The Everlasting Man

speak in the wilderness. But the monotheism of the nomad was not enough for all that varied civilisation of fields and fences and walled cities and temples and towns; and the turn of these things also was to come, when the two could be combined in a more definite and domestic religion. Here and there in all that pagan crowd could be found a philosopher whose thoughts ran on pure theism; but he never had, or supposed that he had, the power to change the customs of the whole populace. Nor is it easy even in such philosophies to find a true definition of this deep business of the relation of polytheism and theism. Perhaps the nearest we can come to striking the note, or giving the thing a name, is in something far away from all that civilisation and more remote from Rome than the isolation of Israel. It is in a saying I once heard from some Hindu tradition; that gods as well as men are only the dreams of Brahma; and will perish when Brahma wakes. There is indeed in such an image something of the soul of Asia which is less sane than the soul of Christendom. We should call it despair, even if they would call it peace. This note of nihilism can be considered later in a fuller comparison between Asia and Europe. It is enough to say here that there is more of disillusion in that idea of a divine awakening than is implied for us in the passage from mythology to religion. But the symbol is very subtle and exact in one respect; that it does suggest the disproportion and even disruption between the very ideas of mythology and religion; the chasm between the two categories. It is really the collapse of comparative religion that there is no comparison between God and the gods. There is no more comparison than there is between a man and the men who walk about in his dreams. Under the next heading some attempt will be made to indicate the twilight of that dream in which the gods walk about like men. But if anyone fancies the contrast of monotheism and polytheism is only a matter of some people having one god and others a few more, for him it will be far nearer the truth to plunge into the elephantine extravagance of Brahmin cosmology; that he may feel a shudder going through the veil of things, the many-handed creators, and the throned and haloed animals and all the network of entangled stars and rulers of the night, as the awful eyes of Brahma open like dawn upon the death of all.

V

Man and Mythologies

What are here called the Gods might almost alternatively be called the Daydreams. To compare them to dreams is not to deny that dreams can come true. To compare them to travellers’ tales is not to deny that they may be true tales, or at least truthful tales. In truth they are the sort of tales the traveller tells to himself. All this mythological business belongs to the poetical part of men. It seems strangely forgotten nowadays that a myth is a work of imagination and therefore a work of art. It needs a poet to make it. It needs a poet to criticise it. There are more poets than non-poets in the world, as is proved by the popular origin of such legends. But for some reason I have never heard explained, it is only the minority of unpoetical people who are allowed to write critical studies of these popular poems. We do not submit a sonnet to a mathematician or a song to a calculating boy; but we do indulge the equally fantastic idea that folklore can be treated as a science. Unless these things are appreciated artistically they are not appreciated at all. When the professor is told by the barbarian that once there was nothing except a great feathered serpent, unless the learned man feels a thrill and a half temptation to wish it were true, he is no judge of such things at all. When he is assured, on the best Red Indian authority, that a primitive hero carried the sun and moon and stars in a box, unless he claps his hands and almost kicks his legs as a child would at such a charming fancy, he knows nothing about the matter. This test is not nonsensical; primitive children and barbaric children do laugh and kick like other children; and we must have a certain simplicity to repicture the childhood of the world. When Hiawatha was told by his nurse that a warrior threw his grandmother up to the moon, he laughed like any English child told by his nurse that a cow jumped over the moon. The child sees the joke as well as most men, and better than some scientific men. But the ultimate test even of the fantastic is the appropriateness of the inappropriate. And the test must appear merely arbitrary because it is merely artistic. If any student tells me that the infant Hiawatha only laughed out of respect for the tribal custom of sacrificing the aged to economical housekeeping, I say he did not. If any scholar tells me that the cow jumped over the moon only because a heifer was sacrificed to Diana, I answer that it did not. It happened because it is obviously the right thing for a cow to jump over the moon. Mythology is a lost art, one of the few arts that really are lost; but it is an art. The horned moon and the horned mooncalf make a harmonious and almost a quiet pattern. And throwing your grandmother into the sky is not good behaviour; but it is perfectly good taste.

Thus scientists seldom understand, as artists understand, that one branch of the beautiful is the ugly. They seldom allow for the legitimate liberty of the grotesque. And they will dismiss