Artist Alan Bean, The Fantastic Imagination

Volume XIV, Issue XXIII


In the video: Astronaut Alan Bean, Moonwalker, Skylab Commander, Artist at the bottom of today's THYME, we learn how an astronaut's incredible observations led to a wonderful exploration in art!

Incredible Journey of Apollo 12



From the Earth to the Moon
By Jules Verne

CHAPTER XX, ATTACK AND RIPOSTE

As soon as the excitement had subsided, the following words were heard uttered in a strong and determined voice:

Now that the speaker has favored us with so much imagination, would he be so good as to return to his subject, and give us a little practical view of the question?"

All eyes were directed toward the person who spoke. He was a little dried-up man, of an active figure, with an American "goatee" beard. Profiting by the different movements in the crowd, he had managed by degrees to gain the front row of spectators. There, with arms crossed and stern gaze, he watched the hero of the meeting. After having put his question he remained silent, and appeared to take no notice of the thousands of looks directed toward himself, nor of the murmur of disapprobation excited by his words. Meeting at first with no reply, he repeated his question with marked emphasis, adding, "We are here to talk about the moon and not about the earth."

You are right, sir," replied Michel Ardan; "the discussion has become irregular. We will return to the moon."

Sir," said the unknown, "you pretend that our satellite is inhabited. Very good, but if Selenites do exist, that race of beings assuredly must live without breathing, for-- I warn you for your own sake-- there is not the smallest particle of air on the surface of the moon."

At this remark Ardan pushed up his shock of red hair; he saw that he was on the point of being involved in a struggle with this person upon the very gist of the whole question. He looked sternly at him in his turn and said:

Oh! so there is no air in the moon? And pray, if you are so good, who ventures to affirm that?

The men of science."

Really?"

Really."

Sir," replied Michel, "pleasantry apart, I have a profound respect for men of science who do possess science, but a profound contempt for men of science who do not."

Do you know any who belong to the latter category?"

Decidedly. In France there are some who maintain that, mathematically, a bird cannot possibly fly; and others who demonstrate theoretically that fishes were never made to live in water."

I have nothing to do with persons of that description, and I can quote, in support of my statement, names which you cannot refuse deference to."

Then, sir, you will sadly embarrass a poor ignorant, who, besides, asks nothing better than to learn."

Why, then, do you introduce scientific questions if you have never studied them?" asked the unknown somewhat coarsely.

For the reason that `he is always brave who never suspects danger.' I know nothing, it is true; but it is precisely my very weakness which constitutes my strength."

Your weakness amounts to folly," retorted the unknown in a passion.

All the better," replied our Frenchman, "if it carries me up to the moon."

Barbicane and his colleagues devoured with their eyes the intruder who had so boldly placed himself in antagonism to their enterprise. Nobody knew him, and the president, uneasy as to the result of so free a discussion, watched his new friend with some anxiety. The meeting began to be somewhat fidgety also, for the contest directed their attention to the dangers, if not the actual impossibilities, of the proposed expedition.

Sir," replied Ardan's antagonist, "there are many and incontrovertible reasons which prove the absence of an atmosphere in the moon. I might say that, a priori, if one ever did exist, it must have been absorbed by the earth; but I prefer to bring forward indisputable facts."

Bring them forward then, sir, as many as you please."

You know," said the stranger, "that when any luminous rays cross a medium such as the air, they are deflected out of the straight line; in other words, they undergo refraction. Well! When stars are occulted by the moon, their rays, on grazing the edge of her disc, exhibit not the least deviation, nor offer the slightest indication of refraction.

It follows, therefore, that the moon cannot be surrounded by an atmosphere.

In point of fact," replied Ardan, "this is your chief, if not your only argument; and a really scientific man might be puzzled to answer it. For myself, I will simply say that it is defective, because it assumes that the angular diameter of the moon has been completely determined, which is not the case. But let us proceed. Tell me, my dear sir, do you admit the existence of volcanoes on the moon's surface?"

Extinct, yes! In activity, no!"

These volcanoes, however, were at one time in a state of activity?"

True, but, as they furnish themselves the oxygen necessary for combustion, the mere fact of their eruption does not prove the presence of an atmosphere."

Proceed again, then; and let us set aside this class of arguments in order to come to direct observations. In 1715 the astronomers Louville and Halley, watching the eclipse of the 3rd of May, remarked some very extraordinary scintillations. These jets of light, rapid in nature, and of frequent recurrence, they attributed to thunderstorms generated in the lunar atmosphere."

In 1715," replied the unknown, "the astronomers Louville and Halley mistook for lunar phenomena some which were purely terrestrial, such as meteoric or other bodies which are generated in our own atmosphere. This was the scientific explanation at the time of the facts; and that is my answer now."

