the system will maintain its gravity though I go my private way, and I promise to let you alone. Forgive me, and God bless you. Ah, yes, and many happy returns of the day. All my heart in the blessing and the wish.
I did some remembering to-day, dear lad. When you were born, I was five years younger than you are now, yet I felt myself old. "If we were as old as we feel, we would die of old age at twenty-one." My life seemed all behind me, long, turbulent, packed with pain, useless. I spoke of myself as if all were over. "It had been full of purpose, but what came of it? A few rhymes and a spoilt hope." To my morbid fancy your having come to be was a signal for me to go. I had no thought of dying, yet I accepted you as the proof of my failure. In the exacting eyes of the genius of the race I was insolvent. You were not mine. I looked into Time, and saw none of me there.
Yet the letter I wrote to your parents was sincere,—how else? And that night and the next and the next, I wrote "Gentleman Adventurers," which the critics called the epitome of all that is balladesque. One pitied the dead because they could go forth no more on water and under sky. This poem, written in a mood which beneficent nature sends on the too-sick spirit, has served for more than a quarter of a century as the complete and accepted catalogue of the reasons for living. Well, I must not laugh at it. It may be true that the passion of my heart incarnated itself in it beyond the rest, that my one song sang itself out those first three days of your life. If so, it is true that love is never cheated of its fruit, and that the joy which might have been for the individual oozes out of him to the race, that the strength which would have settled upon itself in the calm of satisfied hope, filters through him outwards.
Good night, lad. My hand is on your shoulder and I am loath to take it off. For a while I would like what cannot be, to travel with you the red-brown country-roads fragrant with hay, to cross the stiles and knock upon the cabin doors, and enter where sorrow and where gladness is, big with greeting and sure of welcome. I have often pleased myself with the fancy that the outer aspects of life are patterned after the inner, so that in the map of the spirit are to be found city and country, wood, desert, and sea, so that we know these outer worlds through having travelled the worlds within. Though I stay behind, my eyes can follow you from this night's landmark along the stretch, on to the city avenues, up the highways, tracing the twists of the bypaths, clambering untrod trails of wilderness and mountain, on, on, till out upon the sea.
In one of the near turnings a woman with waiting face smiles subtly. Her hands beckon you to the tryst. Godspeed, my son.
Dane.
XXVIII. From Herbert Wace to Dane Kempton
The Ridge,
Berkeley, California.
August 6, 19—.
As I have constantly insisted, our difference is temperamental. The common words we lay hold of mean one thing to you and another thing to me. I do not equivocate when I say that love is instinctive, and that the latter-day expression of love is artificial. "Art," as I understand the term in its broadness, contradistinguishes from nature. Whatever man contrives or devises is an artifice, a thing of art not of nature, and therefore artificial.
As for ourselves, among animals we are the only real inventors and artificers. Instead of hair and hide, we have soft skins, and we weave cunning textures and wear wondrous garments. In cold weather, in place of eating much fat meat, we keep ourselves warm by grate fires and steam heat. We cut up our blood-dripping meat chunks with pieces of iron hardened by fire and sharpened by stone, and we eat fish with a fork instead of our fingers. We put a roof over our heads to keep out storm and sunshine, sleep in pent rooms, and are afraid of the good night air and the open sky. In short, we are consummately artificial.
As I recollect, I have shown that the natural expression of the love instinct is bestial and brutal and violent. I have shown how imagination entered into the development of the expression of this love instinct till it became romantic. And, in turn, I have shown how artificial was the romantic expression of this love instinct, by isolating a boy babe and a girl babe in a natural state wherein they expressed their love instinct bestially and brutally and violently. As you say, they have simply been "left out by the civilising force." And this civilising, or socialising force is simply the sum of our many inventions. The isolated pair merely expressed their instincts in the unartificial, natural way. They had not been taught a certain particular fashion in which to express those instincts as have you and I and all artificial beings been taught.
As Mr. Finck has said, "Not till Dante's 'Vita Nuova' appeared was the gospel of modern love—the romantic adoration of a maiden by a youth—revealed for the first time in definite language."
Dante, and the men who foreshadowed and followed him, were inventors. They introduced an artifice for protracting one of our most vital pleasures. Well, they succeeded. And what of it? There are artifices and artifices, and some are better than others. The automobile is a more cunning artifice than the ox-cart, the subway than a palanquin. Devices come and devices go. Change is the essence of progress. All is development. The end of rapes and romances is the same—perpetuation. There may be head love as well as heart love. And in the time to come, when the brain ceases to be the servant of the belly, the head the lackey of the heart, in that time stirpiculture, which is scientific perpetuation, will take the place of romantic love. And in the present there may be men ready for that time. There must be a beginning, else would we still be jolting in ox-carts. And I am ready for that time now.
You say, "Love is of a piece with life, like hunger, like joy, like death." Quite true. And civilisation is merely the expression of life—a variform utterance which includes love, and hunger, and joy, and death. Else what is this civilisation for? How did it happen to be? And I answer: It is the sum of the many inventions we have made to aid us in our pursuit of life and love and joy. It helps us to live more abundantly, to love more fruitfully, to joy more intelligently, and to get grim old Death by his knotty throat and hold him at arm's length as long as possible.
I stated that "all progress consists in the arbitrary alteration, by human efforts and devices, of the normal course of nature." This sociological concept comes inevitably into accord with my philosophy of love. It is the law of development, and all things of human life (which includes love) come inside of it. Wherefore, certainly, I am not outside our province when I demand of you to bring your philosophy of love into like accord.
Incidentally, I will state that I have fallen in love. I have grown feverish with desire, gone mad with dumb yearning. I have felt my intellect lose dominion, and learned that I was only a garmented beast, for all the many inventions very like the other beasts ungarmented. Nay, I am no cold-blooded theorist, no thick-hided dogmatist; nor am I a chastely simple young man mooning in virginal innocence. My generalisations have been tempered in the heats of passion, and what I know I know, and without hearsay.
I have seen a learned man, drunk with wine, interrogate the new states of consciousness of his unwonted condition, and so doing, gain a more comprehensive psychological insight. So I, with my loves. I was impelled toward the women I shall presently particularise. I asked why the impulsion. I reasoned to see if there were a difference between these illicit passions of mine and the illicit passions of my respectable and respected friends. And I found no difference. Separated from codes and conventions, shorn of imagination, divested of romance, stripped naked down to the core of the matter, it was old Mother Nature crying through us, every man and woman of us, for progeny. Her one unceasing and eternal cry—Progeny! Progeny! Progeny!
Just as little girls, instinctively foreshadowing motherhood, play with dolls, so children feel vague sex promptings, and in sweetly ridiculous ways love and quarrel and make up after
