knowledge, crowd upon him, clamorous for solution, not to be denied, insisting on a settlement to-day. He is forced to make a choice, and may either forsake the divinity he serves, falling back, for the practical and æsthetic conduct of life, on those common instincts of sensuality which oscillate between the conventicle and the tavern as the poles of duty and pleasure, or, more pathetically still, he may attempt to bring the code of the observatory to bear immediately on the vagaries of the untameable world, and suffer the pedant's disaster. A martyr to the good that is to be, he has voluntarily maimed himself " for the kingdom of Heaven's sake"-if, perchance, the kingdom of Heaven might come by observation. The enthusiasm of his self-denial shows itself in his unavailing struggle to chain language also to the bare rock of ascertained fact. Metaphor, the poet's right-hand weapon, he despises; all that is tentative, individual, struck off at the urging of a mood, he disclaims and suspects. Yet the very rewards that science promises have their parallel in the domain of letters. The discovery of like ness in the midst of difference, and of difference in the midst of likeness, is the keenest pleasure of the intellect; and literary expression, as has been said, is one long series of such discoveries, each with its thrill of incommunicable happiness, all unprecedented, and perhaps unverifiable by later experiment. The finest instrument of these discoveries is metaphor, the spectroscope of letters. Enough has been said of change; it remains to speak of one more of those illusions of fixity wherein writers seek exemption from the general lot. Language, it has been shown, is to be fitted to thought; and, further, there are no synonyms. What more natural conclusion could be drawn by the enthusiasm of the artist than that there is some kind of preordained harmony between words and things, whereby expression and thought tally exactly, like the halves of a puzzle? This illusion, called in France the doctrine of the mot propre, is a will o' the wisp which has kept many an artist dancing on its trail. That there is one, and only one way of expressing one thing has The Doctrine of the mot propre. been the belief of other writers besides Gustave Flaubert, inspiriting them to a desperate and fruitful industry. It is an amiable fancy, like the dream of Michael Angelo, who loved to imagine that the statue existed already in the block of marble, and had only to be stripped of its superfluous wrappings, or like the indolent fallacy of those economic soothsayers to whom Malthus brought rough awakening, that population and the means of subsistence move side by side in harmonious progress. But hunger does not imply food, and there may hover in the restless heads of poets, as themselves testify— One thought, one grace, one wonder, at the least, Matter and form are not so separable as the popular philosophy would have them; indeed, the very antithesis between them is a cardinal instance of how language reacts on thought, modifying and fixing a cloudy truth. The idea pursues form not only that it may be known to others, but that it may know itself, and the body in which it becomes incarnate is not to be distinguished from the informing soul. It is recorded of a famous Latin historian how he declared that he would have made Pompey win the battle of Pharsalia had the effective turn of the sentence required it. He may stand for the true type of the literary artist. The business of letters, howsoever simple it may seem to those who think truth-telling a gift of nature, is in reality two-fold, to find words for a meaning, and to find a meaning for words. Now it is the words that refuse to yield, and now the meaning, so that he who attempts to wed them is at the same time altering his words to suit his meaning, and modifying and shaping his meaning to satisfy the requirements of his words. The humblest processes of thought have had their first education from language long before they took shape in literature. So subtle is the connexion between the two that it is equally possible to call language the form given to the matter of thought, or, inverting the application of the figure, to speak of thought as the formal principle that shapes the raw material of language. It is not until the two become one that they can be known for two. The idea to be expressed is a kind of mutual recognition between thought and language, which here meet and claim each other for the first time, just as in the first glance exchanged by lovers, the unborn child opens its eyes on the world, and pleads for life. But thought, although it may indulge itself with the fancy of a predestined affiance, is not confined to one mate, but roves free and is the father of many children. A belief in the inevitable word is the last refuge of that stubborn mechanical theory of the universe which has been slowly driven from science, politics, and history. Amidst so much that is undulating, it has pleased writers to imagine that truth persists and is provided by heavenly munificence with an imperishable garb of language. But this also is vanity, there is one end appointed alike to all, fact goes the way of fiction, and what is known is no more perdurable than what is made. Not words nor works, but only that which is formless endures, the vitality that is another name for change, the breath that fills and shatters the bubbles of good and |