Whatever, keeping its proportion and form, is designed upon a scale much greater or much less than that of our general experience, produces upon the mind an effect of phantasy.I suppose it appeals to me because my own fiction is, or seems to be (since, believe me, I'm as surprised about this as you* are), so obsessed with shifts in scale of precisely this sort: from human beings to giants; from giant to microbe-sized beings; models, Big Dumb Objects, detailed sketches and plans of other SF fiction, and the like.
A little perfect model of an engine or a ship does not only amuse or surprise; it rather casts over the imagination something of that veil through which the world is transfigured, and which I have called "the wing of Dalua"; the medium of appreciations beyond experience; the medium of vision, of original passion and of dreams. The principal spell of childhood returns as we bend over the astonishing details. We are giants--or there is no secure standard left in our intelligence.
So it is with the common thing built much larger than the million examples upon which we had based our petty security. It has been always in the nature of worship that heroes, or the gods made manifest, should be men, but larger than men. Not tall men or men grander, but men transcendent: men only in their form; in their dimension so much superior as to be lifted out of our world. An arch as old as Rome but not yet ruined, found on the sands of Africa, arrests the traveller in this fashion. In his modern cities he has seen greater things; but here in Africa, where men build so squat and punily, cowering under the heat upon the parched ground, so noble and so considerable a span, carved as men can carve under sober and temperate skies, catches the mind and clothes it with a sense of the strange. And of these emotions the strongest, perhaps, is that which most of those who travel to-day go seeking; the enchantment of mountains; the air by which we know them for something utterly different from high hills. Accustomed to the contour of downs and tors, or to the valleys and long slopes that introduce a range, we come to some wider horizon and see, far off, a further line of hills. To hills all the mind is attuned: a moderate ecstasy. The clouds are above the hills, lying level in the empty sky; men and their ploughs have visited, it seems, all the land about us; till, suddenly, faint but hard, a cloud less varied, a greyer portion of the infinite sky itself, is seen to be permanent above the world. Then all our grasp of the wide view breaks down. We change. The valleys and the tiny towns, the unseen mites of men, the gleams or thread of roads, are prostrate, covering a little watching space before the shrine of this dominant and towering presence.
It is as though humanity were permitted to break through the vulgar illusion of daily sense, and to learn in a physical experience how unreal are all the absolute standards by which we build. It is as though the vast and the unexpected had a purpose, and that purpose were the showing to mankind in rare glimpses what places are designed for the soul--those ultimate places where things common become shadows and fail, and the divine part in us, which adores and desires, breathes its own air, and is at last alive.
Saturday, 11 June 2011
Hilaire Belloc's 'The Inn Of The Margeride' (from Hills and the Sea, 1906) starts with one of the most eloquent accounts of precisely the appeal of SF and Fantasy.