On again, then," replied Ardan; "Herschel, in 1787, observed a great number of luminous points on the moon's surface, did he not?"

Yes! but without offering any solution of them. Herschel himself never inferred from them the necessity of a lunar atmosphere. And I may add that Baeer and Maedler, the two great authorities upon the moon, are quite agreed as to the entire absence of air on its surface."

A movement was here manifest among the assemblage, who appeared to be growing excited by the arguments of this singular personage.

Let us proceed," replied Ardan, with perfect coolness, "and come to one important fact. A skillful French astronomer, M. Laussedat, in watching the eclipse of July 18, 1860, probed that the horns of the lunar crescent were rounded and truncated. Now, this appearance could only have been produced by a deviation of the solar rays in traversing the atmosphere of the moon. There is no other possible explanation of the facts."

But is this established as a fact?"

Absolutely certain!"

A counter-movement here took place in favor of the hero of the meeting, whose opponent was now reduced to silence. Ardan resumed the conversation; and without exhibiting any exultation at the advantage he had gained, simply said:

You see, then, my dear sir, we must not pronounce with absolute positiveness against the existence of an atmosphere in the moon. That atmosphere is, probably, of extreme rarity; nevertheless at the present day science generally admits that it exists."

Not in the mountains, at all events," returned the unknown, unwilling to give in.

No! but at the bottom of the valleys, and not exceeding a few hundred feet in height."

In any case you will do well to take every precaution, for the air will be terribly rarified."

My good sir, there will always be enough for a solitary individual; besides, once arrived up there, I shall do my best to economize, and not to breathe except on grand occasions!"

A tremendous roar of laughter rang in the ears of the mysterious interlocutor, who glared fiercely round upon the assembly.

Then," continued Ardan, with a careless air, "since we are in accord regarding the presence of a certain atmosphere, we are forced to admit the presence of a certain quantity of water. This is a happy consequence for me. Moreover, my amiable contradictor, permit me to submit to you one further observation. We only know one side of the moon's disc; and if there is but little air on the face presented to us, it is possible that there is plenty on the one turned away from us."

And for what reason?"

Because the moon, under the action of the earth's attraction, has assumed the form of an egg, which we look at from the smaller end.

Hence it follows, by Hausen's calculations, that its center of gravity is situated in the other hemisphere. Hence it results that the great mass of air and water must have been drawn away to the other face of our satellite during the first days of its creation."

Pure fancies!" cried the unknown.

No! Pure theories! which are based upon the laws of mechanics, and it seems difficult to me to refute them. I appeal then to this meeting, and I put it to them whether life, such as exists upon the earth, is possible on the surface of the moon?"

Three hundred thousand auditors at once applauded the proposition. Ardan's opponent tried to get in another word, but he could not obtain a hearing. Cries and menaces fell upon him like hail.

Enough! enough!" cried some.

Drive the intruder off!" shouted others.

Turn him out!" roared the exasperated crowd.

But he, holding firmly on to the platform, did not budge an inch, and let the storm pass on, which would soon have assumed formidable proportions, if Michel Ardan had not quieted it by a gesture. He was too chivalrous to abandon his opponent in an apparent extremity.

You wished to say a few more words?" he asked, in a pleasant voice.

Yes, a thousand; or rather, no, only one! If you persevere in your enterprise, you must be a----"

Very rash person! How can you treat me as such? me, who have demanded a cylindro-conical projectile, in order to prevent turning round and round on my way like a squirrel?"

But, unhappy man, the dreadful recoil will smash you to pieces at your starting."

My dear contradictor, you have just put your finger upon the true and only difficulty; nevertheless, I have too good an opinion of the industrial genius of the Americans not to believe that they will succeed in overcoming it."

But the heat developed by the rapidity of the projectile in crossing the strata of air?"

Oh! the walls are thick, and I shall soon have crossed the atmosphere."

But victuals and water?"

I have calculated for a twelvemonth's supply, and I shall be only four days on the journey."

But for air to breathe on the road?"

I shall make it by a chemical process."

But your fall on the moon, supposing you ever reach it?"

It will be six times less dangerous than a sudden fall upon the earth, because the weight will be only one-sixth as great on the surface of the moon."

Still it will be enough to smash you like glass!"

What is to prevent my retarding the shock by means of rockets conveniently placed, and lighted at the right moment?"

But after all, supposing all difficulties surmounted, all obstacles removed, supposing everything combined to favor you, and granting that you may arrive safe and sound in the moon, how will you come back?"

I am not coming back!"

