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Confessions and Criticisms by Julian Hawthorne
page 68 of 156 (43%)
a living writing; it is alive in precisely the same way that nature, or
man himself, is alive. Matter is dead; life organizes and animates it. And
all writing is essentially dead which is a mere transcript of fact, and is
not inwardly organized and vivified by a spiritual significance. Children
do not know what it is that makes a human being smile, move, and talk; but
they know that such a phenomenon is infinitely more interesting than a
doll; and they prove it by themselves supplying the doll with speech and
motions out of their own minds, so as to make it as much like a real
person as possible. In the same way, they do not perceive the
philosophical truth which is the cause of existence of the hermetic fable;
but they find that fable far more juicy and substantial than the ordinary
narrative of every-day facts, because, however fine the surface of the
latter may be, it has, after all, nothing but its surface to recommend it.
It has no soul; it is not alive; and, though they cannot explain why, they
feel the difference between that thin, fixed grimace and the changing
smile of the living countenance.

It would scarcely be practicable, however, to confine the children's
reading to hermetic literature; for not much of it is extant in its pure
state. But it is hardly too much to say that all fairy stories, and
derivations from these, trace their descent from an hermetic ancestry.
They are often unaware of their genealogy; but the sparks of that primal
vitality are in them. The fairy is itself a symbol for the expression of a
more complex and abstract idea; but, once having come into existence, and
being, not a pure symbol, but a hybrid between the symbol and that for
which it stands, it presently began an independent career of its own. The
mediaeval imagination went to work with it, found it singularly and
delightfully plastic to its touch and requirements, and soon made it the
centre of a new and charming world, in which a whole army of graceful and
romantic fancies, which are always in quest of an arena in which to
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