Rodin in Rime

In “La Main de Dieu,” for example, the meaning is obvious, and not to be wrested or distorted. What does it matter if we call it as at present, or (a) The Hand of Creation, (6) The First Lovers, (c) The Security of Love, (d) The Invisible Guard —anything in reason? These are only ways of looking at one idea, and as you are theologian, poet, lover or mystic, so you will choose. And it is the Master’s merit, not his fault, if his conception is so broad-based as to admit of different interpretations. The p&nomenon is possible because Rodin is the master and not the slave of his colossal technique. The difficulty of naming a masterpiece is perhaps harder work than producing it, and Rodin being a sculptor and not an illicit epigram distiller, is perfectly justified in picking up what he can from the witty and gifted people who throng his studio as much as he will let them. Let there be an end, then, not to the sordid and snarling jealousy which greatness must inevitably excite, not to the simian tooth-grindings which must always accompany the entrance of a man into the jungle, but to this peculiarly senseless and sidelong attack. One accepts the lion as a worthy antagonist; one can enjoy playing with a fine dog; one can sympathize with sincere and honourable labour, though it be in vain; one ignores laughingly the attack of tiny and infuriated puppies; but there are insects so loathsome, so incredibly 6