At this reply, almost sublime in its very simplicity, the assembly became silent. But its silence was more eloquent than could have been its cries of enthusiasm. The unknown profited by the opportunity and once more protested:

You will inevitably kill yourself!" he cried; "and your death will be that of a madman, useless even to science!"

Go on, my dear unknown, for truly your prophecies are most agreeable!"

It really is too much!" cried Michel Ardan's adversary. "I do not know why I should continue so frivolous a discussion! Please yourself about this insane expedition! We need not trouble ourselves about you!"

Pray don't stand upon ceremony!"

No! another person is responsible for your act."

Who, may I ask?" demanded Michel Ardan in an imperious tone.

The ignoramus who organized this equally absurd and impossible experiment!"

The attack was direct. Barbicane, ever since the interference of the unknown, had been making fearful efforts of self-control; now, however, seeing himself directly attacked, he could restrain himself no longer. He rose suddenly, and was rushing upon the enemy who thus braved him to the face, when all at once he found himself separated from him.

The platform was lifted by a hundred strong arms, and the president of the Gun Club shared with Michel Ardan triumphal honors. The shield was heavy, but the bearers came in continuous relays, disputing, struggling, even fighting among themselves in their eagerness to lend their shoulders to this demonstration.

However, the unknown had not profited by the tumult to quit his post. Besides he could not have done it in the midst of that compact crowd. There he held on in the front row with crossed arms, glaring at President Barbicane.

The shouts of the immense crowd continued at their highest pitch throughout this triumphant march. Michel Ardan took it all with evident pleasure. His face gleamed with delight. Several times the platform seemed seized with pitching and rolling like a weatherbeaten ship. But the two heros of the meeting had good sea-legs. They never stumbled; and their vessel arrived without dues at the port of Tampa Town.

Michel Ardan managed fortunately to escape from the last embraces of his vigorous admirers. He made for the Hotel Franklin, quickly gained his chamber, and slid under the bedclothes, while an army of a hundred thousand men kept watch under his windows.

During this time a scene, short, grave, and decisive, took place between the mysterious personage and the president of the Gun Club.

Barbicane, free at last, had gone straight at his adversary.

Come!" he said shortly.

The other followed him on the quay; and the two presently found themselves alone at the entrance of an open wharf on Jones' Fall.

The two enemies, still mutually unknown, gazed at each other.

Who are you?" asked Barbicane.

Captain Nicholl!"

So I suspected. Hitherto chance has never thrown you in my way."

I am come for that purpose."

You have insulted me."

Publicly!"

And you will answer to me for this insult?"

At this very moment."

No! I desire that all that passes between us shall be secret. Their is a wood situated three miles from Tampa, the wood of Skersnaw. Do you know it?"

I know it."

Will you be so good as to enter it to-morrow morning at five o'clock, on one side?"

Yes! if you will enter at the other side at the same hour."

And you will not forget your rifle?" said Barbicane.

No more than you will forget yours?" replied Nicholl.

These words having been coldly spoken, the president of the Gun Club and the captain parted. Barbicane returned to his lodging; but instead of snatching a few hours of repose, he passed the night in endeavoring to discover a means of evading the recoil of the projectile, and resolving the difficult problem proposed by Michel Ardan during the discussion at the meeting.

CHAPTER XXI, HOW A FRENCHMAN MANAGES AN AFFAIR

While the contract of this duel was being discussed by the president and the captain-- this dreadful, savage duel, in which each adversary became a man-hunter-- Michel Ardan was resting from the fatigues of his triumph. Resting is hardly an appropriate expression, for American beds rival marble or granite tables for hardness.

Ardan was sleeping, then, badly enough, tossing about between the cloths which served him for sheets, and he was dreaming of making a more comfortable couch in his projectile when a frightful noise disturbed his dreams. Thundering blows shook his door. They seemed to be caused by some iron instrument. A great deal of loud talking was distinguishable in this racket, which was rather too early in the morning. "Open the door," some one shrieked, "for heaven's sake!" Ardan saw no reason for complying with a demand so roughly expressed. However, he got up and opened the door just as it was giving way before the blows of this determined visitor. The secretary of the Gun Club burst into the room. A bomb could not have made more noise or have entered the room with less ceremony.

Last night," cried J. T. Maston, ex abrupto, "our president was publicly insulted during the meeting. He provoked his adversary, who is none other than Captain Nicholl! They are fighting this morning in the wood of Skersnaw. I heard all the particulars from the mouth of Barbicane himself. If he is killed, then our scheme is at an end. We must prevent his duel; and one man alone has enough influence over Barbicane to stop him, and that man is Michel Ardan."

While J. T. Maston was speaking, Michel Ardan, without interrupting him, had hastily put on his clothes; and, in less than two minutes, the two friends were making for the suburbs of Tampa Town with rapid strides.

