there has crept, i notice, into our literature and journalism a new way of flattering the wealthy and the great. in more straightforward times flattery itself was more straight-forward; falsehood itself was more true. a poor man wishing to please a rich man simply said that he was the wisest, bravest, tallest, strongest, most benevolent and most beautiful of mankind; and as even the rich man probably knew that he wasn't that, the thing did the less harm. when courtiers sang the praises of a king they attributed to him things that were entirely improbable, as that he resembled the sun at noonday, that they had to shade their eyes when he entered the room, that his people could not breathe without him, or that he had with his single sword conquered europe, asia, africa, and america. the safety of this method was its artificiality; between the king and his public image there was really no relation. but the moderns have invented a much subtler and more poisonous kind of eulogy. the modern method is to take the prince or rich man, to give a credible picture of his type of personality, as that he is business-like, or a sportsman, or fond of art, or convivial, or reserved; and then enormously exaggerate the value and importance of these natural qualities. those who praise mr. carnegie do not say that he is as wise as solomon and as brave as mars; i wish they did. it would be the next most honest thing to giving their real reason for praising him, which is simply that he has money. the journalists who write about mr. pierpont morgan do not say that he is as beautiful as apollo; i wish they did. what they do is to take the rich man's superficial life and manner, clothes, hobbies, love of cats, dislike of doctors, or what not; and then with the assistance of this realism make the man out to be a prophet and a saviour of his kind, whereas he is merely a private and stupid man who happens to like cats or to dislike doctors. the old flatterer took for granted that the king was an ordinary man, and set to work to make him out extraordinary. the newer and cleverer flatterer takes for granted that he is extraordinary, and that therefore even ordinary things about him will be of interest.

i have noticed one very amusing way in which this is done. i notice the method applied to about six of the wealthiest men in england in a book of interviews published by an able and well-known journalist. the flatterer contrives to combine strict truth of fact with a vast atmosphere of awe and mystery by the simple operation of dealing almost entirely in negatives. suppose you are writing a sympathetic study of mr. pierpont morgan. perhaps there is not much to say about what he does think, or like, or admire; but you can suggest whole vistas of his taste and philosophy by talking a great deal about what he does not think, or like, or admire. you say of him—"but little attracted to the most recent schools of german philosophy, he stands almost as resolutely aloof from the tendencies of transcendental pantheism as from the narrower ecstasies of neo-catholicism." or suppose i am called upon to praise the charwoman who has just come into my house, and who certainly deserves it much more. i say—"it would be a mistake to class mrs. higgs among the followers of loisy; her position is in many ways different; nor is she wholly to be identified with the concrete hebraism of harnack." it is a splendid method, as it gives the flatterer an opportunity of talking about something else besides the subject of the flattery, and it gives the subject of the flattery a rich, if somewhat bewildered, mental glow, as of one who has somehow gone through agonies of philosophical choice of which he was previously unaware. it is a splendid method; but i wish it were applied sometimes to charwomen rather than only to millionaires.

there is another way of flattering important people which has become very common, i notice, among writers in the newspapers and elsewhere. it consists in applying to them the phrases "simple," or "quiet," or "modest," without any sort of meaning or relation to the person to whom they are applied. to be simple is the best thing in the world; to be modest is the next best thing. i am not so sure about being quiet. i am rather inclined to think that really modest people make a great deal of noise. it is quite self-evident that really simple people make a great deal of noise. but simplicity and modesty, at least, are very rare and royal human virtues, not to be lightly talked about. few human beings, and at rare intervals, have really risen into being modest; not one man in ten or in twenty has by long wars become simple, as an actual old soldier does by [**note: apparent typesetting error here in original.] long wars become simple. these virtues are not things to fling about as mere flattery; many prophets and righteous men have desired to see these things and have not seen them. but in the description of the births, lives, and deaths of very luxurious men they are used incessantly and quite without thought. if a journalist has to describe a great politician or financier (the things are substantially the same) entering a room or walking down a thoroughfare, he always says, "mr. midas was quietly dressed in a black frock coat, a white waistcoat, and light grey trousers, with a plain green tie and simple flower in his button-hole." as if any one would expect him to have a crimson frock coat or spangled trousers. as if any one would expect him to have a burning catherine wheel in his button-hole.

but this process, which is absurd enough when applied to the ordinary and external lives of worldly people, becomes perfectly intolerable when it is applied, as it always is applied, to the one episode which is serious even in the lives of politicians. i mean their death. when we have been sufficiently bored with the account of the simple costume of the millionaire, which is generally about as complicated as any that he could assume without being simply thought mad; when we have been told about the modest home of the millionaire, a home which is generally much too immodest to be called a home at all; when we have followed him through all these unmeaning eulogies, we are always asked last of all to admire his quiet funeral. i do not know what else people think a funeral should be except quiet. yet again and again, over the grave of every one of those sad rich men, for whom one should surely feel, first and last, a speechless pity—over the grave of beit, over the grave of whiteley—this sickening nonsense about modesty and simplicity has been poured out. i well remember that when beit was buried, the papers said that the mourning-coaches contained everybody of importance, that the floral tributes were sumptuous, splendid, intoxicating; but, for all that, it was a simple and quiet funeral. what, in the name of acheron, did they expect it to be? did they think there would be human sacrifice—the immolation of oriental slaves upon the tomb? did they think that long rows of oriental dancing-girls would sway hither and thither in an ecstasy of lament? did they look for the funeral games of patroclus? i fear they had no such splendid and pagan meaning. i fear they were only using the words "quiet" and "modest" as words to fill up a page—a mere piece of the automatic hypocrisy which does become too common among those who have to write rapidly and often. the word "modest" will soon become like the word "honourable," which is said to be employed by the japanese before any word that occurs in a polite sentence, as "put honourable umbrella in honourable umbrella-stand;" or "condescend to clean honourable boots." we shall read in the future that the modest king went out in his modest crown, clad from head to foot in modest gold and attended with his ten thousand modest earls, their swords modestly drawn. no! if we have to pay for splendour let us praise it as splendour, not as simplicity. when next i meet a rich man i intend to walk up to him in the street and address him with oriental hyperbole. he will probably run away.