There are, it is true, a few men and women who seem born with this power of living in the heart of things and possessing them in the imagination without having gone through the long and painful stages of preparatory education; but genius is not only inexplicable, it is also so rare that for the immense majority of men any effort to comprehend it must be purely academic. It is enough to know that if we are in any degree to share with men and women of genius the faculty of vision, insight, and creative energy, we must master the conditions which favor the development of those supreme gifts. There is laid, therefore, upon the student who wishes to get the vital quality of literature the necessity of repeating, by deliberate and intelligent design, the process which in so many of the masters of the arts has been, apparently, accomplished instinctively. To make observation, study, and experience part of one's spiritual and intellectual capital, it is, in the first place, necessary to saturate one's self with that which one is studying; to possess it by constant familiarity; to let the imagination play upon it; to meditate upon it. And it is necessary, in the second place, to make this practice habitual; when it becomes habitual, it will become largely unconscious: one does it by instinct rather than by deliberation. This process is ill.u.s.trated in every successful attempt to master any art. In the art of speaking, for instance, the beginner is hampered by an embarra.s.sing consciousness of his hands, feet, speech; he cannot forget himself and surrender himself to his thought or his emotion; he dare not trust himself. He must, therefore, train himself through mind, voice, and body; he must submit to constant and long-sustained practice, thinking out point by point what he shall say and how he shall say it. This process is, at the start, partly mechanical; in the nature of things it must be entirely within the view and control of a vigilant consciousness. But as the training progresses, the element of self-consciousness steadily diminishes, until, in great moments, the true orator, become one harmonious instrument of expression, surrenders himself to his theme, and his personality shines clear and luminous through speech, articulation, and gesture. The unconscious nature of the man subordinates his skill wholly to its own uses. In like manner, in every kind of self-expression, the student who puts imagination, vitality, and sincerity into the work of preliminary education, comes at last to full command of himself, and gives complete expression to that which is deepest and most individual in him. Time, discipline, study, and thought enrich every nature which is receptive and responsive.

Chapter XIX.

The Teaching of Tragedy.

No characters appeal more powerfully to the imagination than those impressive figures about whom the literature of tragedy moves,--figures a.s.sociated with the greatest pa.s.sions and the most appalling sorrows. The well-balanced man, who rises step by step through discipline and work to the highest place of influence and power, is applauded and admired; but the heart of the world goes out to those who, like OEdipus, are overmatched by a fate which pursues with relentless step, or, like Hamlet, are overweighted with tasks too heavy or too terrible for them. Agamemnon, OEdipus, Orestes, Hamlet, Lear, Pere Goriot, are supreme figures in that world of the imagination in which the poets have endeavoured both to reflect and to interpret the world as men see it and act in it.

The essence of tragedy is the collision between the individual will, impulse, or action, and society in some form of its organisation, or those unwritten laws of life which we call the laws of G.o.d. The tragic character is always a lawbreaker, but not always a criminal; he is, indeed, often the servant of a new idea which sets him, as in the case of Giordano Bruno, in opposition to an established order of knowledge; he is sometimes, as in the case of Socrates, a teacher of truths which make him a menace to lower conceptions of citizenship and narrower ideas of personal life; or he is, as in the case of Oth.e.l.lo and Paolo, the victim of pa.s.sions which overpower the will and throw the whole life out of relation to its moral and social environment. The interest with which the tragic character is always invested is due not only to the exceptional experience in which the tragic situation always culminates, but also to the self-surrender which precedes the penalty and the expiation.

There is a fallacy at the bottom of the admiration we feel when a rich nature throws restraint of any kind to the winds and gives itself up wholly to some impulse or pa.s.sion,--the fallacy of supposing that by a violent break with existing conditions freedom can be secured; for the world loves freedom, even when it is too slothful or too cowardly to pay the price which it exacts. That admiration arises, however, from a sound instinct,--the instinct which makes us love both power and self-sacrifice, even when the first is ill-directed and the second wasted. The vast majority of men are content to do their work quietly and in obscurity, with no disclosure of originality, freshness, or force; they obey law, conform to custom, respect the conventionalities of their age; they appear to be lacking in representative quality; they are, apparently, the faithful and uninteresting drudges of society. There are, it is true, a host of commonplace persons, in every generation, who perform uninteresting tasks in a mechanical spirit; but it must not be inferred that a man is either craven or cowardly because he does not break from the circle in which he finds himself and make a bold and picturesque rush for freedom; it may be that freedom is to be won for him in the silent and faithful doing of the work which lies next him; it is certain that the highest power and the n.o.blest freedom are secured, not by the submission which fears to fight, but by that which accepts the discipline for the sake of the mastery which is conditioned upon it.