It was during this walk that Maston told Ardan the state of the case. He told him the real causes of the hostility between Barbicane and Nicholl; how it was of old date, and why, thanks to unknown friends, the president and the captain had, as yet, never met face to face. He added that it arose simply from a rivalry between iron plates and shot, and, finally, that the scene at the meeting was only the long-wished-for opportunity for Nicholl to pay off an old grudge.

Nothing is more dreadful than private duels in America. The two adversaries attack each other like wild beasts. Then it is that they might well covet those wonderful properties of the Indians of the prairies-- their quick intelligence, their ingenious cunning, their scent of the enemy. A single mistake, a moment's hesitation, a single false step may cause death. On these occasions Yankees are often accompanied by their dogs, and keep up the struggle for hours.

What demons you are!" cried Michel Ardan, when his companion had depicted this scene to him with much energy.

Yes, we are," replied J. T. modestly; "but we had better make haste."

Though Michel Ardan and he had crossed the plains still wet with dew, and had taken the shortest route over creeks and ricefields, they could not reach Skersnaw in under five hours and a half.

Barbicane must have passed the border half an hour ago.

There was an old bushman working there, occupied in selling fagots from trees that had been leveled by his axe.

Maston ran toward him, saying, "Have you seen a man go into the wood, armed with a rifle? Barbicane, the president, my best friend?"

The worthy secretary of the Gun Club thought that his president must be known by all the world. But the bushman did not seem to understand him.

A hunter?" said Ardan.

A hunter? Yes," replied the bushman.

Long ago?"

About an hour."

Too late!" cried Maston.

Have you heard any gunshots?" asked Ardan.

No!"

Not one?"

Not one! that hunter did not look as if he knew how to hunt!"

What is to be done?" said Maston.

We must go into the wood, at the risk of getting a ball which is not intended for us."

Ah!" cried Maston, in a tone which could not be mistaken, "I would rather have twenty balls in my own head than one in Barbicane's."

Forward, then," said Ardan, pressing his companion's hand.

A few moments later the two friends had disappeared in the copse. It was a dense thicket, in which rose huge cypresses, sycamores, tulip-trees, olives, tamarinds, oaks, and magnolias. These different trees had interwoven their branches into an inextricable maze, through which the eye could not penetrate. Michel Ardan and Maston walked side by side in silence through the tall grass, cutting themselves a path through the strong creepers, casting curious glances on the bushes, and momentarily expecting to hear the sound of rifles. As for the traces which Barbicane ought to have left of his passage through the wood, there was not a vestige of them visible: so they followed the barely perceptible paths along which Indians had tracked some enemy, and which the dense foliage darkly overshadowed.

After an hour spent in vain pursuit the two stopped in intensified anxiety.

It must be all over," said Maston, discouraged. "A man like Barbicane would not dodge with his enemy, or ensnare him, would not even maneuver! He is too open, too brave. He has gone straight ahead, right into the danger, and doubtless far enough from the bushman for the wind to prevent his hearing the report of the rifles."

But surely," replied Michel Ardan, "since we entered the wood we should have heard!"

And what if we came too late?" cried Maston in tones of despair.

For once Ardan had no reply to make, he and Maston resuming their walk in silence.

From time to time, indeed, they raised great shouts, calling alternately Barbicane and Nicholl, neither of whom, however, answered their cries. Only the birds, awakened by the sound, flew past them and disappeared among the branches, while some frightened deer fled precipitately before them.

For another hour their search was continued. The greater part of the wood had been explored. There was nothing to reveal the presence of the combatants. The information of the bushman was after all doubtful, and Ardan was about to propose their abandoning this useless pursuit, when all at once Maston stopped.

Hush!" said he, "there is some one down there!"

Some one?" repeated Michel Ardan.

Yes; a man! He seems motionless. His rifle is not in his hands. What can he be doing?"

But can you recognize him?" asked Ardan, whose short sight was of little use to him in such circumstances.

Yes! yes! He is turning toward us," answered Maston.

And it is?"

Captain Nicholl!"

Nicholl?" cried Michel Ardan, feeling a terrible pang of grief.

Nicholl unarmed! He has, then, no longer any fear of his adversary!"

Let us go to him," said Michel Ardan, "and find out the truth."

But he and his companion had barely taken fifty steps, when they paused to examine the captain more attentively. They expected to find a bloodthirsty man, happy in his revenge.

On seeing him, they remained stupefied.

A net, composed of very fine meshes, hung between two enormous tulip-trees, and in the midst of this snare, with its wings entangled, was a poor little bird, uttering pitiful cries, while it vainly struggled to escape. The bird-catcher who had laid this snare was no human being, but a venomous spider, peculiar to that country, as large as a pigeon's egg, and armed with enormous claws. The hideous creature, instead of rushing on its prey, had beaten a sudden retreat and taken refuge in the upper branches of the tulip-tree, for a formidable enemy menaced its stronghold.

