the same thing as the tiler or roof-mender who climbs up outside the house; they are both 開始するing up into the 無効の. They are both making an escalade of the 激しい inane. Each is a sort of 国内の mountaineer; he is reaching a point from which mere idle 落ちるing will kill a man; and life is always 価値（がある） living while men feel that they may die.
I cannot understand people at 現在の making such a fuss about 飛行機で行くing ships and 航空, when men ever since Stonehenge and the Pyramids have done something so much more wild than 飛行機で行くing. A grasshopper can go astonishingly high up in the 空気／公表する, his 生物学の 制限 and 証拠不十分 is that he cannot stop there. Hosts of unclean birds and crapulous insects can pass through the sky, but they cannot pass any communication between it and the earth. But the army of man has 前進するd vertically into infinity, and not been 削減（する） off. It can 設立する outposts in the ether, and yet keep open behind it its 築く and insolent road. It would be grand (as in Jules Verne) to 解雇する／砲火／射撃 a 大砲-ball at the moon; but would it not be grander to build a 鉄道 to the moon? Yet every building of brick or 支持を得ようと努めるd is a hint of that high 鉄道／強行採決する; every chimney points to some 星／主役にする, and every tower is a Tower of Babel. Man rising on these awful and 無傷の wings of 石／投石する seems to me more majestic and more mystic than man ぱたぱたするing for an instant on wings of canvas and sticks of steel. How sublime and, indeed, almost dizzy is the thought of these 隠すd ladders on which we all live, like climbing monkeys! Many a 黒人／ボイコット-coated clerk in a flat may 慰安 himself for his sombre garb by 反映するing that he is like some lonely rook in an immemorial elm. Many a 豊富な bachelor on the 最高の，を越す 床に打ち倒す of a pile of mansions should look 前へ／外へ at morning and try (if possible) to feel like an eagle whose nest just 粘着するs to the 辛勝する／優位 of some awful cliff. How sad that the word "giddy" is used to 暗示する wantonness or levity! It should be a high compliment to a man's exalted spirituality and the imagination to say he is a little giddy.
I strolled slowly 支援する across the stretch of turf by the sunset, a field of the cloth of gold. As I drew 近づく my own house, its 抱擁する size began to horrify me; and when I （機の）カム to the porch of it I discovered with an incredulity as strong as despair that my house was 現実に bigger than myself. A minute or two before there might 井戸／弁護士席 have seemed to be a monstrous and mythical 競争 about which of the two should swallow the other. But I was Jonah; my house was the 抱擁する and hungry fish; and even as its jaws darkened and の近くにd about me I had again this dreadful fancy touching the dizzy 高度 of all the 作品 of man. I climbed the stairs stubbornly, 工場／植物ing each foot with savage care, as if 上がるing a glacier. When I got to a 上陸 I was wildly relieved, and waved my hat. The very word "上陸" has about it the wild sound of some one washed up by the sea. I climbed each flight like a ladder in naked sky. The 塀で囲むs all 一連の会議、交渉／完成する me failed and faded into infinity; I went up the ladder to my bedroom as Montrose went up the ladder to the gallows; sic itur 広告 astro. Do you think this is a little fantastic—even a little fearful and nervous? Believe me, it is only one of the wild and wonderful things that one can learn by stopping at home.
概略で speaking, there are three 肉親，親類d of people in this world. The first 肉親，親類d of people are People; they are the largest and probably the most 価値のある class. We 借りがある to this class the 議長，司会を務めるs we sit 負かす／撃墜する on, the 着せる／賦与するs we wear, the houses we live in; and, indeed (when we come to think of it), we probably belong to this class ourselves. The second class may be called for convenience the Poets; they are often a nuisance to their families, but, 一般に speaking, a blessing to mankind. The third class is that of the Professors or 知識人s; いつかs 述べるd as the thoughtful people; and these are a blight and a desolation both to their families and also to mankind. Of course, the 分類 いつかs overlaps, like all 分類. Some good people are almost poets and some bad poets are almost professors. But the 分割 follows lines of real psychological cleavage. I do not 申し込む／申し出 it lightly. It has been the fruit of more than eighteen minutes of earnest reflection and 研究.
The class called People (to which you and I, with no little pride, attach ourselves) has 確かな casual, yet 深遠な, 仮定／引き受けることs, which are called "commonplaces," as that children are charming, or that twilight is sad and sentimental, or that one man fighting three is a 罰金 sight. Now, these feelings are not 天然のまま; they are not even simple. The charm of children is very subtle; it is even コンビナート／複合体, to the extent of 存在 almost contradictory. It is, at its very plainest, mingled of a regard for hilarity and a regard for helplessness. The 感情 of twilight, in the vulgarest 製図／抽選-room song or the coarsest pair of sweethearts, is, so far as it goes, a subtle 感情. It is strangely balanced between 苦痛 and 楽しみ; it might also be called 楽しみ tempting 苦痛. The 急落（する），激減（する） of impatient chivalry by which we all admire a man fighting 半端物s is not at all 平易な to define 分かれて, it means many things, pity, 劇の surprise, a 願望（する） for 司法（官）, a delight in 実験 and the indeterminate. The ideas of the 暴徒 are really very subtle ideas; but the 暴徒 does not 表明する them subtly. In fact, it does not 表明する them at all, except on those occasions (now only too rare) when it indulges in insurrection and 大虐殺.
Now, this accounts for the さもなければ 不当な fact of the 存在 of Poets. Poets are those who 株 these popular 感情s, but can so 表明する them that they 証明する themselves the strange and delicate things that they really are. Poets draw out the shy refinement of the 群衆. Where the ありふれた man covers the queerest emotions by 説, "Rum little kid," 勝利者 Hugo will 令状 "L'art d'etre grand-pere"; where the stockbroker will only say 突然の, "Evenings の近くにing in now," Mr. Yeats will 令状 "Into the twilight"; where the navvy can only mutter something about pluck and 存在 "precious game," ホームラン will show you the hero in rags in his own hall 反抗するing the princes at their 祝宴. The Poets carry the popular 感情s to a keener and more splendid pitch; but let it always be remembered that it is the popular 感情s that they are carrying. No man ever wrote any good poetry to show that childhood was shocking, or that twilight was gay and farcical, or that a man was contemptible because he had crossed his 選び出す／独身 sword with three. The people who 持続する this are the Professors, or Prigs.
The Poets are those who rise above the people by understanding them. Of course, most of the Poets wrote in prose—Rabelais, for instance, and Dickens. The Prigs rise above the people by 辞退するing to understand them: by 説 that all their 薄暗い, strange preferences are prejudices and superstitions. The Prigs make the people feel stupid; the Poets make the people feel wiser than they could have imagined that they were. There are many weird elements in this 状況／情勢. The oddest of all perhaps is the 運命／宿命 of the two factors in practical politics. The Poets who embrace and admire the people are often pelted with 石／投石するs and crucified. The Prigs who despise the people are often 負担d with lands and 栄冠を与えるd. In the House of ありふれたs, for instance, there are やめる a number of prigs, but comparatively few poets. There are no People there at all.
By poets, as I have said, I do not mean people who 令状 poetry, or indeed people who 令状 anything. I mean such people as, having culture and imagination, use them to understand and 株 the feelings of their fellows; as against those who use them to rise to what they call a higher 計画（する）. Crudely, the poet 異なるs from the 暴徒 by his sensibility; the professor 異なるs from the 暴徒 by his insensibility. He has not 十分な finesse and sensitiveness to sympathize with the 暴徒. His only notion is coarsely to 否定する it, to 削減（する） across it, in 一致 with some egotistical 計画（する） of his own; to tell himself that, whatever the ignorant say, they are probably wrong. He forgets that ignorance often has the exquisite intuitions of innocence.
Let me take one example which may 示す out the 輪郭（を描く） of the 論争. Open the nearest comic paper and let your 注目する，もくろむ 残り／休憩（する） lovingly upon a joke about a mother-in-法律. Now, the joke, as 現在のd for the populace, will probably be a simple joke; the old lady will be tall and stout, the 女／おっせかい屋-つつく／ペックd husband will be small and cowering. But for all that, a mother-in-法律 is not a simple idea. She is a very subtle idea. The problem is not that she is big and arrogant; she is frequently little and やめる extraordinarily nice. The problem of the mother-in-法律 is that she is like the twilight: half one thing and half another. Now, this twilight truth, this 罰金 and even tender 当惑, might be （判決などを）下すd, as it really is, by a poet, only here the poet would have to be some very 侵入するing and sincere 小説家, like George Meredith, or Mr. H. G. 井戸／弁護士席s, whose "Ann Veronica" I have just been reading with delight. I would 信用 the 罰金 poets and 小説家s because they follow the fairy 手がかり（を与える） given them in Comic 削減（する）s. But suppose the Professor appears, and suppose he says (as he almost certainly will), "A mother-in-法律 is 単に a fellow-国民. Considerations of sex should not 干渉する with comradeship. Regard for age should not 影響（力） the intellect. A mother-in-法律 is 単に Another Mind. We should 解放する／自由な ourselves from these 部族の 階層制度s and degrees." Now, when the Professor says this (as he always does), I say to him, "Sir, you are coarser than Comic 削減（する）s. You are more vulgar and 失敗ing than the most elephantine music-hall artiste. You are blinder and grosser than the 暴徒. These vulgar knockabouts have, at least, got 持つ／拘留する of a social shade and real mental distinction, though they can only 表明する it clumsily. You are so clumsy that you cannot get 持つ／拘留する of it at all. If you really cannot see that the bridegroom's mother and the bride have any 推論する／理由 for 強制 or diffidence, then you are neither polite nor humane: you have no sympathy in you for the 深い and doubtful hearts of human folk." It is better even to put the difficulty as the vulgar put it than to be pertly unconscious of the difficulty altogether.
The same question might be considered 井戸／弁護士席 enough in the old proverb that two is company and three is 非，不，無. This proverb is the truth put popularly: that is, it is the truth put wrong. Certainly it is untrue that three is no company. Three is splendid company: three is the ideal number for pure comradeship: as in the Three Musketeers. But if you 拒絶する the proverb altogether; if you say that two and three are the same sort of company; if you cannot see that there is a wider abyss between two and three than between three and three million—then I 悔いる to 知らせる you that you belong to the Third Class of human 存在s; that you shall have no company either of two or three, but shall be alone in a howling 砂漠 till you die.
The other day on a 逸脱する 刺激（する） of the Chiltern Hills I climbed up upon one of those high, abrupt, 風の強い churchyards from which the dead seem to look 負かす／撃墜する upon all the living. It was a mountain of ghosts as Olympus was a mountain of gods. In that church lay the bones of 広大な／多数の／重要な Puritan lords, of a time when most of the 力／強力にする of England was Puritan, even of the 設立するd Church. And below these uplifted bones lay the 抱擁する and hollow valleys of the English countryside, where the モーターs went by every now and then like meteors, where stood out in white squares and oblongs in the chequered forest many of the country seats even of those same families now dulled with wealth or decayed with Toryism. And looking over that 深い green prospect on that luminous yellow evening, a lovely and 厳格な，質素な thought （機の）カム into my mind, a thought as beautiful as the green 支持を得ようと努めるd and as 墓／厳粛／彫る／重大な as the tombs. The thought was this: that I should like to go into 議会, quarrel with my party, 受託する the Stewardship of the Chiltern Hundreds, and then 辞退する to give it up.
We are so proud in England of our crazy 憲法の anomalies that I fancy that very few readers indeed will need to be told about the Steward of the Chiltern Hundreds. But in 事例／患者 there should be here or there one happy man who has never heard of such 新たな展開d tomfooleries, I will 速く remind you what this 合法的な fiction is. As it is やめる a voluntary, いつかs even an eager, 事件／事情／状勢 to get into 議会, you would 自然に suppose that it would be also a voluntary 事柄 to get out again. You would think your fellow-members would be indifferent, or even relieved to see you go; 特に as (by another 演習 of the shrewd, illogical old English ありふれた sense) they have carefully built the room too small for the people who have to sit in it. But not so, my pippins, as it says in the "Iliad." If you are 単に a member of 議会 (Lord knows why) you can't 辞職する. But if you are a 大臣 of the 栄冠を与える (Lord knows why) you can. It is necessary to get into the 省 ーするために get out of the House; and they have to give you some office that doesn't 存在する or that nobody else wants and thus 打ち明ける the door. So you go to the 総理大臣, 隠すing your 空気／公表する of 疲労，（軍の）雑役, and say, "It has been the ambition of my life to be Steward of the Chiltern Hundreds." The 総理大臣 then replies, "I can imagine no man more fitted both morally and mentally for that high office." He then gives it you, and you hurriedly leave, 反映するing how the 共和国s of the Continent reel anarchically to and fro for 欠如（する） of a little solid English directness and 簡単.
Now, the thought that struck me like a thunderbolt as I sat on the Chiltern slope was that I would like to get the 総理大臣 to give me the Chiltern Hundreds, and then startle and 乱す him by showing the 最大の 利益／興味 in my work. I should profess a general knowledge of my 義務s, but wish to be 教えるd in the 詳細（に述べる）s. I should ask to see the Under-Steward and the Under-Under-Steward, and all the 罰金 staff of experienced 永久の 公式の／役人s who are the glory of this department. And, indeed, my enthusiasm would not be wholly unreal. For as far as I can recollect the 初めの 義務s of a Steward of the Chiltern Hundreds were to put 負かす／撃墜する the 無法者s and brigands in that part of the world. 井戸／弁護士席, there are a 広大な／多数の／重要な many 無法者s and brigands in that part of the world still, and though their methods have so 大部分は altered as to 要求する a corresponding alteration in the 策略 of the Steward, I do not see why an energetic and public-spirited Steward should not 逮捕する them yet.
For the robbers have not 消えるd from the old high forests to the west of the 広大な／多数の／重要な city. The thieves have not 消えるd; they have grown so large that they are invisible. You do not see the word "Asia" written across a 地図／計画する of that neighbourhood; nor do you see the word "どろぼう" written across the countrysides of England; though it is really written in 平等に large letters. I know men 治める／統治するing despotically 広大な／多数の／重要な stretches of that country, whose every step in life has been such that a slip would have sent them to Dartmoor; but they trod along the high hard 塀で囲む between 権利 and wrong, the 塀で囲む as sharp as a swordedge, as softly and craftily and lightly as a cat. The vastness of their silent 暴力／激しさ itself obscured what they were at; if they seem to stand for the 権利s of 所有物／資産／財産 it is really because they have so often 侵略するd them. And if they do not break the 法律s, it is only because they make them.