There are, however, conditions which no man can control, and which are in their nature essentially tragic; and men and women who are involved in these conditions cannot elude a fate for which they are not responsible and from which they cannot escape. This was true of many of the greatest characters in cla.s.sical tragedy, and it is true also of many of the characters in modern tragedy. The world looks with bated breath on a struggle of the n.o.blest heroism, in which men and women, matched against overwhelming social forces, bear their part with sublime and unfaltering courage, and by the completeness of their self-surrender a.s.sert their sovereignty even in the hour when disaster seems to crush and destroy them. To these striking figures, isolated by the greatness of their fate, the heart of the world has always gone out as to the n.o.blest of its children. Solitary in the possession of some new conception of duty or of truth, separated from the ma.s.s of their fellows by that lack of sympathy which springs from imperfect comprehension of higher aims or deeper insight, these sublime strugglers against ignorance, prejudice, caste, and power, become the heroes and martyrs of the race; they announce the advent of new conceptions of social order and individual rights; they incarnate the imperishable soul of humanity in its long and terrible endeavour to bring the inst.i.tutions and the ideas of men into harmony with a higher order of life.

The tragic element has, therefore, many aspects,--sometimes lawless and destructive, sometimes self-sacrificing and instructive; but its ill.u.s.tration in literature in any form is not only profoundly interesting, but profoundly instructive as well. In no other literary form is the stuff of which life is made wrought into such commanding figures; in no other form are the deeper possibilities of life brought into such clear view; in no other form are the fundamental laws of life disclosed in a light at once so searching and so beautiful in its revealing power. If all the histories were lost and all the ethical discussions forgotten, the moral quality of life and the tremendous significance of character would find adequate ill.u.s.tration in the great tragedies. They lay bare the very heart of man under all historic conditions; they make us aware of the range of his experiences; they uncover the depths by which he is surrounded. They enable us to see, in lightning flashes, the undiscovered territory which incloses the little island on which we live; they light up the mysterious background of invisible forces against which we play our parts and work out our destiny.

To the student of literature, who strives not only to enjoy but to comprehend, tragedy brings all the materials for a deep and genuine education. Instead of a philosophical or ethical statement of principles, it offers living ill.u.s.tration of ethical law as revealed in the greatest deeds and the most heroic experiences; it discloses the secret of the age which created it,--for in no other literary form are the fundamental conceptions of a period so deeply involved or so clearly set forth. The very springs of Greek character are uncovered in the Greek tragedies; and the tremendous forces liberated by the Renaissance are nowhere else so strikingly brought to light as in that group of tragedies which were produced in so many countries, by so many men, at the close of that momentous epoch. When literature runs mainly to the tragic form, it may be a.s.sumed that the spiritual force of the race has expressed itself afresh, and that a race, or a group of races, has pa.s.sed through one of those searching experiences which bring men again face to face with the facts of life; for the production of tragedy involves thought of such depth, insight of such clearness, and imaginative power of such quality and range that it is possible, on a great scale, only when the springs of pa.s.sion and action have been profoundly stirred. The appearance of tragedy marks, therefore, those moments when men manifest, without calculation or restraint, all the power that is in them; and into no other literary form is the vital force poured so lavishly. It is the instinctive recognition of this unveiling of the soul of man which gives the tragedy such impressiveness even when it is haltingly represented on the stage, and which subdues the imagination to its mood when the solitary reader comes under its spell. The life of the race is sacred in those great pa.s.sages which record its sufferings; and nothing makes us so aware of our unity with our kind in all times and under all circ.u.mstances as the community of suffering in which, actively or pa.s.sively, all men share.

In the tragedy the student of literature is brought into the most intimate relation with his race in those moments when its deepest experiences are laid bare; he enters into its life when that life is pa.s.sing through its most momentous pa.s.sages; he is present in those hidden places where it confesses its highest hopes, reveals its most terrible pa.s.sions, suffers its most appalling punishments, and pa.s.ses on, through anguish and sacrifice, to its new day of thought and achievement.

Chapter XX.

The Culture Element in Fiction.

One of the chief elements in fiction which make for culture is, primarily, its disclosure of the elementary types of character and experience. A single ill.u.s.tration of this quality will suggest its presence in all novels of the first rank and its universal interest and importance. The aspirations, dreams, devotions, and sacrifices of men are as real as their response to self-interest or their tendency to the conventional and the commonplace; and they are, in the long run, a great deal more influential. They have wider play; they are more compelling; and they are of the very highest significance, because they spring out of that which is deepest and most distinctive in human nature. A host of men never give these higher impulses, these spiritual apt.i.tudes and possibilities, full play; but they are in all men, and all men recognise them and crave an expression of them.

Nothing is truer, on the lowest and most practical plane, than the old declaration that men do not live by bread alone; they sometimes exist on bread, because nothing better is to be had at the moment; but they live only in the full and free play of all their activities, in the complete expression not only of what is most pressing in interest and importance at a given time, but of that which is potential and possible at all times.

