V

instinct; the finding of a philosophy for it or the analysis of the philosophy in it. Exactly as a man in an adventure story has to pass various tests to save his life, so the man in this philosophy has to pass several tests and save his soul. In both there is an idea of free will operating under conditions of design; in other words, there is an aim and it is the business of a man to aim at it; we therefore watch to see whether he will hit it. Now this deep and democratic and dramatic instinct is derided and dismissed in all the other philosophies. For all the other philosophies avowedly end where they begin; and it is the definition of a story that it ends differently; that it begins in one place and ends in another. From Buddha and his wheel to Akhenaten and his disc, from Pythagoras with his abstraction of number to Confucius with his religion of routine, there is not one of them that does not in some way sin against the soul of a story. There is none of them that really grasps this human notion of the tale, the test, the adventure; the ordeal of the free man. Each of them starves the story-telling instinct, so to speak, and does something to spoil human life considered as a romance; either by fatalism (pessimist or optimist) and that destiny that is the death of adventure; or by indifference and that detachment that is the death of drama; or by a fundamental scepticism that dissolves the actors into atoms; or by a materialistic limitation blocking the vista