were less like mops. But it does appear to be a deep and essential
difficulty that men have an abiding terror of their own structure, or of
the structure of things they love. This is felt dimly in the skeleton of
the tree: it is felt profoundly in the skeleton of the man.

The importance of the human skeleton is very great, and the horror with
which it is commonly regarded is somewhat mysterious. Without claiming
for the human skeleton a wholly conventional beauty, we may assert that
he is certainly not uglier than a bull-dog, whose popularity never
wanes, and that he has a vastly more cheerful and ingratiating
expression. But just as man is mysteriously ashamed of the skeletons of
the trees in winter, so he is mysteriously ashamed of the skeleton of
himself in death. It is a singular thing altogether, this horror of the
architecture of things. One would think it would be most unwise in a man
to be afraid of a skeleton, since Nature has set curious and quite
insuperable obstacles to his running away from it.

One ground exists for this terror: a strange idea has infected humanity
that the skeleton is typical of death. A man might as well say that a
factory chimney was typical of bankruptcy. The factory may be left naked
after ruin, the skeleton may be left naked after bodily dissolution; but
both of them have had a lively and workmanlike life of their own, all
the pulleys creaking, all the wheels turning, in the House of Livelihood
as in the House of Life. There is no reason why this creature (new, as I
fancy, to art), the living skeleton, should not become the essential
symbol of life.

The truth is that man's horror of the skeleton is not horror of death at
all. It is man's eccentric glory that he has not, generally speaking,
any objection to being dead, but has a very serious objection to being