The Everlasting Man

a savage myth as merely coarse and clumsy and an evidence of degradation, because it has not all the beauty of the herald Mercury new lighted on a heaven-kissing hill; when it really has the beauty of the Mock Turtle of the Mad Hatter. It is the supreme proof of a man being prosaic that he always insists on poetry being poetical. Sometimes the humour is in the very subject as well as the style of the fable. The Australian aborigines, regarded as the rudest of savages, have a story about a giant frog who had swallowed the sea and all the waters of the world; and who was only forced to spill them by being made to laugh. All the animals with all their antics passed before him and, like Queen Victoria, he was not amused. He collapsed at last before an eel who stood delicately balanced on the tip of its tail, doubtless with a rather desperate dignity. Any amount of fine fantastic literature might be made out of that fable. There is philosophy in that vision of the dry world before the beatific Deluge of laughter. There is imagination in the mountainous monster erupting like an aqueous volcano; there is plenty of fun in the thought of his goggling visage as the pelican or the penguin passed by. Anyhow the frog laughed; but the folklore student remains grave.

Moreover, even where the fables are inferior as art, they cannot be properly judged by science; still less properly judged as science. Some myths are very crude and queer like the early drawings of children; but the child is trying to draw. It is none the less an error to treat his drawing as if it were a diagram, or intended to be a diagram. The student cannot make a scientific statement about the savage, because the savage is not making a scientific statement about the world. He is saying something quite different; what might be called the gossip of the gods. We may say, if we like, that it is believed before there is time to examine it. It would be truer to say it is accepted before there is time to believe it.

I confess I doubt the whole theory of the dissemination of myths or (as it commonly is) of one myth. It is true that something in our nature and conditions makes many stories similar; but each of them may be original. One man does not borrow the story from the other man, though he may tell it from the same motive as the other man. It would be easy to apply the whole argument about legend to literature; and turn it into a vulgar monomania of plagiarism. I would undertake to trace a notion like that of The Golden Bough through individual modern novels as easily as through communal and antiquated myths. I would undertake to find something like a bunch of flowers figuring again and again from the fatal bouquet of Becky Sharpe to the spray of roses sent by the Princess of Ruritania. But though these flowers may spring from the same soil, it is not the same faded flower that is flung from hand to hand. Those flowers are always fresh.

The true origin of all the myths has been discovered much too often. There are too many keys to mythology, as there are too many cryptograms in Shakespeare. Everything is phallic; everything is totemistic; everything is seedtime and harvest; everything is ghosts and grave-offerings; everything is the golden bough of sacrifice; everything is the sun and moon; everything is everything. Every folklore student who knew a little more than his own monomania, every man of wider reading and critical culture like Andrew Lang, has practically confessed that the bewilderment of these things left his brain spinning. Yet the whole trouble comes from a man trying to look at these stories from the outside, as if they were scientific objects. He has only to look at them from the inside, and ask himself how he would begin a story. A story may start with anything and go anywhere. It may start with a bird without the bird being a totem; it may start with the sun without being a solar myth. It is said there are only ten plots in the world; and there will certainly be common and recurrent elements. Set ten thousand children talking at once, and telling tarradiddles about what they did in the wood; and it will not be hard to find parallels suggesting sun-worship or animal-worship. Some of the stories may be pretty and some silly and some perhaps dirty; but they can only be judged as stories. In the modern dialect, they can only be judged aesthetically. It is strange that aesthetics, or mere feeling, which is now allowed to usurp where it has no rights at all, to wreck reason with pragmatism and morals with anarchy, is apparently not allowed to give a purely aesthetic judgment on what is obviously a purely aesthetic question. We may be fanciful about everything except fairytales.

Now the first fact is that the most simple people have the most subtle ideas. Everybody ought to know that, for everybody has been a child. Ignorant as a child is, he knows more than he can say and feels not only atmospheres but fine shades. And in this matter there are several fine shades. Nobody understands it who has not had what can only be called the ache of the artist to find some sense and some story in the beautiful things he sees; his hunger for secrets and his anger at any tower or tree escaping with its tale untold. He feels that nothing is perfect unless it is personal. Without that the blind unconscious beauty of the world stands in its garden like a headless statue. One need only be a very minor poet to have wrestled with the tower or the tree until it spoke like a titan or a dryad.