Here, then, was Nicholl, his gun on the ground, forgetful of danger, trying if possible to save the victim from its cobweb prison. At last it was accomplished, and the little bird flew joyfully away and disappeared.

Nicholl lovingly watched its flight, when he heard these words pronounced by a voice full of emotion:

You are indeed a brave man."

He turned. Michel Ardan was before him, repeating in a different tone:

And a kindhearted one!"

Michel Ardan!" cried the captain. "Why are you here?"

To press your hand, Nicholl, and to prevent you from either killing Barbicane or being killed by him."

Barbicane!" returned the captain. "I have been looking for him for the last two hours in vain. Where is he hiding?"

Nicholl!" said Michel Ardan, "this is not courteous! we ought always to treat an adversary with respect; rest assureed if Barbicane is still alive we shall find him all the more easily; because if he has not, like you, been amusing himself with freeing oppressed birds, he must be looking for you. When we have found him, Michel Ardan tells you this, there will be no duel between you."

Between President Barbicane and myself," gravely replied Nicholl, "there is a rivalry which the death of one of us----"

Pooh, pooh!" said Ardan. "Brave fellows like you indeed! you shall not fight!"

I will fight, sir!"

No!"

Captain," said J. T. Maston, with much feeling, "I am a friend of the president's, his alter ego, his second self; if you really must kill some one, shoot me! it will do just as well!"

Sir," Nicholl replied, seizing his rifle convulsively, "these jokes----"

Our friend Maston is not joking," replied Ardan. "I fully understand his idea of being killed himself in order to save his friend. But neither he nor Barbicane will fall before the balls of Captain Nicholl. Indeed I have so attractive a proposal to make to the two rivals, that both will be eager to accept it."

What is it?" asked Nicholl with manifest incredulity.

Patience!" exclaimed Ardan.

I can only reveal it in the presence of Barbicane."

Let us go in search of him then!" cried the captain.

The three men started off at once; the captain having discharged his rifle threw it over his shoulder, and advanced in silence. Another half hour passed, and the pursuit was still fruitless. Maston was oppressed by sinister forebodings. He looked fiercely at Nicholl, asking himself whether the captain's vengeance had already been satisfied, and the unfortunate Barbicane, shot, was perhaps lying dead on some bloody track. The same thought seemed to occur to Ardan; and both were casting inquiring glances on Nicholl, when suddenly Maston paused.

The motionless figure of a man leaning against a gigantic catalpa twenty feet off appeared, half-veiled by the foliage.

It is he!" said Maston.

Barbicane never moved. Ardan looked at the captain, but he did not wince. Ardan went forward crying:

Barbicane! Barbicane!"

No answer! Ardan rushed toward his friend; but in the act of seizing his arms, he stopped short and uttered a cry of surprise.

Barbicane, pencil in hand, was tracing geometrical figures in a memorandum book, while his unloaded rifle lay beside him on the ground.

Absorbed in his studies, Barbicane, in his turn forgetful of the duel, had seen and heard nothing.

When Ardan took his hand, he looked up and stared at his visitor in astonishment.

Ah, it is you!" he cried at last. "I have found it, my friend, I have found it!"

What?"

My plan!"

What plan?"

The plan for countering the effect of the shock at the departure of the projectile!"

Indeed?" said Michel Ardan, looking at the captain out of the corner of his eye.

Yes! water! simply water, which will act as a spring-- ah! Maston," cried Barbicane, "you here also?"

Himself," replied Ardan; "and permit me to introduce to you at the same time the worthy Captain Nicholl!"

Nicholl!" cried Barbicane, who jumped up at once. "Pardon me, captain, I had quite forgotten-- I am ready!"

Michel Ardan interfered, without giving the two enemies time to say anything more.

Thank heaven!" said he. "It is a happy thing that brave men like you two did not meet sooner! we should now have been mourning for one or other of you. But, thanks to Providence, which has interfered, there is now no further cause for alarm. When one forgets one's anger in mechanics or in cobwebs, it is a sign that the anger is not dangerous."

Michel Ardan then told the president how the captain had been found occupied.

I put it to you now," said he in conclusion, "are two such good fellows as you are made on purpose to smash each other's skulls with shot?"

There was in "the situation" somewhat of the ridiculous, something quite unexpected; Michel Ardan saw this, and determined to effect a reconciliation.

My good friends," said he, with his most bewitching smile, "this is nothing but a misunderstanding. Nothing more! well! to prove that it is all over between you, accept frankly the proposal I am going to make to you."