But after all we only need a Steward of the Chiltern Hundreds who really understands cats and thieves. Men 追跡（する） one animal 異なって from another; and the rich could catch 詐欺師s as dexterously as they catch カワウソs or antlered deer if they were really at all keen upon doing it. But then they never have an uncle with antlers; nor a personal friend who is an カワウソ. When some of the 広大な／多数の／重要な lords that 嘘（をつく） in the churchyard behind me went out against their 敵s in those 深い 支持を得ようと努めるd beneath I wager that they had 屈服するs against the 屈服するs of the 無法者s, and spears against the spears of the robber knights. They knew what they were about; they fought the evildoers of their age with the 武器s of their age. If the same ありふれた sense were 適用するd to 商業の 法律, in forty-eight hours it would be all over with the American 信用s and the African 今後 財政／金融. But it will not be done: for the 治める／統治するing class either does not care, or cares very much, for the 犯罪のs, and as for me, I had a delusive 適切な時期 of 存在 Constable of Beaconsfield (with grossly 不十分な 力／強力にするs), but I 恐れる I shall never really be Steward of the Chiltern Hundreds.
In my daily paper this morning I read the に引き続いて 利益／興味ing paragraphs, which take my mind 支援する to an England which I do not remember and which, therefore (perhaps), I admire.
"Nearly sixty years ago—on 4 September, 1850—the Austrian General Haynau, who had 伸び（る）d an unenviable fame throughout the world by his ferocious methods in 抑えるing the Hungarian 革命 in 1849, while on a visit to this country, was belaboured in the streets of London by the draymen of Messrs. Barclay, Perkins and Co., whose brewery he had just 検査／視察するd in company of an adjutant. Popular delight was so 広大な／多数の／重要な that the 政府 of the time did not dare to 起訴する the 加害者s, and the General—the 'women-flogger,' as he was called by the people—had to leave these shores without 治療（薬）.
"He returned to his own country and settled upon his 広い地所 at Szekeres, which is の近くに to the commune above-について言及するd. By his will the 広い地所 passed to his daughter, after whose death it was to be 現在のd to the commune. This daughter has just died, but the Communal 会議, after much 審議, has 拒絶する／低下するd to 受託する the gift, and ordered that the 広い地所 should be left to 落ちる out of cultivation, and be called the '血まみれの Meadow.'"
Now that is an example of how things happen under an honest democratical impulse. I do not dwell 特に on the earlier part of the story, though the earlier part of the story is astonishingly 利益／興味ing. It 解任するs the days when Englishmen were 可能性のある はしけs; that is, 可能性のある 反逆者／反逆するs. It is not for 欠如（する） of agonies of 知識人 怒り／怒る: the 暴君 and the late King Leopold have been 公然と非難するd as heartily as General Haynau. But I 疑問 if they would have been 肉体的に thrashed in the London streets.
It is not the tyrants that are 欠如（する）ing, but the draymen. にもかかわらず, it is not upon the historic heroes of Barclay, Perkins and Co. that I build all my hope. 罰金 as it was, it was not a 十分な and perfect 革命. A brewer's drayman （警官の）巡回区域，受持ち区域ing an 著名な European General with a stick, though a singularly 有望な and pleasing 見通し, is not a 完全にする one. Only when the brewer's drayman （警官の）巡回区域，受持ち区域s the brewer with a stick shall we see the （疑いを）晴らす and radiant sunrise of British self-政府. The fun will really start when we begin to 強くたたく the 抑圧者s of England 同様に as the 抑圧者s of Hungary. It is, however, a 限定された 拒絶する／低下する in the spiritual character of draymen that now they can 強くたたく neither one nor the other.
But, as I have already 示唆するd, my real quarrel is not about the first part of the 抽出する, but about the second. Whether or no the draymen of Barclay and Perkins have degenerated, the Commune which 含むs Szekeres has not degenerated. By the way, the Commune which 含むs Szekeres is called Kissekeres; I 信用 that this frank avowal will excuse me from the necessity of について言及するing either of these places again by 指名する. The Commune is still 有能な of 成し遂げるing direct democratic 活動／戦闘s, if necessary, with a stick.
I say with a stick, not with sticks, for that is the whole argument about 僕主主義. A people is a soul; and if you want to know what a soul is, I can only answer that it is something that can sin and that can sacrifice itself. A people can commit 窃盗; a people can 自白する 窃盗; a people can repent of 窃盗. That is the idea of the 共和国. Now, most modern people have got into their 長，率いるs the idea that 僕主主義s are dull, drifting things, a mere 黒人／ボイコット 群れている or slide of clerks to their accustomed doom. In most modern novels and essays it is 主張するd (by way of contrast) that a walking gentleman may have 広告-投機・賭けるs as he walks. It is 主張するd that an aristocrat can commit 罪，犯罪s, because an aristocrat always cultivates liberty. But, in truth, a people can have adventures, as イスラエル did はうing through the 砂漠 to the 約束d land. A people can do heroic 行為s; a people can commit 罪，犯罪s; the French people did both in the 革命; the Irish people have done both in their much purer and more honourable 進歩.
But the real answer to this aristocratic argument which 捜し出すs to identify 僕主主義 with a 淡褐色 utilitarianism may be 設立する in 活動／戦闘 such as that of the Hungarian Commune—whose 指名する I 拒絶する／低下する to repeat. This Commune did just one of those 行為／法令／行動するs that 証明する that a separate people has a separate personality; it threw something away. A man can throw a bank 公式文書，認める into the 解雇する／砲火／射撃. A man can fling a 解雇（する） of corn into the river. The bank-公式文書，認める may be burnt as a satisfaction of some scruple; the corn may be destroyed as a sacrifice to some god. But whenever there is sacrifice we know there is a 選び出す／独身 will. Men may be disputatious and doubtful, may divide by very 狭くする 大多数s in their 審議 about how to 伸び（る） wealth. But men have to be uncommonly 全員一致の ーするために 辞退する wealth. It wants a very 完全にする 委員会 to 燃やす a bank 公式文書，認める in the office grate. It needs a 高度に 宗教的な tribe really to throw corn into the river. This self-否定 is the 実験（する） and 鮮明度／定義 of self-政府.
I wish I could feel 確かな that any English 郡 会議 or Parish 会議 would be 選び出す／独身 enough to make that strong gesture of a romantic 拒絶; could say, "No rents shall be raised from this 位置／汚点／見つけ出す; no 穀物 shall grow in this 位置／汚点／見つけ出す; no good shall come of this 位置／汚点／見つけ出す; it shall remain sterile for a 調印する." But I am afraid they might answer, like the 著名な sociologist in the story, that it was "wiste of spice."
It is an English misfortune that what is called "public spirit" is so often a very 私的な spirit; the 合法的 but 厳密に individual ideals of this or that person who happens to have the 力／強力にする to carry them out. When these 私的な 原則s are held by very rich people, the result is often the blackest and most repulsive 肉親，親類d of 先制政治, which is benevolent 先制政治. 明白に it is the public which せねばならない have public spirit. But in this country and at this 時代 this is 正確に／まさに what it has not got. We shall have a public washhouse and a public kitchen long before we have a public spirit; in fact, if we had a public spirit we might very probably do without the other things. But if England were 適切に and 自然に 治める／統治するd by the English, one of the first results would probably be this: that our 基準 of 超過 or defect in 所有物／資産／財産 would be changed from that of the plutocrat to that of the moderately 貧困の man. That is, that while 所有物／資産／財産 might be 厳密に 尊敬（する）・点d, everything that is necessary to a clerk would be felt and considered on やめる a different 計画（する） from anything which is a very 広大な／多数の／重要な 高級な to a clerk. This sane distinction of 感情 is not 直感的に at 現在の, because our 基準 of life is that of the 治める／統治するing class, which is eternally turning 高級なs into necessities as 急速な／放蕩な as pork is turned into sausages; and which cannot remember the beginning of its needs and cannot get to the end of its novelties.
Take, for the sake of argument, the 事例／患者 of the モーター. Doubtless the duke now feels it as necessary to have a モーター as to have a roof, and in a little while he may feel it 平等に necessary to have a 飛行機で行くing ship. But this does not 証明する (as the reactionary sceptics always argue) that a モーター really is just as necessary as a roof. It only 証明するs that a man can get used to an 人工的な life: it does not 証明する that there is no natural life for him to get used to. In the 幅の広い bird's-注目する，もくろむ 見解（をとる） of ありふれた sense there がまんするs a 抱擁する disproportion between the need for a roof and the need for an aeroplane; and no 急ぐ of 発明s can ever alter it. The only difference is that things are now 裁判官d by the 異常な needs, when they might be 裁判官d 単に by the normal needs. The best aristocrat sees the 状況／情勢 from an aeroplane. The good 国民, in his loftiest moments, goes no その上の than seeing it from the roof.
It is not true that 高級な is 単に 親族. It is not true that it is only an expensive novelty which we may afterwards come to think a necessity. 高級な has a 会社／堅い philosophical meaning; and where there is a real public spirit 高級な is 一般に 許すd for, いつかs rebuked, but always 認めるd 即時に. To the healthy soul there is something in the very nature of 確かな 楽しみs which 警告するs us that they are exceptions, and that if they become 支配するs they will become very tyrannical 支配するs.
Take a 悩ますd seamstress out of the Harrow Road and give her one 雷 hour in a 自動車, and she will probably feel it as splendid, but strange, rare, and even terrible. But this is not (as the relativists say) 単に because she has never been in a car before. She has never been in the middle of a Somerset cowslip meadow before; but if you put her there she does not think it terrifying or 驚くべき／特命の／臨時の, but 単に pleasant and 解放する／自由な and a little lonely. She does not think the モーター monstrous because it is new. She thinks it monstrous because she has 注目する，もくろむs in her 長，率いる; she thinks it monstrous because it is monstrous. That is, her mothers and grandmothers, and the whole race by whose life she lives, have had, as a 事柄 of fact, a 概略で recognizable 方式 of living; sitting in a green field was a part of it; travelling as quick as a 大砲 ball was not. And we should not look 負かす／撃墜する on the seamstress because she mechanically 放出するs a short sharp 叫び声をあげる whenever the モーター begins to move. On the contrary, we せねばならない look up to the seamstress, and regard her cry as a 肉親，親類d of mystic omen or 発覚 of nature, as the old Goths used to consider the howls emitted by chance 女性（の）s when annoyed. For that ritual yell is really a 示す of moral health—of swift 返答 to the stimulations and changes of life. The seamstress is wiser than all the learned ladies, 正確に because she can still feel that a モーター is a different sort of thing from a meadow. By the 事故 of her 経済的な 監禁，拘置 it is even possible that she may have seen more of the former than the latter. But this has not shaken her cyclopean sagacity as to which is the natural thing and which the 人工的な. If not for her, at least for humanity as a whole, there is little 疑問 about which is the more 普通は attainable. It is かなり cheaper to sit in a meadow and see モーターs go by than to sit in a モーター and see meadows go by.
To me 本人自身で, at least, it would never seem needful to own a モーター, any more than to own an 雪崩／（抗議などの）殺到. An 雪崩／（抗議などの）殺到, if you have luck, I am told, is a very swift, successful, and thrilling way of coming 負かす／撃墜する a hill. It is distinctly more stirring, say, than a glacier, which moves an インチ in a hundred years. But I do not divide these 楽しみs either by excitement or convenience, but by the nature of the thing itself. It seems human to have a horse or bicycle, because it seems human to potter about; and men cannot work horses, nor can bicycles work men, enormously far afield of their ordinary haunts and 事件／事情／状勢s.
But about モーターing there is something magical, like going to the moon; and I say the thing should be kept exceptional and felt as something breathless and bizarre. My ideal hero would own his horse, but would have the moral courage to 雇う his モーター. Fairy tales are the only sound guidebooks to life; I like the Fairy Prince to ride on a white pony out of his father's stables, which are of ivory and gold. But if in the course of his adventures he finds it necessary to travel on a 炎上ing dragon, I think he せねばならない give the dragon 支援する to the witch at the end of the story. It is a mistake to have dragons about the place.
For there is truly an 空気／公表する of something weird about 高級な; and it is by this that healthy human nature has always smelt and 嫌疑者，容疑者／疑うd it. All romances that 取引，協定 in extreme 高級な, from the "Arabian Nights" to the novels of Ouida and Disraeli, have, it may be 公式文書，認めるd, a singular 空気／公表する of dream and occasionally of nightmare. In such imaginative debauches there is something as 時折の as intoxication; if that is still counted 時折の. Life in those preposterous palaces would be an agony of dullness; it is （疑いを）晴らす we are meant to visit them only as in a 飛行機で行くing 見通し. And what is true of the old freaks of wealth, flavour and 猛烈な／残忍な colour and smell, I would say also of the new freak of wealth, which is 速度(を上げる）. I should say to the duke, when I entered his house at the 長，率いる of an 武装した 暴徒, "I do not 反対する to your having exceptional 楽しみs, if you have them exceptionally. I do not mind your enjoying the strange and 外国人 energies of science, if you feel them strange and 外国人, and not your own. But in 非難するing you (under the Seventeenth Section of the Eighth 法令 of the 共和国) to 雇う a モーター-car twice a year at Margate, I am not the enemy of your 高級なs, but, rather, the protector of them."
That is what I should say to the duke. As to what the duke would say to me, that is another 事柄, and may 井戸／弁護士席 be deferred.
Doubtless the 冷淡な might 明言する／公表する my doctrine that one should not own a モーター like a horse, but rather use it like a 飛行機で行くing dragon in the simpler form that I will always go モーターing in somebody else's car. My favourite modern philosopher (Mr. W. W. Jacobs) 述べるs a 類似の 事例／患者 of spiritual delicacy misunderstood. I have not the 調書をとる／予約する at 手渡す, but I think that 職業 Brown was reproaching 法案 議会s for wasteful drunkenness, and Henery Walker spoke up for 法案, and said he scarcely ever had a glass but what somebody else paid for it, and there was "unpleasantness all 一連の会議、交渉／完成する then."
存在 いっそう少なく 極度の慎重さを要する than 法案 議会s (or whoever it was) I will 危険 this rude perversion of my meaning, and 譲歩する that I was in a モーター-car yesterday, and the モーター-car most certainly was not my own, and the 旅行, though it 含む／封じ込めるd nothing that is 特に unusual on such 旅行s, had running through it a 緊張する of the grotesque which was at once wholesome and humiliating. The symbol of that 影響（力） was that 古代の symbol of the humble and humorous—a donkey.
