“Look closer still,” returned his dragoman, “and you will see that it is holding a novel of the great Russian, upside down. Ever since that simple master who so happily blended the childlike with the contortionist became known in this country they have been trying to go him one better, in letters, in painting, in sculpture, and in music, refusing to admit that he was the last cry; and until they have beaten him this movement simply cannot cease; it may therefore go on for ever, for he was the limit. That hand symbolises the whole movement.” “How?” said the Angel. “Why, sir, somersault is its mainspring. Did you never observe the great Russian’s method? Prepare your characters to do one thing, and make them very swiftly do the opposite. Thus did that terrific novelist demonstrate his overmastering range of vision and knowledge of the depths of human nature. Since his characters never varied this routine in the course of some eight thousand pages, people have lightly said that he repeated himself. But what of that? Consider what perfect dissociation he thereby attained between character and action; what nebulosity of fact; what a truly childlike and mystic mix-up of all human values hitherto known! And here, sir, at the risk of tickling you, I must whisper.” The dragoman made a trumpet of his hand: “Fiction can only be written by those who have exceptionally little knowledge of ordinary human nature, and great fiction only by such as have none at all.” “How is that?” said the Angel, somewhat disconcerted. “Surprise, sir, is the very kernel of all effects in art, and in real life people _will_ act as their characters and temperaments determine that they shall. This dreadful and unmalleable trait would have upset all the great mystic masters from generation to generation if they had only noticed it. But did they? Fortunately not. These greater men naturally put into their books the greater confusion and flux in which their extraordinary selves exist! The nature they portray is not human, but super- or subter-human, which you will. Who would have it otherwise?” “Not I,” said the Angel. “For I confess to a liking for what is called the ‘tuppence coloured.’ But Russians are not as other men, are they?” “They are not,” said his dragoman, “but the trouble is, sir, that since the British discovered him, every character in our greater fiction has a Russian soul, though living in Cornwall or the Midlands, in a British body under a Scottish or English name.” “Very piquant,” said the Angel, turning from the masterpiece before him. “Are there no undraped statues to be seen?” “In no recognisable form. For, not being educated to the detached contemplation which still prevailed to a limited extent even as late as the days of the Great Skirmish, the populace can no longer be trusted with such works of art; they are liable to rush at them, for embrace, or demolition, as their temperaments may dictate.” “The Greeks are dead, then,” said the Angel.