Falling in Love by Grant Allen (different e readers .txt) 📕

long survival of a common domestic shape from the most remote prehistoric antiquity to our own time is very significant and very interesting. Many of the old British pots have also a hole or two holes pierced through them, near the top, evidently for the purpose of putting in a string or rope by way of a handle. With the round barrows, which belong to the Bronze Age, and contain the remains of a later and more civilised Celtic population, we get far more advanced forms of pottery. Burial here is preceded by cremation, and the ashes are enclosed in urns, many of which are very beautiful in form and exquisitely decorated. Cremation, as Professor Rolleston used feelingly to plead, is bad for the comparative anatomist and ethnographer, but it is passing well for the collector of pottery. Where burning exists as a common practice, there urns are frequent, and pottery an art in great request. Drinking-cups and perforated incense burners accompany the dead in the round barrows; but the use of the potter's wheel is still unknown, and all the urns and vases belonging to this age are still hand-moulded.

It is a curious reflection, however, that in spite of all the later improvements in the fictile art—in spite of wheels and moulds, pastes and glazes, stamps and pigments, and all the rest of it—the most primitive methods of the first potter are still in use in many countries, side by side with the most finished products of modern European skill and industry. I have in my own possession some West Indian calabashes, cut and decorated under my own eye by a Jamaican negro for his personal use, and bought from him by me for the smallest coin there current—calabashes carved round the edge through the rind with a rude string-course, exactly like the common rope pattern of prehistoric pottery. I have seen the same Jamaican negroes kneading their hand-made porous earthenware beside a tropical stream, moulding it on fruits or shaping it inside with a free sweep of the curved hand, and drying it for use in the hot sun, or baking it in a hastily-formed kiln of plastered mud into large coarse jars of prehistoric types, locally known by the quaint West African name of 'yabbas.' Many of these yabbas, if buried in the ground and exposed to damp and frost, till they almost lost the effects of the baking, would be quite indistinguishable, even by the skilled archæologist, from the actual handicraft of the palæolithic potter. The West Indian negroes brought these simple arts with them from their African home, where they have been handed down in unbroken continuity from the very earliest age of fictile industry. New and better methods have slowly grown up everywhere around them, but these simplest, earliest, and easiest plans have survived none the less for the most ordinary domestic uses, and will survive for ages yet, as long as there remain any out-of-the-way places, remote from the main streams of civilised commerce. Thus, while hundreds of thousands of years, in all probability, separate us now from the ancient days of the first potter, it is yet possible for us to see the first potter's own methods and principles exemplified under our very eyes by people who derive them in unbroken succession from the direct teaching of that long-forgotten prehistoric savage.

THE RECIPE FOR GENIUS

Let us start fair by frankly admitting that the genius, like the poet, is born and not made. If you wish to apply the recipe for producing him, it is unfortunately necessary to set out by selecting beforehand his grandfathers and grandmothers, to the third and fourth generation of those that precede him. Nevertheless, there is a recipe for the production of genius, and every actual concrete genius who ever yet adorned or disgraced this oblate spheroid of ours has been produced, I believe, in strict accordance with its unwritten rules and unknown regulations. In other words, geniuses don't crop up irregularly anywhere, 'quite promiscuous like'; they have their fixed laws and their adequate causes: they are the result and effect of certain fairly demonstrable concatenations of circumstance: they are, in short, a natural product, not a lusus naturæ. You get them only under sundry relatively definite and settled conditions; and though it isn't (unfortunately) quite true that the conditions will always infallibly bring forth the genius, it is quite true that the genius can never be brought forth at all without the conditions. Do men gather grapes of thorns, or figs of thistles? No more can you get a poet from a family of stockbrokers who have intermarried with the daughters of an eminent alderman, or make a philosopher out of a country grocer's eldest son whose amiable mother had no soul above the half-pounds of tea and sugar.