When first I saw the donkey I saw him in the sunlight as the unearthly gargoyle that he is. My friend had met me in his car (I repeat 堅固に, in his car) at the little painted 駅／配置する in the middle of the warm wet 支持を得ようと努めるd and hop-fields of that western country. He 提案するd to 運動 me first to his house beyond the village before starting for a longer spin of adventure, and we 動揺させるd through those rich green 小道／航路s which have in them something singularly analogous to fairy tales: whether the 小道／航路s produced the fairies or (as I believe) the fairies produced the 小道／航路s. All around in the 微光ing hop-yards stood those little hop-kilns like stunted and slanting spires. They look like dwarfish churches—in fact, rather like many modern churches I could について言及する, churches all of them small and each of them a little crooked. In this elfin atmosphere we swung 一連の会議、交渉／完成する a sharp corner and half-way up a 法外な, white hill, and saw what looked at first like a tall, 黒人／ボイコット monster against the sun. It appeared to be a dark and dreadful woman walking on wheels and waving long ears like a bat's. A second ちらりと見ること told me that she was not the 地元の witch in a 明言する／公表する of 移行; she was only one of the million tricks of 視野. She stood up in a small wheeled cart drawn by a donkey; the donkey's ears were just 始める，決める behind her 長，率いる, and the whole was 黒人／ボイコット against the light.
視野 is really the comic element in everything. It has a pompous Latin 指名する, but it is incurably Gothic and grotesque. One simple proof of this is that it is always left out of all dignified and decorative art. There is no 視野 in the Elgin Marbles, and even the essentially angular angels in mediaeval stained glass almost always (as it says in "Patience") contrive to look both angular and flat. There is something intrinsically disproportionate and outrageous in the idea of the distant 反対するs dwindling and growing dwarfish, the closer 反対するs swelling enormous and intolerable. There is something frantic in the notion that one's own father by walking a little way can be changed by a 爆破 of 魔法 to a pigmy. There is something farcical in the fancy that Nature keeps one's uncle in an infinite number of sizes, によれば where he is to stand. All 兵士s in 退却／保養地 turn into tin 兵士s; all 耐えるs in 大勝する into toy 耐えるs; as if on the ultimate horizon of the world everything was sardonically doomed to stand up laughable and little against heaven.
It was for this 推論する／理由 that the old woman and her donkey struck us first when seen from behind as one 黒人／ボイコット grotesque. I afterwards had the chance of seeing the old woman, the cart, and the donkey 公正に／かなり, in 側面に位置する and in all their length. I saw the old woman and the donkey PASSANT, as they might have appeared heraldically on the 保護物，者 of some heroic family. I saw the old woman and the donkey dignified, decorative, and flat, as they might have marched across the Elgin Marbles. Seen thus under an equal light, there was nothing 特に ugly about them; the cart was long and 十分に comfortable; the donkey was stolid and 十分に respectable; the old woman was lean but 十分に strong, and even smiling in a sour, rustic manner. But seen from behind they looked like one 黒人／ボイコット monstrous animal; the dark donkey cars seemed like dreadful wings, and the tall dark 支援する of the woman, 築く like a tree, seemed to grow taller and taller until one could almost 叫び声をあげる.
Then we went by her with a 爆破ing roar like a 鉄道 train, and fled far from her over the brow of the hill to my friend's home.
There we paused only for my friend to 在庫／株 the car with some 肉親，親類d of picnic paraphernalia, and so started again, as it happened, by the way we had come. Thus it fell that we went 粉々にするing 負かす／撃墜する that short, sharp hill again before the poor old woman and her donkey had managed to はう to the 最高の，を越す of it; and seeing them under a different light, I saw them very 異なって. 黒人／ボイコット against the sun, they had seemed comic; but 有望な against greenwood and grey cloud, they were not comic but 悲劇の; for there are not a few things that seem fantastic in the twilight, and in the sunlight are sad. I saw that she had a grand, gaunt mask of 古代の honour and endurance, and wide 注目する，もくろむs sharpened to two 向こうずねing points, as if looking for that small hope on the horizon of human life. I also saw that her cart 含む／封じ込めるd carrots.
"Don't you feel, 概して speaking, a beast," I asked my friend, "when you go so easily and so 急速な／放蕩な?" For we had 衝突，墜落d by so that the crazy cart must have thrilled in every stick of it.
My friend was a good man, and said, "Yes. But I don't think it would do her any good if I went slower."
"No," I assented after reflection. "Perhaps the only 楽しみ we can give to her or any one else is to get out of their sight very soon."
My friend availed himself of this advice in no niggard spirit; I felt as if we were 逃げるing for our lives in throttling 恐れる after some frightful 残虐（行為）. In truth, there is only one difference left between the secrecy of the two social classes: the poor hide themselves in 不明瞭 and the rich hide themselves in distance. They both hide.
As we 発射 like a lost boat over a cataract 負かす／撃墜する into a whirlpool of white roads far below, I saw afar a 黒人／ボイコット dot はうing like an insect. I looked again: I could hardly believe it. There was the slow old woman, with her slow old donkey, still toiling along the main road. I asked my friend to slacken, but when he said of the car, "She's wanting to go," I knew it was all up with him. For when you have called a thing 女性（の） you have 産する／生じるd to it utterly. We passed the old woman with a shock that must have shaken the earth: if her 長，率いる did not reel and her heart quail, I know not what they were made of. And when we had fled perilously on in the 集会 dark, 拒絶するing hamlets behind us, I suddenly called out, "Why, what asses we are! Why, it's She that is 勇敢に立ち向かう—she and the donkey. We are 安全な enough; we are 大砲 and plate-armour: and she stands up to us with matchwood and a snail! If you had grown old in a 静かな valley, and people began 解雇する／砲火／射撃ing 大砲-balls as big as cabs at you in your seventieth year, wouldn't you jump—and she never moved an eyelid. Oh! we go very 急速な／放蕩な and very far, no 疑問—"
As I spoke （機の）カム a curious noise, and my friend, instead of going 急速な／放蕩な, began to go very slow; then he stopped; then he got out. Then he said, "And I left the Stepney behind."
The grey moths （機の）カム out of the 支持を得ようと努めるd and the yellow 星／主役にするs （機の）カム out to 栄冠を与える it, as my friend, with the lucidity of despair, explained to me (on the soundest 科学の 原則s, of course) that nothing would be any good at all. We must sleep the night in the 小道／航路, except in the very ありそうもない event of some one coming by to carry a message to some town. Twice I thought I heard some tiny sound of such approach, and it died away like 勝利，勝つd in the trees, and the 運転者 was already asleep when I heard it 新たにするd and realized. Something certainly was approaching. I ran up the road—and there it was. Yes, It—and She. Thrice had she come, once comic and once 悲劇の and once heroic. And when she （機の）カム again it was as if in 容赦 on a pure errand of prosaic pity and 救済. I am やめる serious. I do not want you to laugh. It is not the first time a donkey has been received 本気で, nor one riding a donkey with 尊敬（する）・点.
In a 静かな and rustic though 公正に／かなり famous church in my neighbourhood there is a window supposed to 代表する an Angel on a Bicycle. It does definitely and indisputably 代表する a nude 青年 sitting on a wheel; but there is enough 複雑化 in the wheel and sanctity (I suppose) in the 青年 to 令状 this working description. It is a thing of florid Renascence 輪郭（を描く）, and belongs to the 高度に pagan period which introduced all sorts of 反対するs into ornament: 本人自身で I can believe in the bicycle more than in the angel. Men, they say, are now imitating angels; in their 飛行機で行くing-machines, that is: not in any other 尊敬（する）・点 that I have heard of. So perhaps the angel on the bicycle (if he is an angel and if it is a bicycle) was avenging himself by imitating man. If so, he showed that high order of intellect which is せいにするd to angels in the mediaeval 調書をとる／予約するs, though not always (perhaps) in the mediaeval pictures.
For wheels are the 示す of a man やめる as much as wings are the 示す of an angel. Wheels are the things that are as old as mankind and yet are 厳密に peculiar to man, that are 先史の but not pre-human.
A distinguished psychologist, who is 井戸／弁護士席 熟知させるd with physiology, has told me that parts of himself are certainly levers, while other parts are probably pulleys, but that after feeling himself carefully all over, he cannot find a wheel anywhere. The wheel, as a 方式 of movement, is a 純粋に human thing. On the 古代の escutcheon of Adam (which, like much of the 残り／休憩（する） of his 衣装, has not yet been discovered) the heraldic emblem was a wheel—passant. As a 方式 of 進歩, I say, it is unique. Many modern philosophers, like my friend before について言及するd, are ready to find links between man and beast, and to show that man has been in all things the blind slave of his mother earth. Some, of a very different 肉親，親類d, are even eager to show it; 特に if it can be 新たな展開d to the discredit of 宗教. But even the most eager scientists have often 認める in my 審理，公聴会 that they would be surprised if some 肉親，親類d of cow approached them moving solemnly on four wheels. Wings, fins, flappers, claws, hoofs, webs, trotters, with all these the fantastic families of the earth come against us and の近くに around us, ぱたぱたするing and flapping and rustling and galloping and 板材ing and 雷鳴ing; but there is no sound of wheels.
I remember dimly, if, indeed, I remember aright, that in some of those dark prophetic pages of Scripture, that seem of cloudy purple and dusky gold, there is a passage in which the seer beholds a violent dream of wheels. Perhaps this was indeed the 象徴的な 宣言 of the spiritual 最高位 of man. Whatever the birds may do above or the fishes beneath his ship, man is the only thing to steer; the only thing to be conceived as steering. He may make the birds his friends, if he can. He may make the fishes his gods, if he chooses. But most certainly he will not believe a bird at the masthead; and it is hardly likely that he will even 許す a fish at the 舵輪／支配. He is, as Swinburne says, helmsman and 長，指導者: he is literally the Man at the Wheel.
The wheel is an animal that is always standing on its 長，率いる; only "it does it so 速く that no philosopher has ever 設立する out which is its 長，率いる." Or if the phrase be felt as more exact, it is an animal that is always turning 長，率いる over heels and 進歩ing by this 原則. Some fish, I think, turn 長，率いる over heels (supposing them, for the sake of argument, to have heels); I have a dog who nearly did it; and I did it once myself when I was very small. It was an 事故, and, as delightful 小説家, Mr. De Morgan, would say, it never can happen again. Since then no one has （刑事）被告 me of 存在 upside 負かす／撃墜する except mentally: and I rather think that there is something to be said for that; 特に as typified by the rotary symbol. A wheel is the sublime paradox; one part of it is always going 今後 and the other part always going 支援する. Now this, as it happens, is 高度に 類似の to the proper 条件 of any human soul or any political 明言する／公表する. Every sane soul or 明言する／公表する looks at once backwards and 今後s; and even goes backwards to come on.
For those 利益／興味d in 反乱 (as I am) I only say meekly that one cannot have a 革命 without 回転するing. The wheel, 存在 a 論理（学）の thing, has 言及／関連 to what is behind 同様に as what is before. It has (as every society should have) a part that perpetually leaps helplessly at the sky and a part that perpetually 屈服するs 負かす／撃墜する its 長，率いる into the dust. Why should people be so scornful of us who stand on our 長，率いるs? 屈服するing 負かす／撃墜する one's 長，率いる in the dust is a very good thing, the humble beginning of all happiness. When we have 屈服するd our 長，率いるs in the dust for a little time the happiness comes; and then (leaving our 長，率いるs' in the humble and reverent position) we kick up our heels behind in the 空気／公表する. That is the true origin of standing on one's 長，率いる; and the ultimate defence of paradox. The wheel humbles itself to be exalted; only it does it a little quicker than I do.
Life is 十分な of a ceaseless にわか雨 of small coincidences: too small to be 価値（がある） について言及するing except for a special 目的, often too trifling even to be noticed, any more than we notice one snowflake 落ちるing on another. It is this that lends a frightful plausibility to all 誤った doctrines and evil fads. There are always such （人が）群がるs of 偶発の arguments for anything. If I said suddenly that historical truth is 一般に told by red-haired men, I have no 疑問 that ten minutes' reflection (in which I 拒絶する／低下する to indulge) would 供給する me with a handsome 名簿（に載せる）／表（にあげる） of instances in support of it. I remember a riotous argument about Bacon and Shakespeare in which I 申し込む／申し出d やめる at 無作為の to show that Lord Rosebery had written the 作品 of Mr. W. B. Yeats. No sooner had I said the words than a 激流 of coincidences 急ぐd upon my mind. I pointed out, for instance, that Mr. Yeats's 長，指導者 work was "The Secret Rose." This may easily be paraphrased as "The 静かな or Modest Rose"; and so, of course, as the Primrose. A second after I saw the same suggestion in the combination of "rose" and "bury." If I had 追求するd the 事柄, who knows but I might have been a raving maniac by this time.
We trip over these trivial repetitions and exactitudes at every turn, only they are too trivial even for conversation. A man 指名するd Williams did walk into a strange house and 殺人 a man 指名するd Williamson; it sounds like a sort of infanticide. A 新聞記者／雑誌記者 of my 知識 did move やめる unconsciously from a place called Overstrand to a place called Overroads. When he had made this escape he was very 適切に 追求するd by a 投票（する）ing card from Battersea, on which a political スパイ／執行官 指名するd 燃やす asked him to 投票（する） for a political 候補者 指名するd 燃やすs. And when he did so another coincidence happened to him: rather a spiritual than a 構成要素 coincidence; a mystical thing, a 事柄 of a 魔法 number.
For a 十分な number of 推論する／理由s, the man I know went up to 投票（する） in Battersea in a drifting and even 疑わしい でっちあげる，人を罪に陥れる of mind. As the train slid through swampy 支持を得ようと努めるd and sullen skies there （機の）カム into his empty mind those idle and yet awful questions which come when the mind is empty. Fools make cosmic systems out of them; knaves make profane poems out of them; men try to 鎮圧する them like an ugly lust. 宗教 is only the responsible 増強 of ありふれた courage and ありふれた sense. 宗教 only 始める，決めるs up the normal mood of health against the hundred moods of 病気.
But there is this about such 恐ろしい empty enigmas, that they always have an answer to the obvious answer, the reply 申し込む／申し出d by daily 推論する／理由. Suppose a man's children have gone swimming; suppose he is suddenly throttled by the senseless—恐れる that they are 溺死するd. The obvious answer is, "Only one man in a thousand has his children 溺死するd." But a deeper 発言する／表明する (deeper, 存在 as 深い as hell) answers, "And why should not you—be the thousandth man?" What is true of 悲劇の 疑問 is true also of trivial 疑問. The 投票者's 後見人 devil said to him, "If you don't 投票（する） to-day you can do fifteen things which will やめる certainly do some good somewhere, please a friend, please a child, please a maddened publisher. And what good do you 推定する／予想する to do by 投票（する）ing? You don't think your man will get in by one 投票（する）, do you?" To this he knew the answer of ありふれた sense, "But if everybody said that, nobody would get in at all." And then there （機の）カム that deeper 発言する／表明する from Hades, "But you are not settling what everybody shall do, but what one person on one occasion shall do. If this afternoon you went your way about more solid things, how would it 事柄 and who would ever know?" Yet somehow the 投票者 drove on blindly through the blackening London roads, and 設立する somewhere a tedious 投票ing 駅／配置する and 記録，記録的な／記録するd his tiny 投票（する）.
