The Boredom of Butterflies
But he must not hedge on a bet; still less must he welsh, or do a bolt when he has made a bet. Even if the story ends with his doing so, the dramatic emotion depends on our realizing the dishonesty of his doing so. That is, the drama depends on the keeping or breaking of a bond, if it be only a bet. A man wandering about a race-course, making bets that nobody took seriously, would be merely a bore. And so the hero wandering through a novel, making vows of love that nobody took seriously, is merely a bore. The point here is not so much that morally it cannot be a creditable story, but that artistically it cannot be a story at all. Art is born when the temporary touches the eternal; the shock of beauty is when the irresistible force hits the immovable post.
Thus in the last novel of Mr. Wells, what is inconclusive in the second part is largely due to what is convincing in the first part. By the time that the hero meets his new heroine on Salisbury Plain, he has seriously convinced us that there is nothing heroic about him, and that nothing heroic will happen to him; at any rate in that department. He disenchants the enchantment beforehand, and warns the reader against even a momentary illusion. When once a man looks forward as well as backward to disillusionment, no romance can be made of him.
Profligacy may be made romantic, precisely because it implies some betrayal or breaking of a law. But polygamy is not in the least romantic. Polygamy is dull to the point of respectability. When a man looks forward to a number of wives as he does to a number of cigarettes, you can no more make a book out of them than out of the bills from his tobacconist. Anything having the
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