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He may be pardoned for resenting the attitude of English exiles, who, driven from their own country by the harshness of the climate, or the cruel cost of living, never cease to deplore the unaccountable foreignness of foreigners. "Our social tariff amounts to prohibition," said a witty Englishman in France. "Exchange of ideas takes place only at the extreme point of necessity."
"If report be true," says the same friend, "his mother was of French origin, and in early life an actress." The foreignness as an asset overcame his objection to the French, and "an actress" also sounded unconventional. The friend continues: "But the subject of his family was one on which Borrow never touched.
But there is no doubt that the chief pleasure of their life in New York was from its quality of foreignness: the flavor of olives, which, once tasted, can never be forgotten. The olives may not be of the first excellence; they may be a little stale, and small and poor, to begin with, but they are still olives, and the fond palate craves them.
His face expressed intelligence and was very much alive; it had the further distinction that it often struck superficial observers with a certain foreignness of cast. The deeper sort, however, usually felt it latently English enough.
The crow, however, is, comparatively speaking, a human being; the kite is something alien and a cause of fear, and the traveller in India never loses him. His eye is as coldly attentive to Calcutta as to Bombay. It is, of course, the indigenous birds of a country that emphasise its foreignness far more than its people. People can travel.
Was it this mere foreignness, this likeness in difference, that made it strike so sharply, with such a pleasant pungency on Elizabeth's senses? Or was it something else some perception of an opening future, not only for Canada but for herself, mingling with the broad light, the keen air, the lovely strangeness of the scene?
These conventions ensure an effect of more or less devotional character, and this, coupled with our reverence for the name of Raffaelle, the sentiments arising from antiquity and foreignness, and the inability of most people to judge of the work on technical grounds, because they can neither paint nor draw, prevents us from seeing what a mere business picture it is and how poor the painting is throughout.
In one sense this is a far-fetched and rather childish objection, for so much of the history of the finite is as formidably foreign to us as the static absolute can possibly be in fact that entity derives its own foreignness largely from the bad character of the finite which it simultaneously is that this sentimental reason for preferring the pluralistic view seems small.
The intimacy and the foreignness cannot be written down as simply coexisting. An order must be made; and in that order the higher side of things must dominate. The philosophy of the absolute agrees with the pluralistic philosophy which I am going to contrast with it in these lectures, in that both identify human substance with the divine substance.
This satisfaction the absolute denies us; we can neither help nor hinder it, for it stands outside of history. It surely is a merit in a philosophy to make the very life we lead seem real and earnest. Pluralism, in exorcising the absolute, exorcises the great de-realizer of the only life we are at home in, and thus redeems the nature of reality from essential foreignness.
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