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MRAP Directory 18
Page 09
Nevertheless I knew that I could get it to agree with me if I could so effectually button-hole and fasten on to it as to eat it. Most men have an easy method with turtle soup, and I had no misgiving but that if I could bring my first premise to bear I should prove the better reasoner. My difficulty lay in this initial process, for I had not with me the argument that would alone compel Mr. Sweeting think that I ought to be allowed to convert the turtles--I mean I had no money in my pocket. No missionary enterprise can be carried on without any money at all, but even so small a sum as half-a-crown would, I suppose, have enabled me to bring the turtle partly round, and with many half-crowns I could in time no doubt convert the lot, for the turtle needs must go where the money drives. If, as is alleged, the world stands on a turtle, the turtle stands on money. No money no turtle. As for money, that stands on opinion, credit, trust, faith--things that, though highly material in connection with money, are still of immaterial essence.
The MARSI, PELIGNI, VESTINI, and MARRUCINI inhabited the valleys of the central Apennines, and were closely connected, being probably all of Sabine origin. The MARSI dwelt inland around the basin of the Lake Fucinus, which is about thirty miles in circumference, and the only one of any extent in the central Apennines. The PELIGNI also occupied an inland district east of the MARSI. The VESTINI dwelt east of the Sabines, and possessed on the coast of the Adriatic a narrow space between the mouth of the Matrinus and that of the Aternus, a distance of about six miles. The MARRUCINI inhabited a narrow strip of country on the Adriatic, east of the Peligni, and were bounded on the north by the Vestini and on the south by the Frentani.
It is, of course, quite true that no writer is bound by traditions of art, and there is no one who need consider how the thing has been done before, or follow a prescribed code. But for all that, art is not a thing of rules made and enforced by critics. All that critics can do is to determine what the laws of art are; because art has laws underlying it which are as certain as the laws of gravity, even if they are not known. The more permanent art is, the more it conforms to these laws; because the fact is that there is a vital impulse in the human mind towards the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.
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