looking the part of a veteran observer, of a psychologist grown gray in divining the character of others from his own consciousness.
"Have you ever noticed," he began, "that the first things we get stiff in, as we advance in life, are our tastes? We suppose that it is our joints which feel the premonitions of age; and that because we no longer wish to dance or play ball or sprint in college races we are in the earliest stage of that sapless condition when the hinges of the body grind dryly upon one another, and we lose a good inch of our stature, through shrinkage, though the spine still holds us steadfastly upright."
"Well, isn't that so?" the Easy Chair asked, tranquilly.
"It may be so, or it may not be so," the veteran observer replied. "Ultimately, I dare say, it is so. But what I wish to enforce is the fact that before you begin to feel the faintest sense of stiffening joints you are allowing yourself to fall into that voluntary senescence which I call getting stiff in the tastes. It is something that I think we ought to guard ourselves against as a sort of mental sclerosis which must end fatally long before we have reached the patriarchal age which that unbelieving believer Metchnikoff says we can attain if we fight off physical sclerosis. He can only negatively teach us how to do this, but I maintain we can have each of us in our power the remedy against stiffening tastes."
"I don't see how," the Easy Chair said, more to provoke the sage to explanation than to express dissent.
"I will teach you how," he said, "if you will allow me to make it a personal matter, and use you in illustration."
"Why not use yourself?"
"Because that would be egotistical, and the prime ingredient of my specific against getting stiff in the tastes is that spiritual grace which is the very antidote, the very antithesis of egotism. Up to a certain point, a certain time, we are usefully employed in cultivating our tastes, in refining them, and in defining them. We cannot be too strenuous in defining them; and, as long as we are young, the catholicity of youth will preserve us from a bigoted narrowness. In æsthetic matters—and I imagine we both understand that we are dealing with these—the youngest youth has no tastes; it has merely appetites. All is fish that comes to its net; if anything, it prefers the gaudier of the finny tribes; it is only when it becomes sophisticated that its appetites turn into tastes, and it begins to appreciate the flavor of that diseased but pearl-bearing species of oyster which we call genius, because we have no accurate name for it. With the appreciation of this flavor comes the overpowering desire for it, the incessant and limitless search for it. To the desire for it whole literatures owe their continued existence, since, except for the universal genius-hunger of youth, the classics of almost all languages would have perished long ago. When indiscriminate and omnivorous youth has explored those vast and mostly lifeless seas, it has found that the diseased oyster which bears the pearls is the rarest object in nature. But having once formed the taste for it, youth will have no other flavor, and it is at this moment that its danger of hardening into premature age begins. The conceit of having recognized genius takes the form of a bigoted denial of its existence save in the instances recognized. This conceit does not admit the possibility of error or omission in the search, and it does not allow that the diseased oyster can transmit its pearl-bearing qualities and its peculiar flavors; so that the attitude of aging youth, in the stiffening of its tastes, is one of rejection toward all new bivalves, or, not to be tediously metaphorical, books."
The veteran observer fell silent at this point, and the Easy Chair seized the occasion to remark: "Yes, there is something in what you say. But this stiffening of the tastes, this sclerosis of the mind, is hardly an infectious disease——"
"Ah, but it is infectious," the veteran observer exclaimed, rousing himself, "infectious as far as the victim can possibly make it so. He wishes nothing so much as to impart his opinions in all their rigidity to everybody else. Take your own case, for instance——"
"No, we would rather not," the Easy Chair interposed.
"But you must make the sacrifice," the veteran observer persisted. "You will allow that you are extremely opinionated?"
"Not at all."
"Well, then, that you are devoutly conscientious in the tenure of your æsthetic beliefs?"
"Something like that, yes."
"And you cannot deny that in times past you have tried your best to make others think with you?"
"It was our duty."
"Well, let it pass for that. It amounted to an effort to make your mental sclerosis infectious, and it was all the worse because, in you, the stiffening of the tastes had taken the form of aversions rather than preferences. You did not so much wish your readers to like your favorite authors as to hate all the others. At the time when there was a fad for making lists of The Hundred Best Authors, I always wondered that you didn't put forth some such schedule."
"We had the notion of doing something of the kind," the Easy Chair confessed, "but we could not think of more than ten or a dozen really first-rate authors, and if we had begun to compile a list of the best authors we should have had to leave out most of their works. Nearly all the classics would have gone by the board. What havoc we should have made with the British poets! The Elizabethan dramatists would mostly have fallen under the ban of our negation, to a play, if not to a man. Chaucer, but for a few poems, is impossible; Spenser's poetry is generally duller than the Presidents' messages before Mr. Roosevelt's time; Milton is a trial of the spirit in three-fourths of his verse; Wordsworth is only not so bad as Byron, who thought him so much worse; Shakespeare himself, when he is reverently supposed not to be Shakespeare, is reading for martyrs; Dante's science and politics outweigh his poetry a thousandfold, and so on through the whole catalogue. Among the novelists——"
"No, don't begin on the novelists! Every one knows your heresies there, and would like to burn you along with the romances which I've no doubt you would still commit to the flames. I see you are the Bourbon of criticism; you have learned nothing and forgotten nothing. But why don't you turn your adamantine immutability to some practical account, and give the world a list of The Hundred Worst Books?"
"Because a hundred books out of the worst would be a drop out of the sea; there would remain an immeasurable welter of badness, of which we are now happily ignorant, and from which we are safe, as long as our minds are not turned to it by examples."
"Ah," our visitor said, "I see that you are afraid to confess yourself the popular failure as a critic which you are. You are afraid that if you made a list of The Hundred Worst Books you would send the classes to buying them in the most expensive binding, and the masses to taking them out of all the public libraries."
"There is something in what you say," the Easy Chair confessed. "Our popular failure as a critic is notorious; it cannot be denied. The stamp of our disapproval at one time gave a whole order of fiction a currency that was not less than torrential. The flood of romantic novels which passed over the land, and which is still to be traced in the tatters of the rag-doll heroes and heroines caught in the memories of readers along its course, was undoubtedly the effect of our adverse criticism. No, we could not in conscience compile and publish a list of The Hundred Worst Books; it would be contrary, for the reasons you give, to public morals."
"And don't you think," the observer said, with a Socratic subtlety that betrayed itself in his gleaming eye, in the joyous hope of seeing his victim fall into the pit that his own admissions had digged for him, "and don't you think that it would also bring to you the unpleasant consciousness of having stiffened in your tastes?"
"It might up to a certain point," we consented. "But we should prefer to call it confirmed in our convictions. Wherever we have liked or disliked in literature
