The Fiend's Delight - Ambrose Bierce (fantasy novels to read .TXT) 📗

jolly, rubicund, tun-bellied Death," he gave us a tale which needs no h‘c fabula docet to point out the moral.

We verily believe that Shakspeare writ down Fat Jack at his last gasp, as babbling, not o' green fields, but o' green turtle, and that that starvling Colley Cibber altered the text from sheer envy at a good man's death. To die well we must live well, is a familiar platitude. Morality is, of course, best promoted by the good quality of our fare, but quantitative excellence is by no means to be despised. C‘teris paribus, the man who eats much is a better Christian than the man who eats little, and he who eats little will pursue a more uninterrupted course of benevolence than he who eats nothing. On Death and Immortality.

Did it ever strike you, dear reader, that it must be a particularly pleasant thing to be dead? To say nothing hackneyed about the blessed freedom from the cares and vexations of life--which we cling to with such tenacity while we can, and which, when we have no longer the power to hold, we let go all at once, with probably a feeling of exquisite relief-and to take no account of this latter probable but totally undemonstrable felicity, it must be what boys call awfully jolly to be dead.

Here you are, lying comfortably upon your back-what is left of it-in the cool dark, and with the smell of the fresh earth all about you. Your soul goes knocking about amongst an infinity of shadowy things, Lord knows where, making all sorts of silent discoveries in the gloom of what was yesterday an unknown and mysterious future, and which, after centuries of exploration, must still be strangely unfamiliar. The nomadic thing doubtless comes back occasionally to the old grave-if the body is so fortunate as to possess one-and looks down upon it with big round eyes and a lingering tenderness.

It is hard to conceive a soul entirely cut loose from the old bones, and roving rudderless about eternity. It was probably this inability to mentally divorce soul from substance that gave us that absurdly satisfactory belief in the resurrection of the flesh. There is said to be a race of people somewhere in Africa who believe in the immortality of the body, but deny the resurrection of the soul. The dead will rise refreshed after their long sleep, and in their anxiety to test their rejuvenated powers, will skip bodily away and forget their souls. Upon returning to look for them, they will find nothing but little blue flames, which can never be extinguished, but may be carried about and used for cooking purposes. This belief probably originates in some dim perception of the law of compensation. In this life the body is the drudge of the spirit; in the next the situation is reversed.

The heaven of the Mussulman is not incompatible with this kind of immortality. Its delights, being merely carnal ones, could be as well or better enjoyed without a soul, and the latter might be booked for the Christian heaven, with only just enough of the body to attach a pair of wings to. Mr. Solyman Muley Abdul Ben Gazel could thus enjoy a dual immortality and secure a double portion of eternal felicity at no expense to anybody.

In fact, there can be no doubt whatever that this theory of a double heaven is the true one, and needs but to be fairly stated to be universally received, inasmuch as it supposes the maximum of felicity for terrestrial good behaviour. It is therefore a sensible theory, resting upon quite as solid a foundation of fact as any other theory, and must commend itself at once to the proverbial good sense of Christians everywhere. The trouble is that some architectural scoundrel of a priest is likely to build a religion upon it; and what the world needs is theory-good, solid, nourishing theory. Music-Muscular and Mechanical.

One cheerful evidence of the decivilization of the Anglo-Saxon race is the late tendency to return to first principles in art, as manifested in substituting noise for music. Herein we detect symptoms of a rapid relapse into original barbarism. The savage who beats his gong or kettledrum until his face is of a delicate blue, and his eyes assert themselves like those of an unterrified snail, believes that musical skill is a mere question of brawn-a matter of muscle. If not wholly ignorant of technical gymnastics, he has a theory that a deftness at dumb-bells is a prime requisite in a finished artist. The advance-in a circle-of civilization has only partially unsettled this belief in the human mind, and we are constantly though unconsciously reverting to it.

It is true the modern demand for a great deal of music has outstripped the supply of muscle for its production; but the ingenuity of man has partially made up for his lack of physical strength, and the sublimer harmonies may still be rendered with tolerable effectiveness, and with little actual fatigue to the artist. As we retrograde towards the condition of Primeval Man-the man with the gong and kettledrum-the blacksmith slowly reasserts his place as the interpreter of the maestro.

But there is a limit beyond which muscle, whether that of the arm or cheek, can no further go, without too great an expenditure of force in proportion to the volume of noise attainable. And right here the splendid triumphs of modern invention and discovery are made manifest; electricity and gunpowder come to the relief of puny muscle, simple appliance, and orchestras limited by sparse population. Batteries of artillery thunder exultingly our victory over Primeval Man, beaten at his own game-signally routed and put to shame, pounding his impotent gong and punishing his ridiculous kettledrum in frantic silence, amidst the clash and clang and roar of modern art. The Good Young Man.

