Archibald Malmaison

When I was a child, I used to hope my fairy-stories were true. Since reaching years of discretion, I have preferred acknowledged fiction. This inconsistency, however, is probably rather apparent than real. Experience has taught me that the greater the fairy-story the less the truth; and contrariwise, that the greater the truth the less the fairy-story. In other words, the artistic graces of romance are irreconcilable with the crude straightforwardness of fact. The idealism of childhood, believing that all that is most beautiful must on that very account be most true, clamors accordingly for truth. The knowledge of maturity, which has discovered that nothing that is true (in the sense of being existent) can be beautiful, deprecates truth beyond everything. What happens, we find, is never what ought to happen; nor does it happen in the right way or season. In palliation of this hardship, the sublime irony of fate grants us our imagination, wherewith we create little pet worlds of poetry and romance, in which everything is arranged in neat harmonies and surprises, to gratify the scope of our little vision. The actual world, the real universe, may, indeed, be picturesque and perfect beyond the grandest of our imaginative miniatures; but since the former can be revealed to us only in comparatively infinitesimal portions, the miniatures still have the best of it.