The 政治家，政治屋 for whom the 投票者 had 投票（する）d got in by five hundred and fifty-five 投票（する）s. The 投票者 read this next morning at breakfast, 存在 in a more cheery and expansive mood, and 設立する something very fascinating not 単に in the fact of the 大多数, but even in the form of it. There was something 象徴的な about the three exact 人物／姿／数字s; one felt it might be a sort of motto or cipher. In the 広大な／多数の／重要な 調書をとる／予約する of 調印（する）s and cloudy symbols there is just such a 雷鳴ing repetition. Six hundred and sixty-six was the 示す of the Beast. Five hundred and fifty-five is the 示す of the Man; the 勝利を得た tribune and 国民. A number so symmetrical as that really rises out of the 地域 of science into the 地域 of art. It is a pattern, like the egg-and-dart ornament or the Greek 重要な. One might 辛勝する／優位 a 塀で囲む-paper or fringe a 式服 with a recurring decimal. And while the 投票者 luxuriated in this light exactitude of the numbers, a thought crossed his mind and he almost leapt to his feet. "Why, good heavens!" he cried. "I won that 選挙; and it was won by one 投票（する）! But for me it would have been the despicable, broken-支援するd, disjointed, inharmonious 人物／姿／数字 five hundred and fifty-four. The whole artistic point would have 消えるd. The 示す of the Man would have disappeared from history. It was I who with a masterful 手渡す 掴むd the chisel and carved the hieroglyph—完全にする and perfect. I clutched the trembling 手渡す of 運命 when it was about to make a dull square four and 軍隊d it to make a nice curly five. Why, but for me the Cosmos would have lost a coincidence!" After this 爆発 the 投票者 sat 負かす／撃墜する and finished his breakfast.
Perhaps you do not know where Ethandune is. Nor do I; nor does anybody. That is where the somewhat sombre fun begins. I cannot even tell you for 確かな whether it is the 指名する of a forest or a town or a hill. I can only say that in any 事例／患者 it is of the 肉親，親類d that floats and is unfixed. If it is a forest, it is one of those forests that march with a million 脚s, like the walking trees that were the doom of Macbeth. If it is a town, it is one of those towns that 消える, like a city of テントs. If it is a hill, it is a 飛行機で行くing hill, like the mountain to which 約束 lends wings. Over a 広大な 薄暗い 地域 of England this dark 指名する of Ethandune floats like an eagle doubtful where to 急襲する and strike, and, indeed, there were birds of prey enough over Ethandune, wherever it was. But now Ethandune itself has grown as dark and drifting as the 黒人／ボイコット drifts of the birds.
And yet without this word that you cannot fit with a meaning and hardly with a memory, you would be sitting in a very different 議長，司会を務める at this moment and looking at a very different tablecloth. As a practical modern phrase I do not commend it; if my 私的な critics and 特派員s in whom I delight should happen to 演説（する）／住所 me "G. K. Chesterton, 地位，任命する Restante, Ethandune," I 恐れる their letters would not come to 手渡す. If two hurried 商業の travellers should agree to discuss a 商売／仕事 事柄 at Ethandune from 5 to 5.15, I am afraid they would grow old in the 地区 as white-haired wanderers. To put it plainly, Ethandune is anywhere and nowhere in the western hills; it is an English しん気楼. And yet but for this doubtful thing you would have probably no Daily News on Saturday and certainly no church on Sunday. I do not say that either of these two things is a 利益; but I do say that they are customs, and that you would not 所有する them except through this mystery. You would not have Christmas puddings, nor (probably) any puddings; you would not have 復活祭 eggs, probably not poached eggs, I 堅固に 嫌疑者，容疑者／疑う not 緊急発進するd eggs, and the best historians are decidedly doubtful about curried eggs. To 削減（する） a long story short (the longest of all stories), you would not have any civilization, far いっそう少なく any Christian civilization. And if in some moment of gentle curiosity you wish to know why you are the polished sparkling, 一連の会議、交渉／完成するd, and wholly 満足な 国民 which you 明白に are, then I can give you no more 限定された answer geographical or historical; but only （死傷者）数 in your ears the トン of the uncaptured 指名する—Ethandune.
I will try to 明言する／公表する やめる sensibly why it is as important as it is. And yet even that is not 平易な. If I were to 明言する／公表する the mere fact from the history 調書をとる／予約するs, numbers of people would think it 平等に trivial and remote, like some war of the Picts and Scots. The points perhaps might be put in this way. There is a 確かな spirit in the world which breaks everything off short. There may be magnificence in the 粉砕するing; but the thing is 粉砕するd. There may be a 確かな splendour; but the splendour is sterile: it 廃止するs all 未来 splendours. I mean (to take a working example), York Minster covered with 炎上s might happen to be やめる as beautiful as York Minster covered with carvings. But the carvings produce more carvings. The 炎上s produce nothing but a little 黒人／ボイコット heap. When any 行為／法令／行動する has this cul-de-sac 質 it 事柄s little whether it is done by a 調書をとる／予約する or a sword, by a clumsy 戦う／戦い-axe or a 化学製品 爆弾. The 事例／患者 is the same with ideas. The 悲観論者 may be a proud 人物／姿／数字 when he 悪口を言う／悪態s all the 星／主役にするs; the 楽天主義者 may be an even prouder 人物／姿／数字 when he blesses them all. But the real 実験（する） is not in the energy, but in the 影響. When the 楽天主義者 has said, "All things are 利益／興味ing," we are left 解放する／自由な; we can be 利益／興味d as much or as little as we please. But when the 悲観論者 says, "No things are 利益／興味ing," it may be a very witty 発言／述べる: but it is the last witty 発言／述べる that can be made on the 支配する. He has burnt his cathedral; he has had his 炎 and the 残り／休憩（する） is ashes. The sceptics, like bees, give their one sting and die. The 悲観論者 must be wrong, because he says the last word.
Now, this spirit that 否定するs and that destroys had at one period of history a dreadful 時代 of 軍の 優越. They did 燃やす York Minster, or at least, places of the same 肉親，親類d. 概略で speaking, from the seventh century to the tenth, a dense tide of 不明瞭, of 大混乱 and brainless cruelty, 注ぐd on these islands and on the western coasts of the Continent, which 井戸／弁護士席-nigh 削減（する） them off from all the white man's culture for ever. And this is the final human 実験（する）; that the 変化させるd 長，指導者s of that vague age were remembered or forgotten によれば how they had resisted this almost cosmic （警察の）手入れ，急襲. Nobody thought of the modern nonsense about races; everybody thought of the human race and its highest 業績／成就s. Arthur was a Celt, and may have been a fabulous Celt; but he was a fable on the 権利 味方する. Charlemagne may have been a Gaul or a Goth, but he was not a barbarian; he fought for the tradition against the barbarians, the nihilists. And for this 推論する／理由 also, for this 推論する／理由, in the last 訴える手段／行楽地, only, we call the saddest and in some ways the least successful of the Wessex kings by the 肩書を与える of Alfred the 広大な／多数の／重要な. Alfred was 敗北・負かすd by the barbarians again and again, he 敗北・負かすd the barbarians again and again; but his victories were almost as vain as his 敗北・負かすs. Fortunately he did not believe in the Time Spirit or the 傾向 of Things or any such modern rubbish, and therefore kept pegging away. But while his 失敗s and his fruitless successes have 指名するs still in use (such as Wilton, Basing, and Ashdown), that last epic 戦う／戦い which really broke the barbarian has remained without a modern place or 指名する. Except that it was 近づく Chippenham, where the Danes gave up their swords and were baptized, no one can 選ぶ out certainly the place where you and I were saved from 存在 savages for ever.
But the other day under a wild sunset and moonrise I passed the place which is best という評判の as Ethandune, a high, grim upland, partly 明らかにする and partly shaggy; like that savage and sacred 位置／汚点／見つけ出す in those 広大な／多数の／重要な imaginative lines about the demon lover and the 病弱なing moon. The 不明瞭, the red 難破させる of sunset, the yellow and lurid moon, the long fantastic 影をつくる／尾行するs, 現実に created that sense of monstrous 出来事/事件 which is the 劇の 味方する of landscape. The 明らかにする grey slopes seemed to 急ぐ downhill like 大勝するd hosts; the dark clouds drove across like riven 旗，新聞一面トップの大見出し／大々的に報道するs; and the moon was like a golden dragon, like the Golden Dragon of Wessex.
As we crossed a 攻撃する of the torn ヒース／荒れ地 I saw suddenly between myself and the moon a 黒人／ボイコット shapeless pile higher than a house. The atmosphere was so 激しい that I really thought of a pile of dead Danes, with some phantom 征服者／勝利者 on the 最高の，を越す of it. Fortunately I was crossing these wastes with a friend who knew more history than I; and he told me that this was a barrow older than Alfred, older than the Romans, older perhaps than the Britons; and no man knew whether it was a 塀で囲む or a トロフィー or a tomb. Ethandune is still a drifting 指名する; but it gave me a queer emotion to think that, sword in 手渡す, as the Danes 注ぐd with the 激流s of their 血 負かす／撃墜する to Chippenham, the 広大な／多数の／重要な king may have 解除するd up his 長，率いる and looked at that oppressive 形態／調整, suggestive of something and yet suggestive of nothing; may have looked at it as we did, and understood it as little as we.
Some time ago a Sub-熱帯の Dinner was given by some South African millionaire. I forget his 指名する; and so, very likely, does he. The humour of this was so subtle and haunting that it has been imitated by another millionaire, who has given a North 政治家 Dinner in a grand hotel, on which he managed to spend gigantic sums of money. I do not know how he did it; perhaps they had silver for snow and 広大な／多数の／重要な sapphires for lumps of ice. Anyhow, it seems to have cost rather more to bring the 政治家 to London than to take Peary to the 政治家. All this, one would say, does not 関心 us. We do not want to go to the 政治家—or to the hotel. I, for one, cannot imagine which would be the more dreary and disgusting—the real North 政治家 or the sham one. But as a mere 事柄 of psychology (that merry pastime) there is a question that is not unentertaining.
Why is it that all this 計画／陰謀 of ice and snow leaves us 冷淡な? Why is it that you and I feel that we would (on the whole) rather spend the evening with two or three stable boys in a マリファナ-house than 参加する that pallid and 北極の joke? Why does the modern millionaire's jest—bore a man to death with the mere thought of it? That it does bore a man to death I take for 認めるd, and shall do so until somebody 令状s to me in 冷淡な 署名／調印する and tells me that he really thinks it funny.
Now, it is not a 十分な explanation to say that the joke is silly. All jokes are silly; that is what they are for. If you ask some sincere and elemental person, a woman, for instance, what she thinks of a good 宣告，判決 from Dickens, she will say that it is "too silly." When Mr. Weller, 上級の, 保証するd Mr. Weller, junior, that "回避するd" was "a more tenderer word" than "circumscribed," the 発言／述べる was at least as silly as it was sublime. It is vain, then, to 反対する to "senseless jokes." The very 鮮明度／定義 of a joke is that it need have no sense; except that one wild and supernatural sense which we call the sense of humour. Humour is meant, in a literal sense, to make game of man; that is, to dethrone him from his 公式の／役人 dignity and 追跡（する） him like game. It is meant to remind us human 存在s that we have things about us as ungainly and ludicrous as the nose of the elephant or the neck of the giraffe. If laughter does not touch a sort of 根底となる folly, it does not do its 義務 in bringing us 支援する to an enormous and 初めの 簡単. Nothing has been worse than the modern notion that a clever man can make a joke without taking part in it; without 株ing in the general absurdity that such a 状況／情勢 creates. It is unpardonable conceit not to laugh at your own jokes. Joking is undignified; that is why it is so good for one's soul. Do not fancy you can be a detached wit and 避ける 存在 a buffoon; you cannot. If you are the 法廷，裁判所 Jester you must be the 法廷，裁判所 Fool.
Whatever it is, therefore, that 疲れた／うんざりしたs us in these 豊富な jokes (like the North 政治家 Dinner) it is not 単に that men make fools of themselves. When Dickens 述べるd Mr. Chuckster, Dickens was, 厳密に speaking, making a fool of himself; for he was making a fool out of himself. And every 肉親，親類d of real lark, from 事実上の／代理 a charade to making a pun, does consist in 抑制するing one's nine hundred and ninety-nine serious selves and letting the fool loose. The dullness of the millionaire joke is much deeper. It is not silly at all; it is 単独で stupid. It does not consist of ingenuity 限られた／立憲的な, but 単に of inanity 拡大するd. There is かなりの difference between a wit making a fool of himself and a fool making a wit of himself.
The true explanation, I fancy, may be 明言する／公表するd thus. We can all remember it in the 事例／患者 of the really inspiriting parties and fooleries of our 青年. The only real fun is to have 限られた／立憲的な 構成要素s and a good idea. This explains the perennial 人気 of impromptu 私的な theatricals. These fascinate because they give such a 範囲 for 発明 and variety with the most 国内の 制限 of 機械／機構. A tea-cosy may have to do for an 海軍大将's cocked hat; it all depends on whether the amateur actor can 断言する like an 海軍大将. A hearth-rug may have to do for a 耐える's fur; it all depends on whether the wearer is a polished and versatile man of the world and can grunt like a 耐える. A clergyman's hat (to my own 私的な and 確かな knowledge) can be punched and 強くたたくd into the exact 形態／調整 of a policeman's helmet; it all depends on the clergyman. I mean it depends on his 許可; his imprimatur; his nihil obstat. Clergymen can be policemen; rugs can 激怒（する） like wild animals; tea-cosies can smell of the sea; if only there is at the 支援する of them all one 有望な and amusing idea. What is really funny about Christmas charades in any 普通の／平均（する） home is that there is a contrast between commonplace 資源s and one comic idea. What is deadly dull about the millionaire-祝宴s is that there is a contrast between colossal 資源s and no idea.
That is the abyss of inanity in such feasts—it may be literally called a yawning abyss. The abyss is the 広大な chasm between the money 力／強力にする 雇うd and the thing it is 雇うd on. To make a big joke out of a broomstick, a barrow and an old hat—that is 広大な／多数の／重要な. But to make a small joke out of mountains of emeralds and トンs of gold—surely that is humiliating! The North 政治家 is not a very good joke to start with. An icicle hanging on one's nose is a simple sort of humour in any 事例／患者. If a 始める，決める of spontaneous mummers got the 影響 cleverly with 削減（する） 水晶s from the 早期に Victorian chandelier there might really be something suddenly funny in it. But what should we say of hanging diamonds on a hundred human noses 単に to make that precious joke about icicles?