Make it," said Nicholl.

Our friend Barbicane believes that his projectile will go straight to the moon?" "Yes, certainly," replied the president.

And our friend Nicholl is persuaded it will fall back upon the earth?"

I am certain of it," cried the captain.

Good!" said Ardan. "I cannot pretend to make you agree; but I suggest this: Go with me, and so see whether we are stopped on our journey."

What?" exclaimed J. T. Maston, stupefied.

The two rivals, on this sudden proposal, looked steadily at each other. Barbicane waited for the captain's answer. Nicholl watched for the decision of the president.

Well?" said Michel. "There is now no fear of the shock!"

Done!" cried Barbicane.

But quickly as he pronounced the word, he was not before Nicholl.

Hurrah! bravo! hip! hip! hurrah!" cried Michel, giving a hand to each of the late adversaries. "Now that it is all settled, my friends, allow me to treat you after French fashion. Let us be off to breakfast!"
(to be continued)


Afternoon on 'Addison's Walk.' Photo by Bob Kirchman.

Seeing Things in 'Living Color'

I need a mathematician that can look beyond the numbers, a math that doesn't yet exist..."
-- Al Harrison in Hidden Figures

My colleague and I just were part of a very interesting discussion of 'lucid dreaming.' It seems there was a study some years ago where participants 'taught' themselves to dream lucidly using sound waves called binural beats. Supposedly the medical students who were the subjects of this study achieved higher grades because they were 'practicing surgeries/outcomes in their sleep.' While this would be hard to substantiate, it does open the fascinating discussion on the place of the human imagination in achieving outcomes.

In my youth, there was an idea floating around that 'sleep learning' would be the wave of the future as lessons would be fed to students as they slumbered. Nothing much ever came out of this.

But the training and use of vivid imagination, however, may indeed be the 'wave of the future.' To find it, however, may require a journey to the past. I recently watched the movie: Hidden Figures, and was fascinated as mathematician Katherine Johnson and her colleagues at NASA are stymied by the problem of calculating a transition from elliptical orbit to a parabolic descent. No modern mathematics would adequately calculate it. Katherine was a mathematical savant however and she dug deep into some antiquated equations to find the answer. She was a mathematician with imagination!

Industrialist R. G. LeTourneau once hit a roadblock, along with his team of engineers as they tried to design a machine to lift airplanes. He left the workgroup one Wednesday evening to go to a prayer meeting. His colleagues protested, reminding him that they had a deadline to meet. Walking home from the prayer meeting, LeTourneau says that he 'saw' the needed design in his mind!

And so we arrive at the wonderful consideration of the place of vivid imagination as an instructor. C. S. Lewis found inspiration in the world of wonder opened to him by a rather lucid observation of nature and the works of Scottish fantasy writer: George MacDonald. Although MacDonald has fallen from favor with some scholars, there is renewed interest in his work, much of which is now in the public domain and so can be here presented. (h/t Kristina Elaine Greer)
(to be continued)


Photo by Bob Kirchman


C. S. Lewis was influenced by the work of George MacDonald.

The Fantastic Imagination
Excerpt from A Dish of Orts (scraps)
By George MacDonald

That we have in English no word corresponding to the German Mährchen, drives us to use the word Fairytale, regardless of the fact that the tale may have nothing to do with any sort of fairy. The old use of the word Fairy, by Spenser at least, might, however, well be adduced, were justification or excuse necessary where need must.

Were I asked, what is a fairytale? I should reply, Read Undine: that is a fairytale; then read this and that as well, and you will see what is a fairytale. Were I further begged to describe the fairytale, or define what it is, I would make answer, that I should as soon think of describing the abstract human face, or stating what must go to constitute a human being. A fairytale is just a fairytale, as a face is just a face; and of all fairytales I know, I think Undine the most beautiful.

Many a man, however, who would not attempt to define a man, might venture to say something as to what a man ought to be: even so much I will not in this place venture with regard to the fairytale, for my long past work in that kind might but poorly instance or illustrate my now more matured judgment. I will but say some things helpful to the reading, in right-minded fashion, of such fairytales as I would wish to write, or care to read.

Some thinkers would feel sorely hampered if at liberty to use no forms but such as existed in nature, or to invent nothing save in accordance with the laws of the world of the senses; but it must not therefore be imagined that they desire escape from the region of law. Nothing lawless can show the least reason why it should exist, or could at best have more than an appearance of life.

The natural world has its laws, and no man must interfere with them in the way of presentment any more than in the way of use; but they themselves may suggest laws of other kinds, and man may, if he pleases, invent a little world of his own, with its own laws; for there is that in him which delights in calling up new forms--which is the nearest, perhaps, he can come to creation. When such forms are new embodiments of old truths, we call them products of the Imagination; when they are mere inventions, however lovely, I should call them the work of the Fancy: in either case, Law has been diligently at work.

