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crisis. There is a great deal of real similarity between popular fiction and the religion of the western people. If you say that popular fiction is vulgar and tawdry, you only say what the dreary and well-informed say also about the images in the Catholic churches. Life (according to the faith) is very like a serial story in a magazine: life ends with the promise (or menace) "to be continued in our next." Also, with a noble vulgarity, life imitates the serial and leaves off at the exciting moment. For death is distinctly an exciting moment.

But the point is that a story is exciting because it has in it so strong an element of will, of what theology calls free-will. You cannot finish a sum how you like. But you can finish a story how you like. When somebody discovered the Differential Calculus there was only one Differential Calculus he could discover. But when Shakespeare killed Romeo he might have married him to Juliet's old nurse if he had felt inclined. And Christendom has excelled in the narrative romance exactly because it has insisted on the theological free-will. It is a large matter and too much to one side of the road to be discussed adequately here; but this is the real objection to that torrent of modern talk about treating crime as disease, about making a prison merely a