The prophesying business is like writing fugues; it is fatal to every one save the man of absolute genius. The lesser fellow—and Wells, for all his cleverness, is surely one of the lesser fellows—is bound to come to grief at it, and one of the first signs of his coming to grief is the drying up of his sense of humor. Compare “The Soul of a Bishop” or “Joan and Peter” to “Ann Veronica” or “The History of Mr. Polly.” One notices instantly the disappearance of the comic spirit, the old searching irony—in brief, of the precise thing that keeps the breath of life in Arnold Bennett. It was in “Boon,” I believe, that this irony showed its last flare. There is a passage in that book which somehow lingers in the memory: a portrait of the United States as it arose in the mind of an Englishman reading the _Nation_ of yesteryear: “a vain, garrulous and prosperous female of uncertain age, and still more uncertain temper, with unfounded pretensions to intellectuality and an idea of refinement of the most negative description ... the Aunt Errant of Christendom.” A capital whimsy—but blooming almost alone. A sense of humor, had it been able to survive the theology, would certainly have saved us from Lady Sunderbund, in “The Soul of a Bishop,” and from Lady Charlotte Sydenham in “Joan and Peter.” But it did not and could not survive. It always withers in the presence of the messianic delusion, like justice and the truth in front of patriotic passion. What takes its place is the oafish, witless buffoonishness of the chautauquas and the floor of Congress—for example, the sort of thing that makes an intolerable bore of “Bealby.”