Why is he? Why defaces he the fair page of creation, and why is he to be continued? This has never been explained; it is one of those dispensations of Providence the design whereof is wrapped in profoundest obscurity. The good young man is perhaps not without excuse for his existence, but society is without excuse for permitting it. At his time of life to be "good" is to insult humanity. Goodness is proper to the aged; it is their sole glory; why should this milky stripling bring it into disrepute? Why should he be permitted to defile with the fat of his sleek locks a crown intended to adorn the grizzled pow of his elders?

A young man may be manly, gentle, honourable, noble, tender and true, and nobody will ever think of calling him a good young man. Your good young man is commonly a sneak, and is very nearly allied to that other social pest, the "nice young lady." As applied to the immature male of our kind, the adjective "good" seems to have been perverted from its original and ordinary signification, and to have acquired a dyslogistic one. It is a term of reproach, and means, as nearly as may be, "characterless." That any one should submit to have it applied to him is proof of the essential cowardice of Virtue.

We believe the direst ill afflicting civilization is the good young man. The next direst is his natural and appointed mate, the nice young lady. If the two might be tied neck and heels together and flung into the sea, the land would be the fatter for it. The Average Parson.

Our objection to him is not that he is senseless; this-as it concerns us not-we can patiently endure. Nor that he is bigoted; this we expect, and have become accustomed to. Nor that he is small-souled, narrow, and hypocritical; all these qualities become him well, sitting easily and gracefully upon him. We protest against him because he is always "carrying on."

To carry on, in one way or another, seems to be the function of his existence, and essential to his health. When he is not doing it in the pulpit he is at it in the newspapers; when both fail him he resorts to the social circle, the church meeting, the Sunday-school, or even the street corner. We have known him to disport for half a day upon the kerb-stone, carrying on with all his might to whomsoever would endure it.

No sooner does a young sick-faced theologue get safely through his ordination, as a baby finishes teething, than straightway he casts about him for an opportunity to carry on. A pretext is soon found, and he goes at it hammer and tongs; and forty years after you shall find him at the same trick with as simple a faith, as exalted an expectation, as vigorous an impotence, as the day he began.

His carryings-on are as diverse in kind, as comprehensive in scope, as those of the most versatile negro minstrel. He cuts as many capers in a lifetime as there are stars in heaven or grains of sand in a barrel of sugar. Everything is fish that comes to his net. If a discovery in science is announced, he will execute you an antic upon it before it gets fairly cold. Is a new theory advanced-ten to one while you are trying to get it through your head he will stand on his own and make mouths at it. A great invention provokes him into a whirlwind of flip-flaps absolutely bewildering to the secular eye; while at any exceptional phenomenon of nature, such as an earthquake, he will project himself frog-like into an infinity of lofty gymnastic absurdities.

In short, the slightest agitation of the intellectual atmosphere sets your average parson into a tempest of pumping like the jointed ligneous youth attached to the eccentric of a boy's whirligig. His philosophy of life may be boiled down into a single sentence: Carry on and you will be happy. Did We Eat One Another?

There is no doubt of it. The unwelcome truth has long been suppressed by interested parties who find their account in playing sycophant to that self-satisfied tyrant Modern Man; but to the impartial philosopher it is as plain as the nose upon an elephant's face that our ancestors ate one another. The custom of the Fiji Islanders, which is their only stock-in-trade, their only claim to notoriety, is a relic of barbarism; but it is a, relic of our barbarism.

Man is naturally a carnivorous animal. This none but greengrocers will dispute. That he was formerly less vegetarian in his diet than at present, is clear from the fact that market-gardening increases in the ratio of civilization. So we may safely assume that at some remote period Man subsisted upon an exclusively flesh diet. Our uniform vanity has given us the human mind as the ne plus ultra of intelligence, the human face and figure as the standard of beauty. Of course we cannot deny to human fat and lean an equal superiority over beef, mutton, and pork. It is plain that our meat-eating ancestors would think in this way, and, being unrestrained by the mawkish sentiment attendant upon high civilization, would act habitually upon the obvious suggestion. A priori, therefore, it is clear that we ate ourselves.

Philology is about the only thread which connects us with the prehistoric past. By picking up and piecing out the scattered remnants of language, we form a patchwork of wondrous design. Oblige us by considering the derivation of the word "sarcophagus," and see if it be not suggestive of potted meats. Observe the significance of the phrase "sweet sixteen." What a world of meaning lurks in the expression "she is sweet as a peach," and how suggestive of luncheon are the words "tender youth." A kiss itself is but a modified bite, and when a young girl