The sublime ritual of art, which at its noblest has the character of religion, could not exist for a moment in a world as softly fluctuating and as dimly wavering as this modern scepticism would make it. Life is at once more beautiful and far more tragic. Though surrounded by mystery the grand outlines of the world remain austerely and sternly the same. The sun rises and sets. The moon draws the tides. Man goes forth to his work and his labour until the evening. Man is born; man loves and hates; man dies. And over him the same unfathomable spaces yawn. And under him the same unfathomable spaces yawn. Time, with its seasons, passes him in unalterable procession. From birth to death his soul wrestles with the universe; and the drama of which he is the protagonist lifts the sublime monotony of its scenery from the zenith to the nadir. Let any man ask himself what it is that hurts him most in life and yet seems most real to him. He will be compelled to answer . . . "the atrocious regularity of things and their obscene necessity." The very persons who talk so glibly about the "fluidity" and "evasiveness" of life are persons in whose own flesh the wedge-like granite of fate has lodged itself with crushing finality. Life has indeed been too rigid and too stark for them; and in place of seizing it in an embrace as formidable as its own, they go aside muttering, "life is evasive; life is fluid; life brims over." This sceptical dogma of "evasiveness" is generally found in alliance with some vague modern "religion" whose chief object is to strip the world of the dignity of its real tragedy and endow it with the indignity of some pretended assurance. This is the role of that superficial optimism so inherently repugnant to the aesthetic sense. Such apologists for a shallow and ignoble idealism are in the habit of declaring that "the tendency of modern thought" is to render "materialism" unthinkable; but when these people speak of materialism they are thinking of the austere limits of that vast objective spectacle into which we are all born. This spectacle is indeed mysterious. It is indeed staggering and awful. But it is irrevocably _there_. And no vague talk about the "evasiveness" and "over-brimmingness" of life can alter one jot or tittle of its eternal outlines. From the sublime terror of this extraordinary drama such persons are anxious to escape, because the iron of it has entered into their souls. They do not see that the only "escape" offered by the reality of things is a change of attitude towards this spectacle, not an assertion that the form of this spectacle is unfixed and wavering. No psychological or mathematical speculation has the power to alter the essential outlines of this spectacle.