In the first place, by way of clearing the decks for action, I am going to start even by getting rid once for all (so far as we are here concerned) of that famous but misleading old distinction between genius and talent. It is really a distinction without a difference. I suppose there is probably no subject under heaven on which so much high-flown stuff and nonsense has been talked and written as upon this well-known and much-debated hair-splitting discrimination. It is just like that other great distinction between fancy and imagination, about which poets and essayists discoursed so fluently at the beginning of the present century, until at last one fine day the world at large woke up suddenly to the unpleasant consciousness that it had been wasting its time over a non-existent difference, and that fancy and imagination were after all absolutely identical. Now, I won't dogmatically assert that talent and genius are exactly one and the same thing; but I do assert that genius is simply talent raised to a slightly higher power; it differs from it not in kind but merely in degree: it is talent at its best. There is no drawing a hard-and-fast line of demarcation between the two. You might just as well try to classify all mankind into tall men and short men, and then endeavour to prove that a real distinction existed in nature between your two artificial classes. As a matter of fact, men differ in height and in ability by infinitesimal gradations: some men are very short, others rather short, others medium-sized, others tall, and yet others again of portentous stature like Mr. Chang and Jacob Omnium. So, too, some men are idiots, some are next door to a fool, some are stupid, some are worthy people, some are intelligent, some are clever, and some geniuses. But genius is only the culminating point of ordinary cleverness, and if you were to try and draw up a list of all the real geniuses in the last hundred years, no two people could ever be found to agree among themselves as to which should be included and which excluded from the artificial catalogue. I have heard Kingsley and Charles Lamb described as geniuses, and I have heard them both absolutely denied every sort of literary merit. Carlyle thought Darwin a poor creature, and Comte regarded Hegel himself as an empty windbag.

The fact is, most of the grandiose talk about the vast gulf which separates genius from mere talent has been published and set abroad by those fortunate persons who fell, or fancied themselves to fall, under the former highly satisfactory and agreeable category. Genius, in short, real or self-suspected, has always been at great pains to glorify itself at the expense of poor, common-place, inferior talent. There is a certain type of great man in particular which is never tired of dilating upon the noble supremacy of its own greatness over the spurious imitation. It offers incense obliquely to itself in offering it generically to the class genius. It brings ghee to its own image. There are great men, for example, such as Lord Lytton, Disraeli, Victor Hugo, the Lion Comique, and Mr. Oscar Wilde, who pose perpetually as great men; they cry aloud to the poor silly public so far beneath them, 'I am a genius! Admire me! Worship me!' Against this Byronic self-elevation on an aërial pedestal, high above the heads of the blind and battling multitude, we poor common mortals, who are not unfortunately geniuses, are surely entitled to enter occasionally our humble protest. Our contention is that the genius only differs from the man of ability as the man of ability differs from the intelligent man, and the intelligent man from the worthy person of sound common sense. The sliding scale of brains has infinite gradations; and the gradations merge insensibly into one another. There is no gulf, no gap, no sudden jump of nature; here as elsewhere, throughout the whole range of her manifold productions, our common mother saltum non facit.

The question before the house, then, narrows itself down finally to this; what are the conditions under which exceptional ability or high talent is likely to arise?

Now, I suppose everybody is ready to admit that two complete born fools are not at all likely to become the proud father and happy mother of a Shakespeare or a Newton. I suppose everybody will unhesitatingly allow that a great mathematician could hardly by any conceivable chance arise among the South African Bushmen, who cannot understand the arduous arithmetical proposition that two and two make four. No amount of education or careful training, I take it, would suffice to elevate the most profoundly artistic among the Veddahs of Ceylon, who cannot even comprehend an English drawing of a dog or horse, into a respectable president of the Royal Academy. It is equally unlikely (as it seems to me) that a Mendelssohn or a Beethoven could be raised in the bosom of a family all of whose members on either side were incapable (like a distinguished modern English poet) of discriminating any one note in an octave from any other. Such leaps as these would be little short of pure miracles. They would be equivalent to the sudden creation, without antecedent cause, of a whole vast system of nerves and nerve-centres in the prodigious brain of some infant phenomenon.

On the other hand, much of the commonplace, shallow fashionable talk about hereditary genius—I don't mean, of course, the talk of our Darwins and Galtons, but the cheap drawing-room philosophy of easy sciolists who can't understand them—is itself fully as absurd in its own way as the idea that something can come out of nothing. For it is no explanation of the existence of genius to say that it is hereditary. You only put the difficulty one place back. Granting that young Alastor Jones is a budding poet because his father, Percy Bysshe Jones, was a poet before him, why, pray, was Jones the elder a poet at all, to start with? This kind of explanation, in fact, explains nothing; it begins by positing the existence of one original genius, absolutely unaccounted for, and then proceeds blandly to point out that the other geniuses derive their characteristics from him, by virtue of descent, just as all the sons of a peer are born honourables. The elephant supports the earth, and the tortoise supports the elephant, but who, pray, supports the tortoise? If the first chicken came out of an egg, what was the origin of the hen that laid it?

Besides, the allegation as it stands is not even a true one. Genius, as we actually know it, is by no means hereditary. The great man is not necessarily the son of a great man or the father of a great man: often enough, he stands quite isolated, a solitary golden link in a chain of baser metal on either side of him. Mr. John Shakespeare woolstapler, of Stratford-on-Avon, Warwickshire, was no doubt an eminently respectable person in his own trade, and he had sufficient intelligence to be mayor of his native