JACK LONDON: All 22 Novels in One Illustrated Edition. Джек Лондон

it is artificial.

      How do you differentiate between the artificial and nature? Surely a development is not artificial because it is recent! Surely man is as integral to life as his progenitors! When we come to civilisation, we are face to face with the largest and subtlest thing in life, and the civilisation of human society is not artificial. It is the fulfilment of the nature of man, the promise made good, the career established, the influence sent out. A universe of mind-stuff and a civilising force constantly causing change, for change is growth, constantly compelling expression of that change—to conceive it is to conceive infinitude. And the purpose? Development, always development. To that end the individual perishes, to that end the race is conserved, to that end the peril and the sacrifice, and the agony of triumph in the overcharged heart at its last bound. And what is this refining of the type, this goal for which we all make with such tragic directness, but the gaining in the power to love? We begin with love to end with greater love, and that is progress. To write the epic of civilisation is a task for some giant artist who shall combine in himself Homer and Shakespeare, and the work will be a love story.

      We do not throw away the grain and keep the chaff, nor do we transmit the "absurdities" and "philanderings" alone. If in the lover's voice throb the voices of myriads of lovers, it is because he is stirred even as they. If a ballad wakes a response in him, it is because its motif has been singing itself of its own accord in his heart, and its rhythm was the dream nightingale to which he bade Her hearken. Behind the tradition lies the fact. The expression may be ephemeral, the song flat, the motto conventional, but the feeling which prompted it is true. Else it could not have survived. And it has more than survived. It has grown with growth. For centuries it lodged in the nature of man, lulled in acquiescence, then, when the sense of recognition awoke, back in those wondrous young days, it wakened to pale life, and now the feeling is man's whole support, giving him courage to work and purpose to live.

      But the half brute of the London slums kicks his wife when she offends him and knows nothing of love. Well for the honour of love that it is so! The half brute of the London slums had not food enough when a child, and malnutrition is deadly. Later, he stole and lied in order to eat, and he was bullied and kicked for it out of human shape. The trick was passed on to him. The unfortunate of the London slums will push us all from heaven's gate, because we do not do battle with the conditions that make him. It is not such as he that should lead you to scorn love, for he is a mistake and a crime.

      In your example of the isolated boy babe and girl babe we meet with a different condition. The individual repeats the history of the race, and as these have been left out by the civilising forces, they revert to past racial states. For these it is natural to live stolidly—is it therefore natural for us? The point I make is that our refinement, crying in us with great voice, is as much a part of us as are the simple few hungers of the racial infant. We are not the less natural for being subtle. And can it not be that the face of romance reveals itself even to savage eyes? According to the need is the power, and the early man needs must hope and desire; he is curbed by waiting and taught by loss in the hunting, he is hungry, and he dreams that he is feasting. This dream is his romance—a red flicker in the dawn, then still the gray. To suppose this is not to be unscientific, for what is true of us must have had a beginning, and feeling, as well as being, cannot have been spontaneously generated.

      There is an absolute gravitation to justice in nature. This was the creed preached by Huxley to Kingsley a week after his boy's death. Grief had turned the mind upon itself, and in the upheaval he formulated a philosophy of faith and joy!

      Our reward is meted out according to our obedience to all of the law, spiritual and physical. Nature keeps a ledger paying glad life's arrears each minute of time. And the creed rises to my lips when I hear you cry shame upon the delight of love. It must be good, this thing which is so fraught with joy! You brand it sense delight, but all delight is of the senses, and Darwin at the conclusion of "The Descent of Man," if he was not overtaken by a feeling of incompleteness in the work and a consuming fever for the further task, was glad in a human way, with the senses and through the emotions. Darwin's supreme moment may have come at quite a different time. What can we know of the moments of repletion that fall into another's life? With Huxley we may only know that our hearts bound high when we strike a chord of harmony and prove ourselves obedient to "all of the law," and our hearts bound high when we love. It is nature's way of showing her approval. Oh, the strength of love and the miracles of its compensations! The sense of becoming that it gives, even in its defeats, the gladness that ripples in its sob-strangled throat!

      The day for asceticism is gone, or shall we say the night? We are not afraid of sense delights. We are intent upon living on all sides of our natures, roundly and naturally. You have a fine gospel of work and I congratulate you upon it, but you make no mention of the purpose of it all. It must not be work for work's sake. "When I heard the learned astronomer—" says Whitman. Do you remember? He caught in one hour the whole majesty, caught to himself the wonder that was unseen by the watching astronomers. Somehow you feel the learned ones had made a mistake in calculating so long that they had no time to see with personal eyes the glory of the stars, and that Whitman had been philosopher and had gained where they failed. The inspiration of the poet, of the painter, of the economist, and biologist, is in the revelation which they receive of what to do and why to do. For this reason philosophy, which treats of the life and works of man, is in the highest sense sociological. The generalisations of philosophy go to improve our methods so that we may have greater proneness for sense of delight and greater possibility for sense delight. Why, what else is there? You are a poet, and you give an unrestorable day, when the sun is shining and the hills lie purple in the distance, to writing a sonnet. If you do so merely to employ yourself, it must be that the wolf of despair is at your being's door. You have come to the end, and the sun and the hills do not matter. You and they have parted company. But if you write, impelled by the wish that others should read and recognise, read and remember, and grow to know and feel better, and perhaps to love the sun and hills better, then is yours a work of love, and it will be made good to you, so that for the day which you have not seen, your night shall be instinct with light. And if your labours are more especially in the service of art, then, also, with each approach toward expression, you are warmed through with the delight of achievement.

      Is my meaning quite dashed away by this torrent of speech? It is simply this: Before we think we feel, and the end of thinking is feeling. The century of Voltaire and Dr. Johnson held that man is rational, the century of James, Ribot, Lange, and Wundt is thrilled to the heart with the doctrine that first, last, and always man is emotional. To speak loosely, the dimensions of the human cosmos are feeling, emotion, and sensation.

      Build your fine structures. We like to see the foundations laid well and the thick walls go up. Keep to your wizard inventions. We like to live in a magic world. And ah, the indomitable machines with their austere promise of free days for weary hands, and ah, the locomotives and the ships steaming their ways toward intercourse, toward comity, toward fellowship! We like the intricacy and the vastness of the world in which we live. But "an unconsidered life is not fit to be lived by any man," says Aristotle. We must consider the phenomenon, civilisation, searching down for the nucleus of its worth. We will find that the stone structure without hope were a pitiable thing, that the making of compacts and the banking of capital, without hope, were pitiable. This hope that is the life germane, the immortal flash of mortality, the most keenly human point in all humanity, is the hope for greater and greater social happiness. Our world is an ever unfinished house which we are employed in building. If we are imbued with the spirit of the architect and not of the hod-carrier, we will hope sweetly for the work. The house beautiful will begin to mean our life, and each night we will consult our drawings, looking to it that on the house built of our days the sun shall wester, and that within shall be intimacy, and laughter, great speech and close love, looking to it that the home be such as to better to-day's tenant so that he be more loving and lovable than the one of yesterday.

      We are wrong, perhaps. Long ago we were no less than now. When we reached a hand in the darkness and grasped that of our fellow, the love and the strongly frail human abandon were no less. We have not grown in heart's munificence, perhaps. It is one of the illusions only. But the hope is ours. For what do you hope?

      Dane.