His world once invented, the highest law that comes next into play is, that there shall be harmony between the laws by which the new world has begun to exist; and in the process of his creation, the inventor must hold by those laws. The moment he forgets one of them, he makes the story, by its own postulates, incredible. To be able to live a moment in an imagined world, we must see the laws of its existence obeyed. Those broken, we fall out of it. The imagination in us, whose exercise is essential to the most temporary submission to the imagination of another, immediately, with the disappearance, of Law, ceases to act. Suppose the gracious creatures of some childlike region of Fairyland talking either cockney or Gascon! Would not the tale, however lovelily begun, sink at once to the level of the Burlesque--of all forms of literature the least worthy? A man's inventions may be stupid or clever, but if he do not hold by the laws of them, or if he make one law jar with another, he contradicts himself as an inventor, he is no artist. He does not rightly consort his instruments, or he tunes them in different keys. The mind of man is the product of live Law; it thinks by law, it dwells in the midst of law, it gathers from law its growth; with law, therefore, can it alone work to any result. Inharmonious, unconsorting ideas will come to a man, but if he try to use one of such, his work will grow dull, and he will drop it from mere lack of interest. Law is the soil in which alone beauty will grow; beauty is the only stuff in which Truth can be clothed; and you may, if you will, call Imagination the tailor that cuts her garments to fit her, and Fancy his journeyman that puts the pieces of them together, or perhaps at most embroiders their button-holes. Obeying law, the maker works like his creator; not obeying law, he is such a fool as heaps a pile of stones and calls it a church.

In the moral world it is different: there a man may clothe in new forms, and for this employ his imagination freely, but he must invent nothing. He may not, for any purpose, turn its laws upside down. He must not meddle with the relations of live souls. The laws of the spirit of man must hold, alike in this world and in any world he may invent. It were no offence to suppose a world in which everything repelled instead of attracted the things around it; it would be wicked to write a tale representing a man it called good as always doing bad things, or a man it called bad as always doing good things: the notion itself is absolutely lawless. In physical things a man may invent; in moral things he must obey--and take their laws with him into his invented world as well.

You write as if a fairytale were a thing of importance: must it have a meaning?"

It cannot help having some meaning; if it have proportion and harmony it has vitality, and vitality is truth. The beauty may be plainer in it than the truth, but without the truth the beauty could not be, and the fairytale would give no delight. Everyone, however, who feels the story, will read its meaning after his own nature and development: one man will read one meaning in it, another will read another.

If so, how am I to assure myself that I am not reading my own meaning into it, but yours out of it?"

Why should you be so assured? It may be better that you should read your meaning into it. That may be a higher operation of your intellect than the mere reading of mine out of it: your meaning may be superior to mine.

Suppose my child ask me what the fairytale means, what am I to say?"


Illustration by Kristina Elaine Greer.

If you do not know what it means, what is easier than to say so? If you do see a meaning in it, there it is for you to give him. A genuine work of art must mean many things; the truer its art, the more things it will mean. If my drawing, on the other hand, is so far from being a work of art that it needs THIS IS A HORSE written under it, what can it matter that neither you nor your child should know what it means? It is there not so much to convey a meaning as to wake a meaning. If it do not even wake an interest, throw it aside. A meaning may be there, but it is not for you. If, again, you do not know a horse when you see it, the name written under it will not serve you much. At all events, the business of the painter is not to teach zoology.

But indeed your children are not likely to trouble you about the meaning. They find what they are capable of finding, and more would be too much. For my part, I do not write for children, but for the childlike, whether of five, or fifty, or seventy-five.

A fairytale is not an allegory. There may be allegory in it, but it is not an allegory. He must be an artist indeed who can, in any mode, produce a strict allegory that is not a weariness to the spirit. An allegory must be Mastery or Moorditch.

A fairytale, like a butterfly or a bee, helps itself on all sides, sips at every wholesome flower, and spoils not one. The true fairytale is, to my mind, very like the sonata. We all know that a sonata means something; and where there is the faculty of talking with suitable vagueness, and choosing metaphor sufficiently loose, mind may approach mind, in the interpretation of a sonata, with the result of a more or less contenting consciousness of sympathy. But if two or three men sat down to write each what the sonata meant to him, what approximation to definite idea would be the result? Little enough--and that little more than needful. We should find it had roused related, if not identical, feelings, but probably not one common thought. Has the sonata therefore failed? Had it undertaken to convey, or ought it to be expected to impart anything defined, anything notionally recognizable?

