suit of outward good is the breath of its nostrils, the attainment of outward good would seem to be its suffocation and death. Why does the painting of any paradise or Utopia, in heaven or on earth, awaken such yawnings for nirvana and escape? The white-robed harp-playing heaven of our sabbath-schools, and the ladylike tea-table elysium represented in Mr. Spencer's Data of Ethics, as the final consummation of progress, are exactly on a par in this respect,—lubberlands, pure and simple, one and all.[1] We look upon them from this delicious mess of insanities and realities, strivings and deadnesses, hopes and fears, agonies and exultations, which forms our present state, and tedium vitæ is the only sentiment they awaken in our breasts. To our crepuscular natures, born for the conflict, the Rembrandtesque moral chiaroscuro, the shifting struggle of the sunbeam in the gloom, such pictures of light upon light are vacuous and expressionless, and neither to be enjoyed nor understood. If this be the whole fruit of the victory, we say; if the generations of mankind suffered and laid down their lives; if prophets confessed and martyrs sang in the fire, and all the sacred tears were shed for no other end than that a race of creatures of such unexampled insipidity should succeed, and protract in saecula saeculorum their contented and inoffensive lives,—why, at such a rate, better lose than win the battle, or at all events better ring down the curtain before the last act of the play, so that a business that began so importantly may be saved from so singularly flat a winding-up.
- ↑ Compare Sir James Stephen's Essays by a Barrister, London, 1862, pp. 138, 318.
