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Herbert Spencer's objection to swearing, of which so much has been made by moralists, was not an objection to its sinfulness but an objection to its charm. In brief, he feared comfort, satisfaction, joy. The boarding houses in which he dragged out his gray years were as bare and cheerless as so many piano boxes. He avoided all the little vices and dissipations which make human existence bearable: good eating, good drinking, dancing, tobacco, poker, poetry, the theatre, personal adornment, philandering, adultery. He was insanely suspicious of everything that threatened to interfere with his work. Even when that work halted him by the sheer agony of its monotony, and it became necessary for him to find recreation, he sought out some recreation that was as unattractive as possible, in the hope that it would quickly drive him back to work again. Having to choose between methods of locomotion on his holidays, he chose going afoot, the most laborious and least satisfying available. Brought to bay by his human need for a woman, he directed his fancy toward George Eliot, probably the most unappetizing woman of his race and time. Drawn irresistibly to music, he avoided the Fifth Symphony and "Tristan und Isolde," and joined a crowd of old maids singing part songs around a cottage piano. John Tyndall saw clearly the effect