Setting and idea overbalance plot and characterization in this
story, which hardly concerns itself with narrative form. True, it
supports--rather than is supported by--an embryonic plot; and, true,
the plot is marked by a struggle element in the guise of antagonism
between two men. But the author is interested in his question and in
the debate.
The starting point of the argument is this query, propounded by Norvel,
at Isham’s restaurant: “If Mars is inhabited by a race so similar
to ourselves, what means of communication between us is there so
unmistakably of _human origin_ that a sight of it or a sound from it
would unmistakably convince them of our relationship?”
As suggestion after suggestion is dismissed, it seems to be clear that
nature can imitate everything. Then Savelle declares that man can only
imitate nature. Philbin retorts: “That’s contrary to every teaching of
Christ you ever raved about.” Philbin goes away. Savelle continues to
maintain that all that is human is imitation.
Then comes the great war. Philbin returns to Isham’s after five years,
in the second of the world conflict. Depressed, old, and distrait,
he announces that he has lost his son. He produces the bronze cross,
bestowed upon his son for saving the lives of two fishmongers. Young
Philbin was going back for the third when he was killed.
Norvel asks what part of nature Mr. Philbin was then imitating.
Savelle affirms, “It is the divine phenomenon of Calvary.” But Philbin
replies, “When my son was alive, he was a man. I believe he, too, died
like a man. I prefer that to an imitation of anything--even God.”
There is, then, no outcome; for the conclusion but emphasizes, further,
the two separate views. A larger truth is conveyed, however, which
as if incidentally usurps the end to which the story seems headed.
It is this: Sacrifice of life for a weaker brother is either Godlike
or manlike. With this dawning thesis in mind, the reader recognizes
that Mr. Venable has answered emphatically the question set up in such
stories as “Greater Love--” and “The Knight’s Move.” (See page 75.)
Are the views of Philbin and Savelle, in the end, the same each held at
the beginning?