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heathen in his blindness bows down to wood and stone; especially to a wood-cut or a lithographic stone. Modern people put their trust in pictures, especially scientific pictures, as much as the most superstitious ever put it in religious pictures. They publish a portrait of the Missing Link as if he were the Missing Man, for whom the police are always advertising; for all the world as if the anthropoid had been photographed before he absconded. The scientific diagram may be a hypothesis; it may be a fancy; it may be a forgery. But it is always an idol in the true sense of an image; and an image in the true sense of a thing mastering the imagination and not the reason. The power of these talismanic pictures is almost hypnotic to modern humanity. We can never forget that we have seen a portrait of the Missing Link; though we should instantly detect the lapse of logic into superstition, if we were told that the old Greek agnostics had made a statue of the Unknown God. But there is a still stranger fashion in which we fall victims to the same trick of fancy. We accept in a blind and literal spirit, not only images of speculation, but even figures of speech. The nineteenth century prided itself on having lost its faith in myths, and proceeded to put all its faith in metaphors. It dismissed the old doctrines about the way of life and the light of the world; and then it