In any case I can never recapture in words the waves of sympathy with strange things that went through me in that twilight of the tall pillars, like giants robed in purple, standing still and looking down into that dark hole in the ground. Here halted that imperial civilisation, when it had marched in triumph through the whole world; here in the evening of its days it came trailing in all its panoply in the pathway of the three kings. For it came following not only a falling but a fallen star and one that dived before them into a birthplace darker than a grave. And the lord of the laurels, clad in his sombre crimson, looked down into that darkness, and then looked up, and saw that all the stars in his own sky were dead. They were deities no longer but only a brilliant dust, scattered down the vain void of Lucretius. The stars were as stale as they were strong; they would never die for they had never lived; they were cursed with an incurable immortality that was but the extension of mortality; they were chained in the chains of causation and unchangeable as the dead. There are not many men in the modern world who do not know that mood, though it was not discovered by the moderns; it was the final and seemingly fixed mood of nearly all the ancients. Only above the black hole of Bethlehem they had seen a star wandering like a lost spark; and it had done what the eternal suns and planets could not do. It had disappeared. There are some who resent the presence of such purple beside the plain stable of the Nativity. But it seems strange that they always rebuke it as if it were a blind vulgarity like the red plush of a parvenu; a mere insensibility to a mere incongruity. For in fact the insensibility is in the critics and not the artists. It is an insensibility not to an accidental incongruity but to an artistic contrast. Indeed it is an insensibility of a somewhat tiresome kind, which can often be noticed in those sceptics who make a science of folk-lore. The mark of them is that they fail to see the importance of finding the upshot or climax of a tale, even when it is a fairy-tale. Since the old devotional doctors and designers were never tired of insisting on the sufferings of the holy poor to the point of squalor, and simultaneously insisting on the sumptuousness of the subject kings to the point of swagger, it would really seem not entirely improbable that they may have been conscious of the contrast themselves. I confess this is an insensibility, not to say stupidity, in the sceptics and simplifiers, which I find very fatiguing. I do not mind a man not believing a story, but I confess I am bored stiff (if I may be allowed the expression) by a man who can tell a story without seeing the point of the story, considered as a story or even considered as a lie. And a man who sees the rags and the royal purple as a clumsy inconsistency is merely missing the meaning of a deliberate design.