saying an Ave Maria under a mistaken association, he would be conducted kindly but firmly by an Irish policeman to a more authentic shrine. But though the foreign simplicity might not long survive in New York, it is quite a mistake to suppose that such foreign simplicity cannot enter New York. He may be excluded for being illiterate, but he cannot be excluded for being ignorant, nor for being innocent. Least of all can he be excluded for being wiser in his innocence than the world in its knowledge. There is here indeed more than one distinction to be made. New York is a cosmopolitan city; but it is not a city of cosmopolitans. Most of the masses in New York have a nation, whether or no it be the nation to which New York belongs. Those who are Americanised are American, and very patriotically American. Those who are not thus nationalised are not in the least internationalised. They simply continue to be themselves; the Irish are Irish; the Jews are Jewish; and all sorts of other tribes carry on the traditions of remote European valleys almost untouched. In short, there is a sort of slender bridge between their old country and their new, which they either cross or do not cross, but which they seldom simply occupy. They are exiles or they are citizens; there is no moment when they are cosmopolitans. But very often the exiles bring with them not only rooted traditions, but rooted truths.

Indeed it is to a great extent the thought of these strange souls in crude American garb that gives a meaning to the masquerade of New York. In the hotel where I stayed the head waiter in one room was a Bohemian; and I am glad to say that he called himself a Bohemian. I have already protested sufficiently, before American audiences, against the pedantry of perpetually talking about Czecho-Slovakia. I suggested to my American friends that the abandonment of the word Bohemian in its historical sense might well extend to its literary and figurative sense. We might be expected to say, 'I'm afraid Henry has got into very Czecho-Slovakian habits lately,' or 'Don't bother to dress; it's quite a Czecho-Slovakian affair.' Anyhow my Bohemian would have nothing to do with such nonsense; he called himself a son of Bohemia, and spoke as such in his criticisms of America, which were both favourable and unfavourable. He was a squat man, with a sturdy figure and a steady smile; and his eyes were like dark pools in the depth of a darker forest, but I do not think he had ever been deceived by the lights of Broadway.

But I found something like my real innocent abroad, my real peasant among the sky-signs, in another part of the same establishment. He was a much leaner man, equally dark, with a hook nose, hungry face, and fierce black moustaches. He also was a waiter, and was in the costume of a waiter, which is a smarter edition of the costume of a lecturer. As he was serving me with clam chowder or some such thing, I fell into speech with him and he told me he was a Bulgar. I said something like, 'I'm afraid I don't know as much as I ought to about Bulgaria. I suppose most of your people are agricultural, aren't they?' He did not stir an inch from his regular attitude, but he slightly lowered his low voice and said, 'Yes. From the earth we come and to the earth we return; when people get away from that they are lost.'

To hear such a thing said by the waiter was alone an epoch in the life of an unfortunate writer of fantastic novels. To see him clear away the clam chowder like an automaton, and bring me more iced water like an automaton or like nothing on earth except an American waiter (for piling up ice is the cold passion of their lives), and all this after having uttered something so dark and deep, so starkly incongruous and so startlingly true, was an indescribable thing, but very like the picture of the peasant admiring Broadway. So he passed, with his artificial clothes and manners, lit up with all the ghastly artificial light of the hotel, and all the ghastly artificial life of the city; and his heart was like his own remote and rocky valley, where those unchanging words were carved as on a rock.

I do not profess to discuss here at all adequately the question this raises about the Americanisation of the Bulgar. It has many aspects, of some of which most Englishmen and even some Americans are rather unconscious. For one thing, a man with so rugged a loyalty to land could not be Americanised in New York; but it is not so certain that he could not be Americanised in America. We might almost say that a peasantry is hidden in the heart of America. So far as our impressions go, it is a secret. It is rather an open secret; covering only some thousand square miles of open prairie. But for most of our countrymen it is something invisible, unimagined, and unvisited; the simple truth that where all those acres are there is agriculture, and where all that agriculture is there is considerable tendency towards distributive or decently equalised property, as in a peasantry. On the other hand, there are those who say that the Bulgar will never be Americanised, that he only comes to be a waiter in America that he may afford to return to be a peasant in Bulgaria. I cannot decide this issue, and indeed I did not introduce it to this end. I was led to it by a certain line of reflection that runs along the Great White Way, and I will continue to follow it. The criticism, if we could put it rightly, not only covers more than New York but more than the whole New World. Any argument against it is quite as valid against the largest and richest cities of the Old World, against London or Liverpool or Frankfort or Belfast. But it is in New York that we see the argument most clearly, because we see the thing thus towering into its own turrets and breaking into its own fireworks.

I disagree with the aesthetic condemnation of the modern city with its sky-scrapers and sky-signs. I mean that which laments the loss of beauty and its sacrifice to utility. It seems to me the very reverse of the truth. Years ago, when people used to say the Salvation Army doubtless had good intentions, but we must all deplore its methods, I pointed out that the very contrary is the case. Its method, the method of drums and democratic appeal, is that of the Franciscans or any other march of the Church Militant. It was precisely its aims that were dubious, with their dissenting morality and despotic finance. It is somewhat the same with things like the sky-signs in Broadway. The aesthete must not ask me to mingle my tears with his, because these things are merely useful and ugly. For I am not specially inclined to think them ugly; but I am strongly inclined to think them useless. As a matter of art for art's sake, they seem to me rather artistic. As a form of practical social work they seem to me stark stupid waste. If Mr. Bilge is rich enough to build a tower four hundred feet high and give it a crown of golden crescents and crimson stars, in order to draw attention to his manufacture of the Paradise Tooth Paste or The Seventh Heaven Cigar, I do not feel the least disposition to thank him for any serious form of social service. I have never tried the Seventh Heaven Cigar; indeed a premonition moves me towards the belief that I shall go down to the dust without trying it. I have every reason to doubt whether it does any particular good to those who smoke it, or any good to anybody except those who sell it. In short Mr. Bilge's usefulness consists in being useful to Mr. Bilge, and all the rest is illusion and sentimentalism. But because I know that Bilge is only Bilge, shall I stoop to the profanity of saying that fire is only fire? Shall I blaspheme crimson stars any more than crimson sunsets, or deny that those moons are golden any more than that this grass is green? If a child saw these coloured lights, he would dance with as much delight as at any