What can be more abject than the union of (a)手の込んだ／(v)詳述する and recherche 手はず／準備 with an old and obvious point? The clown with the red-hot poker and the string of sausages is all very 井戸／弁護士席 in his way. But think of a string of pate de foie gras sausages at a guinea a piece! Think of a red-hot poker 削減（する） out of a 選び出す／独身 ruby! Imagine such fantasticalities of expense with such a tameness and staleness of design.
We may even 収容する／認める the practical joke if it is 国内の and simple. We may 譲歩する that apple-pie beds and butter-slides are いつかs useful things for the education of pompous persons living the Higher Life. But imagine a man making a butter-slide and telling everybody it was made with the most expensive butter. Picture an apple-pie bed of purple and cloth of gold. It is not hard to see that such 計画／陰謀s would lead 同時に to a 二塁打 退屈; weariness of the 高くつく／犠牲の大きい and コンビナート／複合体 method and of the meagre and trivial thought. This is the true 分析, I think of that 冷気／寒がらせる of tedium that strikes to the soul of any intelligent man when he hears of such elephantine いたずらs. That is why we feel that Freak Dinners would not even be freakish. That is why we feel that expensive 北極の feasts would probably be a 霜.
If it be said that such things do no 害（を与える）, I 急いで, in one sense, at least, to agree. Far from it; they do good. They do good in the most 決定的な 事柄 of modern times; for they 証明する and print in 抱擁する letters the truth which our society must learn or 死なせる／死ぬ. They 証明する that wealth in society as now 構成するd does not tend to get into the 手渡すs of the thrifty or the 有能な, but 現実に tends to get into the 手渡すs of wastrels and imbeciles. And it 証明するs that the 豊富な class of to-day is やめる as ignorant about how to enjoy itself as about how to 支配する other people. That it cannot make its 政府 治める／統治する or its education educate we may take as a trifling 証拠不十分 of oligarchy; but 楽しみ we do look to see in such a class; and it has surely come to its decrepitude when it cannot make its 楽しみs please.
One いつかs hears from persons of the chillier type of culture the 発言／述べる that plain country people do not 高く評価する／（相場などが）上がる the beauty of the country. This is an error rooted in the 知識人 pride of mediocrity; and is one of the many examples of a truth in the idea that extremes 会合，会う. Thus, to 高く評価する／（相場などが）上がる the virtues of the 暴徒 one must either be on a level with it (as I am) or be really high up, like the saints. It is 概略で the same with aesthetics; slang and rude dialect can be relished by a really literary taste, but not by a 単に bookish taste. And when these cultivated cranks say that rustics do not talk of Nature in an appreciative way, they really mean that they do not talk in a bookish way. They do not talk bookishly about clouds or 石／投石するs, or pigs or slugs, or horses or anything you please. They talk piggishly about pigs; and sluggishly, I suppose, about slugs; and are refreshingly horsy about horses. They speak in a stony way of 石／投石するs; they speak in a cloudy way of clouds; and this is surely the 権利 way. And if by any chance a simple intelligent person from the country comes in 接触する with any 面 of Nature unfamiliar and 逮捕（する）ing, such a person's comment is always 価値（がある） 発言／述べる. It is いつかs an epigram, and at worst it is never a quotation.
Consider, for instance, what wastes of wordy imitation and ambiguity the ordinary educated person in the big towns could 注ぐ out on the 支配する of the sea. A country girl I know in the 郡 of Buckingham had never seen the sea in her life until the other day. When she was asked what she thought of it she said it was like cauliflowers. Now that is a piece of pure literature—vivid, 完全に 独立した・無所属 and 初めの, and perfectly true. I had always been haunted with an analogous kinship which I could never 位置を示す; cabbages always remind me of the sea and the sea always reminds me of cabbages. It is partly, perhaps, the veined mingling of violet and green, as in the sea a purple that is almost dark red may mix with a green that is almost yellow, and still be the blue sea as a whole. But it is more the grand curves of the cabbage that curl over cavernously like waves, and it is partly again that dreamy repetition, as of a pattern, that made two 広大な／多数の／重要な poets, Eschylus and Shakespeare, use a word like "multitudinous" of the ocean. But just where my fancy 停止（させる）d the Buckinghamshire young woman 急ぐd (so to speak) to my imaginative 救助（する）. Cauliflowers are twenty times better than cabbages, for they show the wave breaking 同様に as curling, and the efflorescence of the 支店ing 泡，激怒すること, blind 泡ing, and opaque. Moreover, the strong lines of life are 示唆するd; the arches of the 急ぐing waves have all the rigid energy of green stalks, as if the whole sea were one 広大な／多数の／重要な green 工場／植物 with one 巨大な white flower rooted in the abyss.
Now, a large number of delicate and superior persons would 辞退する to see the 軍隊 in that kitchen garden comparison, because it is not connected with any of the ordinary 海上の 感情s as 明言する／公表するd in 調書をとる／予約するs and songs. The aesthetic amateur would say that he knew what large and philosophical thoughts he せねばならない have by the boundless 深い. He would say that he was not a greengrocer who would think first of greens. To which I should reply, like Hamlet, apropos of a 平行の profession, "I would you were so honest a man." The について言及する of "Hamlet" reminds me, by the way, that besides the girl who had never seen the sea, I knew a girl who had never seen a 行う／開催する／段階-play. She was taken to "Hamlet," and she said it was very sad. There is another 事例／患者 of going to the primordial point which is overlaid by learning and 第２位 impressions. We are so used to thinking of "Hamlet" as a problem that we いつかs やめる forget that it is a 悲劇, just as we are so used to thinking of the sea as 広大な and vague, that we scarcely notice when it is white and green.
But there is another quarrel 伴う／関わるd in which the young gentleman of culture comes into violent 衝突／不一致 with the young lady of the cauliflowers. The first 必須の of the 単に bookish 見解（をとる） of the sea is that it is boundless, and gives a 感情 of infinity. Now it is やめる 確かな , I think, that the cauliflower simile was partly created by 正確に／まさに the opposite impression, the impression of 境界 and of 障壁. The girl thought of it as a field of vegetables, even as a yard of vegetables. The girl was 権利. The ocean only 示唆するs infinity when you cannot see it; a sea もや may seem endless, but not a sea. So far from 存在 vague and 消えるing, the sea is the one hard straight line in Nature. It is the one plain 限界; the only thing that God has made that really looks like a 塀で囲む. Compared to the sea, not only sun and cloud are 大混乱／混沌とした and doubtful, but solid mountains and standing forests may be said to melt and fade and 逃げる in the presence of that lonely アイロンをかける line. The old 海軍の phrase, that the seas are England's 防御壁／支持者s, is not a frigid and 人工的な metaphor; it （機の）カム into the 長，率いる of some 本物の sea-dog, when he was genuinely looking at the sea. For the 辛勝する／優位 of the sea is like the 辛勝する／優位 of a sword; it is sharp, 軍の, and 決定的な; it really looks like a bolt or 妨げる／法廷，弁護士業, and not like a mere 拡大. It hangs in heaven, grey, or green, or blue, changing in colour, but changeless in form, behind all the slippery contours of the land and all the savage softness of the forests, like the 規模s of God held even. It hangs, a perpetual 思い出の品 of that divine 推論する／理由 and 司法（官） which がまんするs behind all 妥協s and all 合法的 variety; the one straight line; the 限界 of the intellect; the dark and ultimate dogma of the world.
"Sentimentalism is the most broken reed on which righteousness can lean"; these were, I think, the exact words of a distinguished American 訪問者 at the Guildhall, and may Heaven 許す me if I do him a wrong. It was spoken in illustration of the folly of supporting Egyptian and other Oriental 国家主義, and it has tempted me to some reflections on the first word of the 宣告，判決.
The Sentimentalist, 概略で speaking, is the man who wants to eat his cake and have it. He has no sense of honour about ideas; he will not see that one must 支払う／賃金 for an idea as for anything else. He will not see that any worthy idea, like any honest woman, can only be won on its own 条件, and with its 論理（学）の chain of 忠義. One idea attracts him; another idea really 奮起させるs him; a third idea flatters him; a fourth idea 支払う／賃金s him. He will have them all at once in one wild 知識人 harem, no 事柄 how much they quarrel and 否定する each other. The Sentimentalist is a philosophic profligate, who tries to 逮捕（する） every mental beauty without 言及／関連 to its 競争相手 beauties; who will not even be off with the old love before he is on with the new. Thus if a man were to say, "I love this woman, but I may some day find my affinity in some other woman," he would be a Sentimentalist. He would be 説, "I will eat my wedding-cake and keep it." Or if a man should say, "I am a 共和国の／共和党の, believing in the equality of 国民s; but when the 政府 has given me my peerage I can do infinite good as a 肉親，親類d landlord and a wise 立法議員"; then that man would be a Sentimentalist. He would be trying to keep at the same time the classic 緊縮 of equality and also the vulgar excitement of an aristocrat. Or if a man should say, "I am in favour of 宗教的な equality; but I must 保存する the Protestant Succession," he would be a Sentimentalist of a grosser and more improbable 肉親，親類d.
This is the essence of the Sentimentalist: that he 捜し出すs to enjoy every idea without its sequence, and every 楽しみ without its consequence.
Now it would really be hard to find a worse 事例／患者 of this inconsequent sentimentalism than the theory of the British Empire 前進するd by Mr. Roosevelt himself in his attack on Sentimentalists. For the 皇室の theory, the Roosevelt and Kipling theory, of our relation to Eastern races is 簡単に one of eating the Oriental cake (I suppose a Sultana Cake) and at the same time leaving it alone.
Now there are two sane 態度s of a European 政治家 に向かって Eastern peoples, and there are only two.
First, he may 簡単に say that the いっそう少なく we have to do with them the better; that whether they are lower than us or higher they are so catastrophically different that the more we go our way and they go theirs the better for all parties 関心d. I will 自白する to some tenderness for this 見解（をとる）. There is much to be said for letting that 静める immemorial life of slave and 暴君, 寺 and palm tree flow on as it has always flowed. The best 推論する／理由 of all, the 推論する／理由 that 影響する／感情s me most finally, is that if we left the 残り／休憩（する） of the world alone we might have some time for …に出席するing to our own 事件／事情／状勢s, which are 緊急の to the point of excruciation. All history points to this; that 集中的な cultivation in the long run 勝利s over the widest 広範囲にわたる cultivation; or, in other words, that making one's own field superior is far more 効果的な than 減ずるing other people's fields to inferiority. If you cultivate your own garden and grow a 特に large cabbage, people will probably come to see it. 反して the life of one selling small cabbages 一連の会議、交渉／完成する the whole 地区 is often forlorn.
Now, the 皇室の 開拓する is essentially a 商業の traveller; and a 商業の traveller is essentially a person who goes to see people because they don't want to see him. As long as empires go about 勧めるing their ideas on others, I always have a notion that the ideas are no good. If they were really so splendid, they would make the country preaching them a wonder of the world. That is the true ideal; a 広大な／多数の／重要な nation ought not to be a 大打撃を与える, but a magnet. Men went to the mediaeval Sorbonne because it was 価値（がある） going to. Men went to old Japan because only there could they find the unique and exquisite old Japanese art. Nobody will ever go to modern Japan (nobody 価値（がある） bothering about, I mean), because modern Japan has made the 抱擁する mistake of going to the other people: becoming a ありふれた empire. The mountain has condescended to Mahomet; and henceforth Mahomet will whistle for it when he wants it.
That is my political theory: that we should make England 価値（がある） copying instead of telling everybody to copy her.
But it is not the only possible theory. There is another 見解（をとる） of our relations to such places as Egypt and India which is 完全に tenable. It may be said, "We Europeans are the 相続人s of the Roman Empire; when all is said we have the largest freedom, the most exact science, the most solid romance. We have a 深い though undefined 義務 to give as we have received from God; because the tribes of men are truly かわきing for these things as for water. All men really want （疑いを）晴らす 法律s: we can give （疑いを）晴らす 法律s. All men really want hygiene: we can give hygiene. We are not 単に 課すing Western ideas. We are 簡単に 実行するing human ideas—for the first time."
On this line, I think, it is possible to 正当化する the forts of Africa and the 鉄道／強行採決するs of Asia; but on this line we must go much その上の. If it is our 義務 to give our best, there can be no 疑問 about what is our best. The greatest thing our Europe has made is the 国民: the idea of the 普通の／平均（する） man, 解放する／自由な and 十分な of honour, 任意に invoking on his own sin the just vengeance of his city. All else we have done is mere 機械／機構 for that: 鉄道s 存在する only to carry the 国民; forts only to defend him; electricity only to light him, 薬／医学 only to 傷をいやす／和解させる him. Popularism, the idea of the people alive and 根気よく feeding history, that we cannot give; for it 存在するs everywhere, East and West. But 僕主主義, the idea of the people fighting and 治める／統治するing—that is the only thing we have to give.
Those are the two roads. But between them weakly wavers the Sentimentalist—that is, the 帝国主義の of the Roosevelt school. He wants to have it both ways, to have the splendours of success without the 危険，危なくするs. Europe may enslave Asia, because it is flattering: but Europe must not 解放する／自由な Asia, because that is responsible. It tickles his 皇室の taste that Hindoos should have European hats: it is too dangerous if they have European 長，率いるs. He cannot leave Asia Asiatic: yet he dare not 熟視する／熟考する Asia as European. Therefore he 提案するs to have in Egypt 鉄道 signals, but not 旗s; despatch boxes, but not 投票（する） boxes.
In short, the Sentimentalist decides to spread the 団体／死体 of Europe without the soul.
It is within my experience, which is very 簡潔な／要約する and 時折の in this 事柄, that it is not really at all 平易な to talk in a モーター-car. This is fortunate; first, because, as a whole, it 妨げるs me from モーターing; and second because, at any given moment, it 妨げるs me from talking. The difficulty is not wholly 予定 to the physical 条件s, though these are distinctly unconversational. FitzGerald's Omar, 存在 a 悲観論者, was probably rich, and 存在 a lazy fellow, was almost certainly a 運転者. If any 疑問 could 存在する on the point, it is enough to say that, in speaking of the foolish 利益（をあげる）s, Omar has defined the difficulties of colloquial モーターing with a precision which cannot be 偶発の. "Their words to 勝利，勝つd are scattered; and their mouths are stopped with dust." From this follows not (as many of the 削減（する）-and-乾燥した，日照りのd philosophers would say) a savage silence and 相互の 敵意, but rather one of those rich silences that make the 集まり and 本体，大部分／ばら積みの of all friendship; the silence of men 列／漕ぐ／騒動ing the same boat or fighting in the same 戦う／戦い-line.
