INTRODUCTION
cept has been continued in prose. But even here a gradual evolution of the idea of the Devil will be observed. The nineteenth century Demon is an improvement on his confrère of the thirteenth. He differs from his older brother as a cultivated flower from a wild blossom. The Devil as a human projection is bound to partake in the progress of human thought. Says Mephistopheles:
"Culture, which the whole world licks,
Also unto the Devil sticks."
The Devil advances with the progress of civilization, because he is what men make him. He has benefited by the modern levelling tendency in characterization. Nowadays supernatural personages, like their human creators, are no longer painted either as wholly white or as wholly black, but in various shades of grey. The Devil, as Renan has aptly remarked, has chiefly benefited by this relativist point of view. The Spirit of Evil is better than he was, because evil is no longer so bad as it was. Satan, even in the popular mind, is no longer a villain of the deepest dye. At his worst he is the general mischief-maker of the universe, who loves to stir up the earth with his pitch-fork. In modern literature the Devil's chief function is that of a satirist. This fine critic directs the shafts of his sarcasm against all the faults and foibles of men. He spares no human institution. In religion, art, society, marriage—everywhere his searching eye can detect the weak spots. The latest demonstration of the Devil's ability as a satirist of men and morals is furnished by Mark Twain in his posthumous romance The Mysterious Stranger,
[xvii]
