Page:Chesterton - Alarms and Discursions (Methuen, 1910).djvu/185

 she was only one of the million tricks of perspective. She stood up in a small wheeled cart drawn by a donkey; the donkey's ears were just set behind her head, and the whole was black against the light.

Perspective is really the comic element in everything. It has a pompous Latin name, but it is incurably Gothic and grotesque. One simple proof of this is that it is always left out of all dignified and decorative art. There is no perspective in the Elgin Marbles, and even the essentially angular angels in mediaeval stained glass almost always (as it says in "Patience") contrive to look both angular and flat. There is something intrinsically disproportionate and outrageous in the idea of the distant objects dwindling and growing dwarfish, the closer objects swelling enormous and intolerable. There is something frantic in the notion that one's own father by walking a little way can be changed by a blast of magic to a pigmy. There is something farcical in the fancy that Nature keeps one's uncle in an infinite number of sizes, according to where he is to stand. All soldiers in retreat turn into tin soldiers; all bears in rout into toy bears; as if on the ultimate horizon of the world everything was sardonically doomed to stand up laughable and little against heaven.

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