It happened that the other day I 雇うd a モーター-car, because I 手配中の，お尋ね者 to visit in very 早い succession the 戦う／戦い-places and hiding-places of Alfred the 広大な／多数の／重要な; and for a thing of this sort a モーター is really appropriate. It is not by any means the best way of seeing the beauty of the country; you see beauty better by walking, and best of all by sitting still. But it is a good method in any 企業 that 伴う／関わるs a parody of the 軍の or 政治の 質—anything which needs to know quickly the whole contour of a 郡 or the rough, 親族 position of men and towns. On such a 旅行, like jagged 雷, I sat from morning till night by the 味方する of the chauffeur; and we scarcely 交流d a word to the hour. But by the time the yellow 星／主役にするs （機の）カム out in the villages and the white 星／主役にするs in the skies, I think I understood his character; and I 恐れる he understood 地雷.
He was a Cheshire man with a sour, 患者, and humorous 直面する; he was modest, though a north 同国人, and genial, though an 専門家. He spoke (when he spoke at all) with a strong northland accent; and he evidently was new to the beautiful south country, as was （疑いを）晴らす both from his 是認 and his （民事の）告訴s. But though he （機の）カム from the north he was 農業の and not 商業の in origin; he looked at the land rather than the towns, even if he looked at it with a somewhat more sharp and utilitarian 注目する，もくろむ. His first 発言／述べる for some hours was uttered when we were crossing the more coarse and desolate 高さs of Salisbury Plain. He 発言／述べるd that he had always thought that Salisbury Plain was a plain. This alone showed that he was new to the 周辺. But he also said, with a 批判的な frown, "A lot of this land ought to be good land enough. Why don't they use it?" He was then silent for some more hours.
At an abrupt angle of the slopes that lead 負かす／撃墜する from what is called (with no little humour) Salisbury Plain, I saw suddenly, as by 事故, something I was looking for—that is, something I did not 推定する／予想する to see. We are all supposed to be trying to walk into heaven; but we should be uncommonly astonished if we suddenly walked into it. As I was leaving Salisbury Plain (to put it 概略で) I 解除するd up my 注目する，もくろむs and saw the White Horse of Britain.
One or two truly 罰金 poets of the Tory and Protestant type, such as Swinburne and Mr. Rudyard Kipling, have eulogized England under the image of white horses, meaning the white-maned breakers of the Channel. This is 権利 and natural enough. The true philosophical Tory goes 支援する to 古代の things because he thinks they will be anarchic things. It would startle him very much to be told that there are white horses of artifice in England that may be older than those wild white horses of the elements. Yet it is truly so. Nobody knows how old are those strange green and white hieroglyphics, those straggling quadrupeds of chalk, that stand out on the 味方するs of so many of the Southern 負かす／撃墜するs. They are かもしれない older than Saxon and older than Roman times. They may 井戸／弁護士席 be older than British, older than any 記録，記録的な／記録するd times. They may go 支援する, for all we know, to the first faint seeds of human life on this 惑星. Men may have 選ぶd a horse out of the grass long before they scratched a horse on a vase or マリファナ, or messed and 集まりd any horse out of clay. This may be the oldest human art—before building or 墓／厳粛／彫る／重大なing. And if so, it may have first happened in another 地質学の age, before the sea burst through the 狭くする 海峡s of Dover. The White Horse may have begun in Berkshire when there were no white horses at Folkestone or Newhaven. That rude but evident white 輪郭（を描く） that I saw across the valley may have been begun when Britain was not an island. We forget that there are many places where art is older than nature.
We took a long detour through somewhat easier roads, till we （機の）カム to a 違反 or chasm in the valley, from which we saw our friend the White Horse once more. At least, we thought it was our friend the White Horse; but after a little 調査 we discovered to our astonishment that it was another friend and another horse. Along the leaning 側面に位置するs of the same fair valley there was (it seemed) another white horse; as rude and as clean, as 古代の and as modern, as the first. This, at least, I thought must be the aboriginal White Horse of Alfred, which I had always heard associated with his 指名する. And yet before we had driven into Wantage and seen King Alfred's quaint grey statue in the sun, we had seen yet a third white horse. And the third white horse was so hopelessly unlike a horse that we were sure that it was 本物の. The final and 初めの white horse, the white horse of the White Horse Vale, has that big, babyish 質 that truly belongs to our remotest ancestors. It really has the 先史の, preposterous 質 of Zulu or New Zealand native 製図／抽選s. This at least was surely made by our fathers when they were barely men; long before they were civilized men.
But why was it made? Why did barbarians take so much trouble to make a horse nearly as big as a hamlet; a horse who could 耐える no hunter, who could drag no 負担? What was this titanic, sub-conscious instinct for spoiling a beautiful green slope with a very ugly white quadruped? What (for the 事柄 of that) is this whole 危険な fancy of humanity 判決，裁定 the earth, which may have begun with white horses, which may by no means end with twenty horse-力／強力にする cars? As I rolled away out of that country, I was still cloudily considering how ordinary men ever （機の）カム to want to make such strange chalk horses, when my chauffeur startled me by speaking for the first time for nearly two hours. He suddenly let go one of the 扱うs and pointed at a 甚だしい／１２ダース green 本体，大部分／ばら積みの of 負かす／撃墜する that happened to swell above us. "That would be a good place," he said.
自然に I referred to his last speech of some hours before; and supposed he meant that it would be 約束ing for 農業. As a fact, it was やめる unpromising; and this made me suddenly understand the 静かな ardour in his 注目する，もくろむ. All of a sudden I saw what he really meant. He really meant that this would be a splendid place to 選ぶ out another white horse. He knew no more than I did why it was done; but he was in some 考えられない 先史の tradition, because he 手配中の，お尋ね者 to do it. He became so 激烈な／緊急の in sensibility that he could not 耐える to pass any 幅の広い breezy hill of grass on which there was not a white horse. He could hardly keep his 手渡すs off the hills. He could hardly leave any of the living grass alone.
Then I left off wondering why the 原始の man made so many white horses. I left off troubling in what sense the ordinary eternal man had sought to scar or deface the hills. I was content to know that he did want it; for I had seen him wanting it.
I find myself still sitting in 前線 of the last 調書をとる／予約する by Mr. H. G. 井戸／弁護士席s, I say stunned with 賞賛, my family says sleepy with 疲労，（軍の）雑役. I still feel ばく然と all the things in Mr. 井戸／弁護士席s's 調書をとる／予約する which I agree with; and I still feel vividly the one thing that I 否定する. I 否定する that biology can destroy the sense of truth, which alone can even 願望（する） biology. No truth which I find can 否定する that I am 捜し出すing the truth. My mind cannot find anything which 否定するs my mind... But what is all this? This is no sort of talk for a genial essay. Let us change the 支配する; let us have a romance or a fable or a fairy tale.
Come, let us tell each other stories. There was once a king who was very fond of listening to stories, like the king in the Arabian Nights. The only difference was that, unlike that 冷笑的な Oriental, this king believed all the stories that he heard. It is hardly necessary to 追加する that he lived in England. His 直面する had not the swarthy secrecy of the tyrant of the thousand tales; on the contrary, his 注目する，もくろむs were as big and innocent as two blue moons; and when his yellow 耐えるd turned 全く white he seemed to be growing younger. Above him hung still his 激しい sword and horn, to remind men that he had been a tall hunter and 軍人 in his time: indeed, with that rusted sword he had 難破させるd armies. But he was one of those who will never know the world, even when they 征服する／打ち勝つ it. Besides his love of this old Chaucerian pastime of the telling of tales, he was, like many old English kings, 特に 利益／興味d in the art of the 屈服する. He gathered 一連の会議、交渉／完成する him 広大な／多数の／重要な archers of the stature of Ulysses and コマドリ Hood, and to four of these he gave the whole 政府 of his kingdom. They did not mind 治める／統治するing his kingdom; but they were いつかs a little bored with the necessity of telling him stories. 非，不，無 of their stories were true; but the king believed all of them, and this became very depressing. They created the most preposterous romances; and could not get the credit of creating them. Their true ambition was sent empty away. They were 賞賛するd as archers; but they 願望（する）d to be 賞賛するd as poets. They were 信用d as men, but they would rather have been admired as literary men.
At last, in an hour of desperation, they formed themselves into a club or 共謀 with the 反対する of inventing some story which even the king could not swallow. They called it The League of the Long 屈服する; thus 大（公）使館員ing themselves by a 二塁打 社債 to their motherland of England, which has been 刻々と celebrated since the Norman Conquest for its heroic 弓術，射手隊 and for the 驚くべき／特命の／臨時の credulity of its people.
At last it seemed to the four archers that their hour had come. The king 一般的に sat in a green curtained 議会, which opened by four doors, and was surmounted by four turrets. 召喚するing his 支持する／優勝者s to him on an April evening, he sent out each of them by a separate door, telling him to return at morning with the tale of his 旅行. Every 支持する／優勝者 屈服するd low, and, girding on 広大な／多数の／重要な armour as for awful adventures, retired to some part of the garden to think of a 嘘（をつく）. They did not want to think of a 嘘（をつく） which would deceive the king; any 嘘（をつく） would do that. They 手配中の，お尋ね者 to think of a 嘘（をつく） so outrageous that it would not deceive him, and that was a serious 事柄.
The first archer who returned was a dark, 静かな, clever fellow, very dexterous in small 事柄s of mechanics. He was more 利益／興味d in the science of the 屈服する than in the sport of it. Also he would only shoot at a 示す, for he thought it cruel to kill beasts and birds, and atrocious to kill men. When he left the king he had gone out into the 支持を得ようと努めるd and tried all sorts of tiresome 実験s about the bending of 支店s and the 衝撃 of arrows; when even he 設立する it tiresome he returned to the house of the four turrets and narrated his adventure. "井戸／弁護士席," said the king, "what have you been 狙撃?" "Arrows," answered the archer. "So I suppose," said the king smiling; "but I mean, I mean what wild things have you 発射?" "I have 発射 nothing but arrows," answered the bowman obstinately. "When I went out on to the plain I saw in a 三日月 the 黒人／ボイコット army of the Tartars, the terrible archers whose 屈服するs are of bended steel, and their bolts as big as javelins. They 秘かに調査するd me afar off, and the にわか雨 of their arrows shut out the sun and made a 動揺させるing roof above me. You know, I think it wrong to kill a bird, or worm, or even a Tartar. But such is the precision and rapidity of perfect science that, with my own arrows, I 分裂（する） every arrow as it （機の）カム against me. I struck every 飛行機で行くing 軸 as if it were a 飛行機で行くing bird. Therefore, Sire, I may say truly, that I 発射 nothing but arrows." The king said, "I know how clever you engineers are with your fingers." The archer said, "Oh," and went out.
The second archer, who had curly hair and was pale, poetical, and rather effeminate, had 単に gone out into the garden and 星／主役にするd at the moon. When the moon had become too wide, blank, and watery, even for his own wide, blank, and watery 注目する，もくろむs, he （機の）カム in again. And when the king said "What have you been 狙撃?" he answered with 広大な／多数の／重要な volubility, "I have 発射 a man; not a man from Tartary, not a man from Europe, Asia, Africa, or America; not a man on this earth at all. I have 発射 the Man in the Moon." "発射 the Man in the Moon?" repeated the king with something like a 穏やかな surprise. "It is 平易な to 証明する it," said the archer with hysterical haste. "診察する the moon through this 特に powerful telescope, and you will no longer find any traces of a man there." The king glued his big blue idiotic 注目する，もくろむ to the telescope for about ten minutes, and then said, "You are 権利: as you have often pointed out, 科学の truth can only be 実験（する）d by the senses. I believe you." And the second archer went out, and 存在 of a more emotional temperament burst into 涙／ほころびs.
The third archer was a savage, brooding sort of man with 絡まるd hair and dreamy 注目する，もくろむs, and he （機の）カム in without any preface, 説, "I have lost all my arrows. They have turned into birds." Then as he saw that they all 星／主役にするd at him, he said "井戸／弁護士席, you know everything changes on the earth; mud turns into marigolds, eggs turn into chickens; one can even 産む／飼育する dogs into やめる different 形態／調整s. 井戸／弁護士席, I 発射 my arrows at the awful eagles that 衝突／不一致 their wings 一連の会議、交渉／完成する the Himalayas; 広大な／多数の／重要な golden eagles as big as elephants, which snap the tall trees by perching on them. My arrows fled so far over mountain and valley that they turned slowly into fowls in their flight. See here," and he threw 負かす／撃墜する a dead bird and laid an arrow beside it. "Can't you see they are the same structure. The straight 軸 is the backbone; the sharp point is the beak; the feather is the rudimentary plumage. It is 単に modification and 進化." After a silence the king nodded 厳粛に and said, "Yes; of course everything is 進化." At this the third archer suddenly and violently left the room, and was heard in some distant part of the building making 驚くべき／特命の／臨時の noises either of 悲しみ or of mirth.
The fourth archer was a stunted man with a 直面する as dead as 支持を得ようと努めるd, but with wicked little 注目する，もくろむs の近くに together, and very much alive. His comrades dissuaded him from going in because they said that they had 急に上がるd up into the seventh heaven of living lies, and that there was literally nothing which the old man would not believe. The 直面する of the little archer became a little more 木造の as he 軍隊d his way in, and when he was inside he looked 一連の会議、交渉／完成する with blinking bewilderment. "Ha, the last," said the king heartily, "welcome 支援する again!" There was a long pause, and then the stunted archer said, "What do you mean by 'again'? I have never been here before." The king 星／主役にするd for a few seconds, and said, "I sent you out from this room with the four doors last night." After another pause the little man slowly shook his 長，率いる. "I never saw you before," he said 簡単に; "you never sent me out from anywhere. I only saw your four turrets in the distance, and 逸脱するd in here by 事故. I was born in an island in the Greek 群島; I am by profession an auctioneer, and my 指名する is Punk." The king sat on his 王位 for seven long instants like a statue; and then there awoke in his 穏やかな and 古代の 注目する，もくろむs an awful thing; the 完全にする 有罪の判決 of untruth. Every one has felt it who has 設立する a child obstinately 誤った. He rose to his 高さ and took 負かす／撃墜する the 激しい sword above him, plucked it out naked, and then spoke. "I will believe your mad tales about the exact 機械／機構 of arrows; for that is science. I will believe your mad tales about traces of life in the moon; for that is science. I will believe your mad tales about jellyfish turning into gentlemen, and everything turning into anything; for that is science. But I will not believe you when you tell me what I know to be untrue. I will not believe you when you say that you did not all 始める，決める 前へ／外へ under my 当局 and out of my house. The other three may conceivably have told the truth; but this last man has certainly lied. Therefore I will kill him." And with that the old and gentle king ran at the man with uplifted sword; but he was 逮捕（する）d by the roar of happy laughter, which told the world that there is, after all, something which an Englishman will not swallow.
