lately everything, we feel—quite apart from our legitimate impatience at the somewhat ridiculous swagger of the program, in view of what the authors are actually able to perform—menaced and negated in the springs of our innermost life. Such cold-blooded assimilations threaten, we think, to undo our soul's vital secrets, as if the same breath which should succeed in explaining their origin would simultaneously explain away their significance, and make them appear of no more preciousness, either, than the useful groceries of which M. Taine speaks.
Perhaps the commonest expression of this assumption that spiritual value is undone if lowly origin be asserted is seen in those comments which unsentimental people so often pass on their more sentimental acquaintances. Alfred believes in immortality so strongly because his temperament is so emotional. Fanny's extraordinary conscientiousness is merely a matter of over-instigated nerves. William's melancholy about the universe is due to bad digestion—probably his liver is torpid. Eliza's delight in her church is a symptom of her hysterical constitution. Peter would be less troubled about his soul if he would take more exercise in the open air, etc. A more fully developed example of the same kind of reasoning is the fashion, quite common nowadays among certain writers, of criticising the religious emotions by showing a connection between them and the sexual life. Conversion is a crisis of puberty and adolescence. The macerations of saints, and the devotion of missionaries, are only instances of the parental instinct of self-sacrifice gone astray. For the hysterical nun, starving for natural life, Christ is but an imaginary substitute for a more earthly object of affection. And the like.[1]
- ↑ As with many ideas that float in the air of one's time, this notion
