The Everlasting Man

the hope of resurrection. This is but the commonplace of all such courageous exploration; but what is needed here is someone who shall put such stories in the primary light, in which they are not commonplace. There is, for instance, something strangely symbolic in the accident that the first intruders into that sunken world were a priest and a boy, the types of the antiquity and of the youth of the world. But here I am even more concerned with the symbolism of the boy than with that of the priest. Nobody who remembers boyhood needs to be told what it might be to a boy to enter like Peter Pan under a roof of the roots of all the trees and go deeper and deeper, till he reach what William Morris called the very roots of the mountains. Suppose somebody, with that simple and unspoilt realism that is a part of innocence, to pursue that journey to its end, not for the sake of what he could deduce or demonstrate in some dusty magazine controversy, but simply for the sake of what he could see. What he did see at last was a cavern so far from the light of day that it might have been the legendary Domdaniel cavern that was under the floor of the sea. This secret chamber of rock, when illuminated after its long night of unnumbered ages, revealed on its walls large and sprawling outlines diversified with coloured earths; and when they followed the lines of them they recognised, across that vast and void of ages, the movement and the gesture of a man’s hand. They were drawings or paintings of animals; and they were drawn or painted not only by a man but by an artist. Under whatever archaic limitations, they showed that love of the long sweeping or the long wavering line which any man who has ever drawn or tried to draw will recognise; and about which no artist will allow himself to be contradicted by any scientist. They showed the experimental and adventurous spirit of the artist, the spirit that does not avoid but attempt difficult things; as where the draughtsman had represented the action of the stag when he swings his head clean round and noses towards his tail, an action familiar enough in the horse. But there are many modern animal-painters who would set themselves something of a task in rendering it truly. In this and twenty other details it is clear that the artist had watched animals with a certain interest and presumably a certain pleasure. In that sense it would seem that he was not only an artist but a naturalist; the sort of naturalist who is really natural.

Now it is needless to note, except in passing, that there is nothing whatever in the atmosphere of that cave to suggest the bleak and pessimistic atmosphere of that journalistic cave of the winds, that blows and bellows about us with countless echoes concerning the caveman. So far as any human character can be hinted at by such traces of the past, that human character is quite human and even humane. It is certainly not the ideal of an inhuman character, like the abstraction invoked in popular science. When novelists and educationists and psychologists of all sorts talk about the caveman, they never conceive him in connection with anything that is really in the cave. When the realist of the sex novel writes, “Red sparks danced in Dagmar Doubledick’s brain; he felt the spirit of the caveman rising within him,” the novelist’s readers would be very much disappointed if Dagmar only went off and drew large pictures of cows on the drawing-room wall. When the psychoanalyst writes to a patient, “The submerged instincts of the caveman are doubtless prompting you to gratify a violent impulse,” he does not refer to the impulse to paint in watercolours; or to make conscientious studies of how cattle swing their heads when they graze. Yet we do know for a fact that the caveman did these mild and innocent things; and we have not the most minute speck of evidence that he did any of the violent and ferocious things. In other words, the caveman as commonly presented to us is simply a myth or rather a muddle; for a myth has at least an imaginative outline of truth. The whole of the current way of talking is simply a confusion and a misunderstanding, founded on no sort of scientific evidence and valued only as an excuse for a very modern mood of anarchy. If any gentleman wants to knock a woman about, he can surely be a cad without taking away the character of the caveman, about whom we know next to nothing except what we can gather from a few harmless and pleasing pictures on a wall.

But this is not the point about the pictures or the particular moral here to be drawn from them. That moral is something much larger and simpler, so large and simple that when it is first stated it will sound childish. And indeed it is in the highest sense childish; and that is why I have in this apologue in some sense seen it through the eyes of a child. It is the biggest of all the facts really facing the boy in the cavern; and is perhaps too big to be seen. If the boy was one of the flock of the priest, it may be presumed that he had been trained in a certain quality of common sense; that common sense that often comes to us in the form of tradition. In that case he would simply recognise the primitive man’s work as the work of a man, interesting but in no way incredible in being primitive. He would see what was there to see; and he would not be tempted into seeing what was not there, by any evolutionary excitement or fashionable speculation. If he had heard of such things he