Mr. Vernon-Smith, of Trinity, and the Social 解決／入植地, Tooting, author of "A Higher London" and "The Boyg System at Work," （機の）カム to the 結論, after looking through his select and even 厳しい library, that Dickens's "Christmas Carol" was a very suitable thing to be read to charwomen. Had they been men they would have been 強制的に 支配するd to Browning's "Christmas Eve" with 解説，博覧会, but chivalry spared the charwomen, and Dickens was funny, and could do no 害（を与える）. His fellow 労働者 Wimpole would read things like "Three Men in a Boat" to the poor; but Vernon-Smith regarded this as a sacrifice of 原則, or (what was the same thing to him) of dignity. He would not encourage them in their vulgarity; they should have nothing from him that was not literature. Still Dickens was literature after all; not literature of a high order, of course, not thoughtful or purposeful literature, but literature やめる fitted for charwomen on Christmas Eve.
He did not, however, let them 吸収する Dickens without 予定 antidotes of 警告 and 批評. He explained that Dickens was not a writer of the first 階級, since he 欠如（する）d the high 真面目さ of Matthew Arnold. He also 恐れるd that they would find the characters of Dickens terribly 誇張するd. But they did not, かもしれない because they were 会合 them every day. For の中で the poor there are still 誇張するd characters; they do not go to the Universities to be universified. He told the charwomen, with 進歩／革新的な brightness, that a mad wicked old miser like Scrooge would be really やめる impossible now; but as each of the charwomen had an uncle or a grandfather or a father-in-法律 who was 正確に／まさに like Scrooge, his cheerfulness was not 株d. Indeed, the lecture as a whole 欠如（する）d something of his 会社／堅い and elastic touch, and に向かって the end he 設立する himself rambling, and in a sort of abstraction, talking to them as if they were his fellows. He caught himself 説 やめる mystically that a spiritual 計画（する） (by which he meant his 計画（する）) always looked to those on the sensual or Dickens 計画（する）, not 単に 厳格な，質素な, but desolate. He said, 引用するing Bernard Shaw, that we could all go to heaven just as we can all go to a classical concert, but if we did it would bore us. Realizing that he was taking his flock far out of their depth, he ended somewhat hurriedly, and was soon receiving that generous 賞賛 which is a part of the 深遠な ceremonialism of the working classes. As he made his way to the door three people stopped him, and he answered them heartily enough, but with an 空気／公表する of hurry which he would not have dreamed of showing to people of his own class. One was a little schoolmistress who told him with a sort of feverish meekness that she was troubled because an 倫理的な Lecturer had said that Dickens was not really 進歩／革新的な; but she thought he was 進歩／革新的な; and surely he was 進歩／革新的な. Of what 存在 進歩／革新的な was she had no more notion than a 鯨. The second person implored him for a subscription to some soup kitchen or cheap meal; and his 精製するd features sharpened; for this, like literature, was a 事柄 of 原則 with him. "やめる the wrong method," he said, shaking his 長，率いる and 押し進めるing past. "Nothing any good but the Boyg system." The third stranger, who was male, caught him on the step as he （機の）カム out into the snow and starlight; and asked him point blank for money. It was a part of Vernon-Smith's 原則s that all such persons are 繁栄する impostors; and like a true mystic he held to his 原則s in 反抗 of his five senses, which told him that the night was 氷点の and the man very thin and weak. "If you come to the 解決／入植地 between four and five on Friday week," he said, "調査s will be made." The man stepped 支援する into the snow with a not ungraceful gesture as of 陳謝; he had frosty silver hair, and his lean 直面する, though in 影をつくる／尾行する, seemed to wear something like a smile. As Vernon-Smith stepped briskly into the street, the man stooped 負かす／撃墜する as if to do up his bootlace. He was, however, guiltless of any such dandyism; and as the young philanthropist stood pulling on his gloves with some particularity, a 激しい snowball was suddenly 粉砕するd into his 直面する. He was blind for a 黒人／ボイコット instant; then as some of the snow fell, saw faintly, as in a 薄暗い mirror of ice or dreamy 水晶, the lean man 屈服するing with the elegance of a dancing master, and 説 amiably, "A Christmas box." When he had やめる （疑いを）晴らすd his 直面する of snow the man had 消えるd.
For three 燃やすing minutes Cyril Vernon-Smith was nearer to the people and more their brother than he had been in his whole high-stepping pedantic 存在; for if he did not love a poor man, he hated one. And you never really regard a labourer as your equal until you can quarrel with him. "Dirty cad!" he muttered. "Filthy fool! Mucking with snow like a beastly baby! When will they be civilized? Why, the very 明言する／公表する of the street is a 不名誉 and a 誘惑 to such tomfools. Why isn't all this snow （疑いを）晴らすd away and the street made decent?"
To the 注目する，もくろむ of efficiency, there was, indeed, something to complain of in the 条件 of the road. Snow was banked up on both 味方するs in white 塀で囲むs and に向かって the other and darker end of the street even rose into a 大混乱 of low colourless hills. By the time he reached them he was nearly 膝 深い, and was in a far from philanthropic でっちあげる，人を罪に陥れる of mind. The 孤独 of the little streets was as strange as their white obstruction, and before he had ploughed his way much その上の he was 納得させるd that he had taken a wrong turning, and fallen upon some formless 郊外 unvisited before. There was no light in any of the low, dark houses; no light in anything but the blank emphatic snow. He was modern and morbid; hellish 孤立／分離 攻撃する，衝突する and held him suddenly; anything human would have relieved the 緊張する, if it had been only the leap of a garotter. Then the tender human touch （機の）カム indeed; for another snowball struck him, and made a 星／主役にする on his 支援する. He turned with 猛烈な／残忍な joy, and ran after a boy escaping; ran with dizzy and violent 速度(を上げる）, he knew not for how long. He 手配中の，お尋ね者 the boy; he did not know whether he loved or hated him. He 手配中の，お尋ね者 humanity; he did not know whether he loved or hated it.
As he ran he realized that the landscape around him was changing in 形態／調整 though not in colour. The houses seemed to dwindle and disappear in hills of snow as if buried; the snow seemed to rise in tattered 輪郭（を描く）s of crag and cliff and crest, but he thought nothing of all these impossibilities until the boy turned to bay. When he did he saw the child was queerly beautiful, with gold red hair, and a 直面する as serious as 完全にする happiness. And when he spoke to the boy his own question surprised him, for he said for the first time in his life, "What am I doing here?" And the little boy, with very 墓／厳粛／彫る／重大な 注目する，もくろむs, answered, "I suppose you are dead."
He had (also for the first time) a 疑問 of his spiritual 運命. He looked 一連の会議、交渉／完成する on a 非常に高い landscape of frozen 頂点（に達する）s and plains, and said, "Is this hell?" And as the child 星／主役にするd, but did not answer, he knew it was heaven.
All over that colossal country, white as the world 一連の会議、交渉／完成する the 政治家, little boys were playing, rolling each other 負かす／撃墜する dreadful slopes, 鎮圧するing each other under 落ちるing cliffs; for heaven is a place where one can fight for ever without 傷つけるing. Smith suddenly remembered how happy he had been as a child, rolling about on the 安全な sandhills around Conway.
権利 above Smith's 長，率いる, higher than the cross of St. Paul's, but curving over him like the hanging blossom of a harebell, was a cavernous crag of snow. A hundred feet below him, like a landscape seen from a balloon, lay 雪の降る，雪の多い flats as white and as far away. He saw a little boy stagger, with many 壊滅的な slides, to that 倒れるing 頂点（に達する）; and 掴むing another little boy by the 脚, send him 飛行機で行くing away 負かす／撃墜する to the distant silver plains. There he sank and 消えるd in the snow as if in the sea; but coming up again like a diver 急ぐd madly up the 法外な once more, rolling before him a 広大な／多数の／重要な 集会 snowball, gigantic at last, which he 投げつけるd 支援する at the mountain crest, and brought both the boy and the mountain 負かす／撃墜する in one 雪崩／（抗議などの）殺到 to the level of the vale. The other boy also sank like a 石／投石する, and also rose again like a bird, but Smith had no leisure to 関心 himself with this. For the 崩壊（する） of that celestial crest had left him standing 独房監禁 in the sky on a 頂点（に達する） like a church spire.
He could see the tiny 人物／姿／数字s of the boys in the valley below, and he knew by their 態度s that they were 熱望して telling him to jump. Then for the first time he knew the nature of 約束, as he had just known the 猛烈な／残忍な nature of charity. Or rather for the second time, for he remembered one moment when he had known 約束 before. It was n when his father had taught him to swim, and he had believed he could float on water not only against 推論する／理由, but (what is so much harder) against instinct. Then he had 信用d water; now he must 信用 空気／公表する.
He jumped. He went through 空気／公表する and then through snow with the same blinding swiftness. But as he buried himself in solid snow like a 弾丸 he seemed to learn a million things and to learn them all too 急速な／放蕩な. He knew that the whole world is a snowball, and that all the 星／主役にするs are snowballs. He knew that no man will be fit for heaven till he loves solid whiteness as a little boy loves a ball of snow.
He sank and sank and sank... and then, as usually happens in such 事例／患者s, woke up, with a start—in the street. True, he was taken up for a ありふれた drunk, but (if you 適切に 高く評価する／（相場などが）上がる his 転換) you will realize that he did not mind; since the 罪，犯罪 of drunkenness is infinitely いっそう少なく than that of spiritual pride, of which he had really been 有罪の.
By high plains I do not mean （米）棚上げする／（英）提議する-lands; （米）棚上げする／（英）提議する-lands do not 利益／興味 one very much. They seem to 伴う／関わる the bore of a climb without the 楽しみ of a 頂点（に達する）. Also they arc ばく然と associated with Asia and those enormous armies that eat up everything like locusts, as did the army of Xerxes; with emperors from nowhere spreading their 大軍 everywhere; with the white elephants and the painted horses, the dark engines and the dreadful 機動力のある bowmen of the moving empires of the East, with all that evil insolence in short that rolled into Europe in the 青年 of Nero, and after having been 乱打するd about and abandoned by one Christian nation after another, turned up in England with Disraeli and was christened (or rather paganed) 帝国主義.
Also (it may be necessary to explain) I do not mean "high 計画（する）s" such as the Theosophists and the Higher Thought Centres talk about. They （一定の）期間 theirs 異なって; but I will not have theirs in any （一定の）期間ing. They, I know, are always expounding how this or that person is on a lower 計画（する）, while they (the （衆議院の）議長s) are on a higher 計画（する）: いつかs they will almost tell you what 計画（する）, as "5994" or "計画（する） F, sub-計画（する） 304." I do not mean this sort of 高さ either. My 宗教 says nothing about such 計画（する）s except that all men are on one 計画（する） and that by no means a high one. There are saints indeed in my 宗教: but a saint only means a man who really knows he is a sinner.
Why then should I talk of the plains as high? I do it for a rather singular 推論する／理由, which I will illustrate by a 平行の. When I was at school learning all the Greek I have ever forgotten, I was puzzled by the phrase OINON MELAN that is "黒人／ボイコット ワイン," which continually occurred. I asked what it meant, and many most 利益／興味ing and 納得させるing answers were given. It was pointed out that we know little of the actual liquid drunk by the Greeks; that the analogy of modern Greek ワインs may 示唆する that it was dark and sticky, perhaps a sort of syrup always taken with water; that archaic language about colour is always a little 疑わしい, as where ホームラン speaks of the "ワイン-dark sea" and so on. I was very 適切に 満足させるd, and never thought of the 事柄 again; until one day, having a decanter of claret in 前線 of me, I happened to look at it. I then perceived that they called ワイン 黒人／ボイコット because it is 黒人／ボイコット. Very thin, diluted, or held-up 突然の against a 炎上, red ワイン is red; but seen in 団体／死体 in most normal shades and 半分-lights red ワイン is 黒人／ボイコット, and therefore was called so.
On the same 原則s I call the plains high because the plains always are high; they are always as high as we are. We talk of climbing a mountain crest and looking 負かす／撃墜する at the plain; but the phrase is an illusion of our arrogance. It is impossible even to look 負かす／撃墜する at the plain. For the plain itself rises as we rise. It is not 単に true that the higher we climb the wider and wider is spread out below us the wealth of the world; it is not 単に that the devil or some other respectable guide for tourists takes us to the 最高の，を越す of an 越えるing high mountain and shows us all the kingdoms of the earth. It is more than that, in our real feeling of it. It is that in a sense the whole world rises with us roaring, and …を伴ってs us to the crest like some clanging chorus of eagles. The plains rise higher and higher like swift grey 塀で囲むs piled up against invisible invaders. And however high a 頂点（に達する） you climb, the plain is still as high as the 頂点（に達する）.
The mountain 最高の，を越すs are only noble because from them we are 特権d to behold the plains. So the only value in any man 存在 superior is that he may have a superior 賞賛 for the level and the ありふれた. If there is any 利益（をあげる） in a place craggy and precipitous it is only because from the vale it is not 平易な to see all the beauty of the vale; because when 現実に in the flats one cannot see their sublime and 満足させるing flatness. If there is any value in 存在 educated or 著名な (which is doubtful enough) it is only because the best 教えるd man may feel most 速く and certainly the splendour of the ignorant and the simple: the 十分な magnificence of that mighty human army in the plains. The general goes up to the hill to look at his 兵士s, not to look 負かす／撃墜する at his 兵士s. He 身を引くs himself not because his 連隊 is too small to be touched, but because it is too mighty to be seen. The 長，指導者 climbs with submission and goes higher with 広大な／多数の／重要な humility; since ーするために take a bird's 注目する，もくろむ 見解（をとる） of everything, he must become small and distant like a bird.
The most marvellous of those mystical cavaliers who wrote intricate and exquisite 詩（を作る） in England in the seventeenth century, I mean Henry Vaughan, put the 事柄 in one line, intrinsically immortal and 事実上 forgotten—
"Oh 宗教上の hope and high humility."
That adjective "high" is not only one of the sudden and 素晴らしい inspirations of literature; it is also one of the greatest and gravest 鮮明度／定義s of moral science. However far aloft a man may go, he is still looking up, not only at God (which is obvious), but in a manner at men also: seeing more and more all that is 非常に高い and mysterious in the dignity and 運命 of the lonely house of Adam. I wrote some part of these rambling 発言／述べるs on a high 山の尾根 of 激しく揺する and turf overlooking a stretch of the central 郡s; the rise was slight enough in reality, but the 即座の ascent had been so 法外な and sudden that one could not 避ける the fancy that on reaching the 首脳会議 one would look 負かす／撃墜する at the 星／主役にするs. But one did not look 負かす／撃墜する at the 星／主役にするs, but rather up at the cities; seeing as high in heaven the palace town of Alfred like a lit sunset cloud, and away in the 無効の spaces, like a 惑星 in （太陽，月の）食／失墜, Salisbury. So, it may be hoped, until we die you and I will always look up rather than 負かす／撃墜する at the 労働s and the habitations of our race; we will 解除する up our 注目する，もくろむs to the valleys from whence cometh our help. For from every special eminence and beyond every sublime 目印, it is good for our souls to see only vaster and vaster 見通しs of that dizzy and divine level; and to behold from our 崩壊するing turrets the tall plains of equality.