But words are not music; words at least are meant and fitted to carry a precise meaning!"

It is very seldom indeed that they carry the exact meaning of any user of them! And if they can be so used as to convey definite meaning, it does not follow that they ought never to carry anything else. Words are live things that may be variously employed to various ends. They can convey a scientific fact, or throw a shadow of her child's dream on the heart of a mother. They are things to put together like the pieces of a dissected map, or to arrange like the notes on a stave. Is the music in them to go for nothing? It can hardly help the definiteness of a meaning: is it therefore to be disregarded? They have length, and breadth, and outline: have they nothing to do with depth? Have they only to describe, never to impress? Has nothing any claim to their use but the definite? The cause of a child's tears may be altogether undefinable: has the mother therefore no antidote for his vague misery? That may be strong in colour which has no evident outline. A fairytale, a sonata, a gathering storm, a limitless night, seizes you and sweeps you away: do you begin at once to wrestle with it and ask whence its power over you, whither it is carrying you? The law of each is in the mind of its composer; that law makes one man feel this way, another man feel that way. To one the sonata is a world of odour and beauty, to another of soothing only and sweetness. To one, the cloudy rendezvous is a wild dance, with a terror at its heart; to another, a majestic march of heavenly hosts, with Truth in their centre pointing their course, but as yet restraining her voice. The greatest forces lie in the region of the uncomprehended.

I will go farther.--The best thing you can do for your fellow, next to rousing his conscience, is--not to give him things to think about, but to wake things up that are in him; or say, to make him think things for himself. The best Nature does for us is to work in us such moods in which thoughts of high import arise. Does any aspect of Nature wake but one thought? Does she ever suggest only one definite thing? Does she make any two men in the same place at the same moment think the same thing? Is she therefore a failure, because she is not definite? Is it nothing that she rouses the something deeper than the understanding--the power that underlies thoughts? Does she not set feeling, and so thinking at work? Would it be better that she did this after one fashion and not after many fashions? Nature is mood-engendering, thought-provoking: such ought the sonata, such ought the fairytale to be.

But a man may then imagine in your work what he pleases, what you never meant!"

Not what he pleases, but what he can. If he be not a true man, he will draw evil out of the best; we need not mind how he treats any work of art! If he be a true man, he will imagine true things; what matter whether I meant them or not? They are there none the less that I cannot claim putting them there! One difference between God's work and man's is, that, while God's work cannot mean more than he meant, man's must mean more than he meant. For in everything that God has made, there is layer upon layer of ascending significance; also he expresses the same thought in higher and higher kinds of that thought: it is God's things, his embodied thoughts, which alone a man has to use, modified and adapted to his own purposes, for the expression of his thoughts; therefore he cannot help his words and figures falling into such combinations in the mind of another as he had himself not foreseen, so many are the thoughts allied to every other thought, so many are the relations involved in every figure, so many the facts hinted in every symbol. A man may well himself discover truth in what he wrote; for he was dealing all the time with things that came from thoughts beyond his own.

But surely you would explain your idea to one who asked you?"

I say again, if I cannot draw a horse, I will not write THIS IS A HORSE under what I foolishly meant for one. Any key to a work of imagination would be nearly, if not quite, as absurd. The tale is there, not to hide, but to show: if it show nothing at your window, do not open your door to it; leave it out in the cold. To ask me to explain, is to say, "Roses! Boil them, or we won't have them!" My tales may not be roses, but I will not boil them.

So long as I think my dog can bark, I will not sit up to bark for him.

If a writer's aim be logical conviction, he must spare no logical pains, not merely to be understood, but to escape being misunderstood; where his object is to move by suggestion, to cause to imagine, then let him assail the soul of his reader as the wind assails an aeolian harp. If there be music in my reader, I would gladly wake it. Let fairytale of mine go for a firefly that now flashes, now is dark, but may flash again. Caught in a hand which does not love its kind, it will turn to an insignificant, ugly thing, that can neither flash nor fly.

The best way with music, I imagine, is not to bring the forces of our intellect to bear upon it, but to be still and let it work on that part of us for whose sake it exists. We spoil countless precious things by intellectual greed. He who will be a man, and will not be a child, must--he cannot help himself--become a little man, that is, a dwarf. He will, however, need no consolation, for he is sure to think himself a very large creature indeed.

If any strain of my "broken music" make a child's eyes flash, or his mother's grow for a moment dim, my labour will not have been in vain.

The paper on The Fantastic Imagination had its origin in the repeated request of readers for an explanation of things in certain shorter stories I had written. It forms the preface to an American edition of my so-called Fairy Tales. -- George MacDonald


'Wood Between the Worlds.' Photo by Bob Kirchman.

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