unsystematic system is that one should give oneself freely up to what the gods throw in one's way. And if the gods—in their inescapable predestination—have made him "for me" and me "for him," to cling fast with cold cautious hands to the anchor of moderation were to be false to the philosophy of the "Eternal Now."

The whole of life is an enormous accident—a dice-throw of eternity in the vapours of time and space. Why not then, with him we love by our side, make richer and sweeter the nonchalant gaiety of our amusement, in the great mad purposeless preposterous show, by the "quips and cranks" of a companionable scepticism; canvassing all things in earth and heaven, reverencing God and Caesar on this side of idolatry, relishing the foolish, fooling the wise, and letting the world drift on as it will?

"What do I know?" There may be more in life than the moralists guess, and more in death than the atheists imagine.

PASCAL

There are certain figures in the history of human thought who in the deepest sense of the word must be regarded as tragic; and this not because of any accidental sufferings they have endured, or because of any persecution, but because of something inherently desperate in their own wrestling with truth.

Thus Swift, while an eminently tragic figure in regard to his personal character and the events of his life, is not tragic in regard to his thought.

It is not a question of pessimism. Schopenhauer is generally, and with reason, regarded as a pessimist; but no one who has read his "World as Will and Idea" can visualise Schopenhauer, even in the sphere of pure thought, as a tragic personality.

The pre-eminent example in our modern world of the sort of desperate thinking which I have in mind as worthy of this title is, of course, Nietzsche; and it is a significant thing that over and over again in Nietzsche's writings one comes upon passionate and indignant references to Pascal.

The great iconoclast seemed indeed, as he groped about like a blind Samson in the temple of human faith, to come inevitably upon the figure of Pascal, as if this latter were one of the main pillars of the formidable edifice. It is interesting to watch this passionate attraction of steel for steel.

Nietzsche was constantly searching among apologists for Christianity for one who in intellect and imagination was worthy of his weapons; and it must be confessed that his search was generally vain. But in Pascal he did find what he sought.

His own high mystical spirit with its savage psychological insight was answered here by something of the same metal. His own "desperate thinking" met in this instance a temper equally "desperate," and the beauty and cruelty of his merciless imagination met here a "will to power" not less abnormal.

It is seldom that a critic of a great writer has, by the lucky throwing of life's wanton dice, an opportunity of watching the very temper he is describing, close at hand. But it does sometimes happen, even when the subject of one's criticism has been dead two hundred years, that one comes across a modern mind so penetrated with its master's moods; so coloured, so dyed, so ingrained with that particular spirit, that intercourse with it implies actual contact with its archetype.

Such an encounter with the subtlest of Christian apologists has been my own good fortune in my association with Mr. W. J. Williams, the friend of Loisy and Tyrrel, and the interpreter, for modern piety, of Pascal's deepest thoughts.

The superiority of Pascal over all other defenders of the faith is to be looked for in the peculiar angle of his approach to the terrific controversy—an angle which Newman himself, for all his serpentine sagacity, found it difficult to retain.

Newman worked in a mental atmosphere singularly unpropitious to formidable intellectual ventures, and one never feels that his essentially ecclesiastical mind ever really grasped the human plausibility of natural paganism. But Pascal went straight back to Montaigne, and, like Pater's Marius under the influence of Aristippus, begins his search after truth with a clean acceptance of absolute scepticism.

Newman was sceptical too, but his peculiar kind of intellectual piety lacked the imagination of Pascal. He could play, cleverly enough, with hypothetical infidelity, and refute it, so to say, "in his study" with his eye on the little chapel door; but there was a sort of refined shrinking from the jagged edges of reality in his somewhat Byzantine temperament which throws a certain suspicion of special pleading over his crafty logic.

Newman argues like a subtle theologian who has been clever enough to add to his "repertoire" a certain evasive mist of pragmatic modernism, under the filmy and wavering vapours of which the inveterate sacerdotalism of his temperament covers its tracks. But with Pascal we get clean away from the poison-trail of the obscurantist.

Pascal was essentially a layman. There was nothing priestly in his mood; nothing scholastic in his reasoning; nothing sacerdotal in his conclusions. We breathe with him the clear sharp air of mathematics; and his imagination, shaking itself free from all controversial pettifogging, sweeps off into the stark and naked spaces of the true planetary situation.

One feels that Newman under all conceivable circumstances was bound to be a priest. There was priestliness writ large upon his countenance. His manner, his tone, his beautiful style, with something at once pleading and threatening, and a kind of feminine attenuation in its vibrant periods, bears witness to this.

Stripped of his cassock and tossed into the world's "hurly-burly," Newman would have drawn back into himself in Puritan dismay, and with Puritan narrowness and sourness would have sneered at the feet of the dancers. There was, at bottom, absolutely nothing in Newman of the clear-eyed human sweetness of the Christ of the Gospels; that noble, benignant, tolerant God, full of poetic imagination, whose divine countenance still looks forth from the canvasses of Titian.

Newman's piety, at best, was provincial, local, distorted. His Christ is the Christ of morbid Seminarists and ascetic undergraduates; not the Christ that Leonardo da Vinci saw breaking bread with his disciples; not the Christ that Paolo Veronese saw moving among the crowds of the street like a royal uncrowned king.

It is a mistake to regard Pascal as a Protestant. It is equally a mistake to press hard upon his Catholicity. He was indeed too tragically preoccupied with the far deeper question as to whether faith in Christ is possible at all, to be limited to these lesser disputes.

His quarrel with the Jesuits was not essentially a theological quarrel. It was the eternal quarrel between the wisdom and caution and casuistry of the world and the uncompromising vision of the poet and prophet.

Nietzsche would never have singled out Pascal as his most formidable enemy if the author of "The Thoughts" had been nothing but a theological controversialist. What gives an eternal value to Pascal's genius, is that it definitely cleared the air. It swept aside all blurring and confusing mental litter, and left the lamentable stage of the great dilemma free for the fatal duel.

Out of the immense darkness of the human situation, that forlorn stage rises. The fearful spaces of the godless night are its roof, and row above row, tier above tier in its shadowy enclosure, the troubled crowds of the tribes of men wait the wavering issue of the contest. Full on the high stage in this tragic theatre of the universe Pascal throws the merciless searchlight of his imaginative logic, and the rhythm of the duality of man's fate is the rhythm of the music of his impassioned utterances.

The more one dreams over the unique position which Pascal has come to occupy, the more one realises how few writers there are whose imagination is large enough to grapple with the sublime horror of being born of the human race into