One of the most 示すd instances of the 拒絶する／低下する of true popular sympathy is the 漸進的な 見えなくなる in our time of the habit of singing in chorus. Even when it is done nowadays it is done 試験的に and いつかs inaudibly; 明らかに upon some preposterous 原則 (which I have never 明確に しっかり掴むd) that singing is an art. In the new aristocracy of the 製図／抽選-room a lady is 現実に asked whether she sings. In the old 僕主主義 of the dinner （米）棚上げする／（英）提議する a man was 簡単に told to sing, and he had to do it. I like the atmosphere of those old 祝宴s. I like to think of my ancestors, middle-老年の or venerable gentlemen, all sitting 一連の会議、交渉／完成する a （米）棚上げする／（英）提議する and explaining that they would never forget old days or friends with a rumpty-iddity-iddity, or letting it be known that they would die for England's glory with their tooral ooral, etc. Even the 副／悪徳行為s of that society (which 'いつかs, I 恐れる, （判決などを）下すd the narrative 部分s of the song almost as cryptic and inarticulate as the chorus) were 陳列する，発揮するd with a more human 軟化するing than the same 副／悪徳行為s in the saloon 妨げる／法廷，弁護士業s of our own time. I 大いに prefer Mr. Richard Swiveller to Mr. Stanley Ortheris. I prefer the man who 越えるd in rosy ワイン in order that the wing of friendship might never moult a feather to the man who 越えるs やめる as much in whiskies and sodas, but 宣言するs all the time that he's for number one, and that you don't catch him 支払う／賃金ing for other men's drinks. The old men of 楽しみ (with their tooral ooral) got at least some social and communal virtue out of 楽しみ. The new men of 楽しみ (without the slightest 痕跡 of a tooral ooral) are 簡単に hermits of irreligion instead of 宗教, anchorites of atheism, and they might 同様に be drugging themselves with hashish or あへん in a wilderness.
But the chorus of the old songs had another use besides this obvious one of 主張するing the popular element in the arts. The chorus of a song, even of a comic song, has the same 目的 as the chorus in a Greek 悲劇. It reconciles men to the gods. It connects this one particular tale with the cosmos and the philosophy of ありふれた things, Thus we 絶えず find in the old ballads, 特に the pathetic ballads, some 差し控える about the grass growing green, or the birds singing, or the 支持を得ようと努めるd 存在 merry in spring. These are windows opened in the house of 悲劇; momentary glimpses of larger and quieter scenes, of more 古代の and 耐えるing landscapes. Many of the country songs 述べるing 罪，犯罪 and death have 差し控えるs of a startling joviality like cock crow, just as if the whole company were coming in with a shout of 抗議する against so sombre a 見解（をとる） of 存在. There is a long and gruesome ballad called "The Berkshire 悲劇," about a 殺人 committed by a jealous sister, for the consummation of which a wicked miller is hanged, and the chorus (which should come in a 肉親，親類d of burst) runs:
"And I'll be true to my love
If my love'll be true to me."
The very reasonable 協定 here 示唆するd is introduced, I think, as a 肉親，親類d of throw 支援する to the normal, a 思い出の品 that even "The Berkshire 悲劇" does not fill the whole of Berkshire. The poor young lady is 溺死するd, and the wicked miller (to whom we may have been affectionately 大（公）使館員d) is hanged; but still a ruby kindles in the vine, and many a garden by the water blows. Not that Omar's type of hedonistic 辞職 is at all the same as the breezy impatience of the Berkshire 差し控える; but they are alike in so far as they gaze out beyond the particular 複雑化 to more open plains of peace. The chorus of the ballad looks past the 溺死するing maiden and the miller's gibbet, and sees the 小道／航路s 十分な of lovers.
This use of the chorus to humanize and dilute a dark story is 堅固に …に反対するd to the modern 見解（をとる） of art. Modern art has to be what is called "激しい." It is not 平易な to define 存在 激しい; but, 概略で speaking, it means 説 only one thing at a time, and 説 it wrong. Modern 悲劇の writers have to 令状 short stories; if they wrote long stories (as the man said of philosophy) cheerfulness would creep in. Such stories are like stings; 簡潔な／要約する, but 純粋に painful. And doubtless they bore some resemblance to some lives lived under our successful 科学の civilization; lives which tend in any 事例／患者 to be painful, and in many 事例／患者s to be 簡潔な／要約する. But when the artistic people passed beyond the poignant anecdote and began to 令状 long 調書をとる／予約するs 十分な of poignancy, then the reading public began to 反逆者／反逆する and to 需要・要求する the 解任する of romance. The long 調書をとる／予約するs about the 黒人／ボイコット poverty of cities became やめる insupportable. The Berkshire 悲劇 had a chorus; but the London 悲劇 has no chorus. Therefore people welcomed the return of adventurous novels about 外国人 places and times, the trenchant and swordlike stories of Stevenson. But I am not 辛うじて on the 味方する of the romantics. I think that glimpses of the gloom of our civilization せねばならない be 記録，記録的な／記録するd. I think that the bewilderments of the 独房監禁 and 懐疑的な soul せねばならない be 保存するd, if it be only for the pity (yes, and the 賞賛) of a happier time. But I wish that there were some way in which the chorus could enter. I wish that at the end of each 一時期／支部 of stiff agony or insane terror the choir of humanity could come in with a 衝突，墜落 of music and tell both the reader and the author that this is not the whole of human experience. Let them go on 記録，記録的な／記録するing hard scenes or hideous questions, but let there be a jolly 差し控える.
Thus we might read: "As Honoria laid 負かす／撃墜する the 容積／容量 of Ibsen and went wearily to her window, she realized that life must be to her not only harsher, but colder than it was to the comfortable and the weak. With her tooral ooral, etc.;" or, again: "The young curate smiled grimly as he listened to his 広大な／多数の／重要な-grandmother's last words. He knew only too 井戸／弁護士席 that since Phogg's 発見 of the hereditary hairiness of goats 宗教 stood on a very different basis from that which it had 占領するd in his childhood. With his rumpty-iddity, rumpty-iddity;" and so on. Or we might read: "Uriel Maybloom 星／主役にするd gloomily 負かす／撃墜する at his sandals, as he realized for the first time how senseless and anti-social are all 関係 between man and woman; how each must go his or her way without any 試みる／企てる to 逮捕（する） the 長，率いる-long 分離 of their souls." And then would come in one deafening chorus of everlasting humanity "But I'll be true to my love, if my love'll be true to me."
In the 記録，記録的な／記録するs of the first majestic and yet fantastic 開発s of the 創立／基礎 of St. Francis of Assisi is an account of a 確かな Blessed Brother Giles. I have forgotten most of it, but I remember one fact: that 確かな students of theology （機の）カム to ask him whether he believed in 解放する／自由な will, and, if so, how he could reconcile it with necessity. On 審理，公聴会 the question St. Francis's 信奉者 反映するd a little while and then 掴むd a fiddle and began capering and dancing about the garden, playing a wild tune and 一般に 表明するing a violent and invigorating 無関心／冷淡. The tune is not 記録，記録的な／記録するd, but it is the eternal chorus of mankind, that 修正するs all the arts and mocks all the individualisms, like the laughter and 雷鳴 of some distant sea.
In 調書をとる／予約するs as a whole 沼s are 述べるd as desolate and colourless, 広大な／多数の／重要な fields of clay or sedge, 広大な horizons of 淡褐色 or grey. But this, like many other literary 協会s, is a piece of poetical 不正. Monotony has nothing to do with a place; monotony, either in its sensation or its infliction, is 簡単に the 質 of a person. There are no dreary sights; there are only dreary sightseers. It is a 事柄 of taste, that is of personality, whether 沼s are monotonous; but it is a 事柄 of fact and science that they are not monochrome. The 最高の，を越すs of high mountains (I am told) are all white; the depths of primeval caverns (I am also told) are all dark. The sea will be grey or blue for weeks together; and the 砂漠, I have been led to believe, is the colour of sand. The North 政治家 (if we 設立する it) would be white with 割れ目s of blue; and Endless Space (if we went there) would, I suppose, be 黒人／ボイコット with white 位置／汚点／見つけ出すs. If any of these were counted of a monotonous colour I could 井戸／弁護士席 understand it; but on the contrary, they are always spoken of as if they had the gorgeous and 大混乱／混沌とした colours of a cosmic kaleidoscope. Now 正確に／まさに where you can find colours like those of a tulip garden or a stained-glass window, is in those sunken and sodden lands which are always called dreary. Of course the 広大な／多数の／重要な tulip gardens did arise in Holland; which is 簡単に one 巨大な 沼. There is nothing in Europe so truly 熱帯の as 沼s. Also, now I come to think of it, there are few places so agreeably marshy as tropics. At any 率 押し寄せる／沼地 and fenlands in England are always 特に rich in gay grasses or gorgeous fungoids; and seem いつかs as glorious as a 変形 scene; but also as unsubstantial. In these splendid scenes it is always very 平易な to put your foot through the scenery. You may 沈む up to your armpits; but you will 沈む up to your armpits in flowers. I do not 否定する that I myself am of a sort that 沈むs—except in the 事柄 of spirits. I saw in the west 郡s recently a swampy field of 広大な／多数の／重要な richness and 約束. If I had stepped on it I have no 疑問 at all that I should have 消えるd; that aeons hence the 完全にする 化石 of a fat (n)艦隊／(a)素早い Street 新聞記者／雑誌記者 would be 設立する in that compressed clay. I only （人命などを）奪う，主張する that it would be 設立する in some 態度 of energy, or even of joy. But the last point is the most important of all, for as I imagined myself 沈むing up to the neck in what looked like a solid green field, I suddenly remembered that this very thing must have happened to 確かな 利益／興味ing 著作権侵害者s やめる a thousand years ago.
For, as it happened, the flat fenland in which I so nearly sunk was the fenland 一連の会議、交渉／完成する the Island of Athelney, which is now an island in the fields and no longer in the waters. But on the abrupt hillock a 石／投石する still stands to say that this was that 戦闘の準備を整えた islet in the Parrett where King Alfred held his last fort against the foreign invaders, in that war that nearly washed us as far from civilization as the Solomon Islands. Here he defended the island called Athelney as he afterwards did his best to defend the island called England. For the hero always defends an island, a thing beleaguered and surrounded, like the Troy of 圧力をかけて脅す（悩ます）. And the highest and largest 人道的な can only rise to defending the tiny island called the earth.
One approaches the island of Athelney along a low long road like an interminable white string stretched across the flats, and lined with those dwarfish trees that are elvish in their very dullness. At one point of the 旅行 (I cannot conceive why) one is 逮捕（する）d by a （死傷者）数 gate at which one has to 支払う／賃金 threepence. Perhaps it is a distorted tradition of those dark ages. Perhaps Alfred, with the superior science of comparative civilization, had calculated the 経済的なs of Denmark 負かす／撃墜する to a halfpenny. Perhaps a Dane いつかs （機の）カム with twopence, いつかs even with twopence-halfpenny, after the 解雇（する） of many cities even with twopence three farthings; but never with threepence. Whether or no it was a 永久の 障壁 to the barbarians it was only a 一時的な 障壁 to me. I discovered three large and 完全にする 巡査s in さまざまな parts of my person, and I passed on along that strangely monotonous and strangely fascinating path. It is not 単に fanciful to feel that the place 表明するs itself 適切な as the place where the 広大な／多数の／重要な Christian King hid himself from the heathen. Though a 湿地帯 is always open it is still curiously secret. Fens, like 砂漠s, are large things very apt to be mislaid. These flats 恐れるd to be overlooked in a 二塁打 sense; the small trees crouched and the whole plain seemed lying on its 直面する, as men do when 爆撃するs burst. The little path ran fearlessly 今後; but it seemed to run on all fours. Everything in that strange countryside seemed to be lying low, as if to 避ける the incessant and 動揺させるing rain of the Danish arrows. There were indeed hills of no inconsiderable 高さ やめる within call; but those pools and flats of the old Parrett seemed to separate themselves like a central and secret sea; and in the 中央 of them stood up the 激しく揺する of Athelney as 孤立する as it was to Alfred. And all across this recumbent and almost はうing country there ran the glory of the low wet lands; grass lustrous and living like the plumage of some 全世界の／万国共通の bird; the flowers as gorgeous as bonfires and the 少しのd more beautiful than the flowers. One stooped to 一打／打撃 the grass, as if the earth were all one 肉親，親類d beast that could feel.
Why does no decent person 令状 an historical novel about Alfred and his fort in Athelney, in the 沼s of the Parrett? Not a very historical novel. Not about his Truth-telling (please) or his 設立するing the British Empire, or the British 海軍, or the 海軍 League, or whichever it was he 設立するd. Not about the 条約 of Wedmore and whether it ought (as an 著名な historian says) to be called the 協定／条約 of Chippenham. But an aboriginal romance for boys about the 明らかにする, bald, beatific fact that a 広大な／多数の／重要な hero held his fort in an island in a river. An island is 罰金 enough, in all 良心 or piratic unconscientiousness, but an island in a river sounds like the beginning of the greatest adventure story on earth. "Robinson Crusoe" is really a 広大な／多数の／重要な tale, but think of Robinson Crusoe's feelings if he could have 現実に seen England and Spain from his inaccessible 小島! "Treasure Island" is a spirit of genius: but what treasure could an island 含む／封じ込める to compare with Alfred? And then consider the その上の elements of juvenile romance in an island that was more of an island than it looked. Athelney was masked with 沼s; many a 激しい harnessed Viking may have started bounding across a meadow only to find himself 潜水するd in a sea. I feel the 十分な fictitious splendour spreading 一連の会議、交渉／完成する me; I see glimpses of a 広大な／多数の／重要な romance that will never be written. I see a sudden 軸 quivering in one of the short trees. I see a red-haired man wading madly の中で the tall gold flowers of the 沼, leaping onward and lurching lower. I see another 軸 stand quivering in his throat. I cannot see any more, because, as I have delicately 示唆するd, I am a 激しい man. This mysterious 湿地帯 does not 支える me, and I 沈む into its depths with a 泡ing groan.
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