The novel of romance and adventure has had a long history, and the elements of which it is compounded are recognisable long before they took the form of fiction. Two figures appear and reappear in the mythology of every poetic people,--the hero and the wanderer; the man who achieves and the man who experiences; the man who masters life by superiority of soul or body, and the man who masters it by completeness of knowledge. It is interesting and pathetic to find how universally these two figures held the attention and stirred the hearts of primitive men; how infinitely varied are their tasks, their perils, and their vicissitudes. They wear so many guises, they bear so many names, they travel so far and compa.s.s so much experience that it is impossible, in any interpretation of mythology, to escape the conviction that they were the dominant types in the thought of the myth-makers. And these earliest story-makers were not idle dreamers, entertaining themselves by endless manufacture of imaginary incidents, conditions, and persons. They were, on the contrary, the observers, the students, the scientists of their period; their endeavour was not to create a fiction, but to explain the world and themselves. Their observation was imperfect, and they made ludicrous mistakes of fact because they lacked both knowledge and training; but they made free use of the creative faculty, and there is, consequently, a good deal more truth in their daring guesses than in many of those provisional explanations of nature and ourselves which have been based too exclusively on scrutiny of the obvious fact, and indifference to the fact, which is not less a fact because it is elusive.

The myth-makers endeavoured to explain the world, but that was only one-half of their endeavour; they attempted also to explain themselves. They discovered the striking a.n.a.logies between certain natural phenomena or processes and the phenomena and processes of their own nature; they discovered the tasks and wanderings of the sun, and they perceived the singular resemblance of these tasks and wanderings to the happenings of their own lives. So the hero and the wanderer became subjective as well as objective, and symbolised what was deepest and most universal in human nature and human experience, as well as what was most striking in the external world. When primitive men looked into their hearts and their experience, they found their deepest hopes, longings, and possibilities bound up and worked out in two careers,--the career of the hero and the career of the wanderer.

These two figures became the commanding types of all the n.o.bler mythologies, because they symbolised what was best, deepest, and most real in human nature and life. They represent the possible reach and the occasional achievement of the human soul; they stand for that which is potential as well as for that which is actual in human experience. Few men achieve or experience on a great scale; but these few are typical, and are, therefore, transcendent in interest. The average commonplace man fills great s.p.a.ce in contemporary history, as in the history of all times, and his character and career are well worth the closest study and the finest art of the writer; but the average man, who never achieves greatly, and to whom no striking or dramatic experience comes, has all the possibilities of action and suffering in his nature, and is profoundly interested in these more impressive aspects of life. Truth to fact is essential to all sound art, but absolute veracity involves the whole truth,--the truth of the exceptional as well as of the average experience; the truth of the imagination as well as of observation.

The hero and the wanderer are still, and always will be, the great human types; and they are, therefore, the types which will continue to dominate fiction; disappearing at times from the stage which they may have occupied too exclusively, but always reappearing in due season,--the hero in the novel of romance, the wanderer in the novel of adventure. These figures are as constant in fiction as they were in mythology; from the days of the earliest Greek and Oriental stories to these days of Stevenson and Barrie, they have never lost their hold on the imagination of the race. When the sense of reality was feeble, these figures became fantastic, and even ridiculous; but this false art was the product of an unregulated, not of an illegitimate, exercise of the imagination; and while "Don Quixote" destroyed the old romance of chivalry, it left the instinct which produced that romance untouched. As the sense of reality becomes more exacting and more general, the action of the imagination is more carefully regulated; but it is not diminished, either in volume or in potency. Men have not lost the power of individual action because society has become so highly developed, and the multiplication of the police has not materially reduced the tragic possibilities of life. There is more accurate and more extensive knowledge of environment than ever before in the history of the race, but temperament, impulse, and pa.s.sion remain as powerful as they were in primitive men; and tragedy finds its materials in temperament, impulse, and pa.s.sion, much more frequently than in objective conditions and circ.u.mstances.

The soul of man has pa.s.sed through a great education, and has immensely profited by it; but its elemental qualities and forces remain unchanged. Two things men have always craved,--to come to close quarters with life, and to do something positive and substantial.

Self-expression is the prime need of human nature; it must know, act, and suffer by virtue of its deepest instincts. The greater and richer that nature, the deeper will be its need of seeing life on many sides, of sharing in many kinds of experience, of contending with multiform difficulties. To drink deeply of the cup of life, at whatever cost, appears to be the insatiable desire of the most richly endowed men and women; and with such natures the impulse is to seek, not to shun, experience. And that which to the elect men and women of the race is necessary and possible is not only comprehensible to those who cannot possess it: it is powerfully and permanently attractive. There is a spell in it which the dullest mortal does not wholly escape.[1]

1. Reprinted in part, by permission, from the "Forum."

Chapter XXI.

Culture through Action.

It is an interesting fact that the four men who have been accepted as the greatest writers who have yet appeared, used either the epic or the dramatic form. It can hardly have been accidental that Homer and Dante gave their greatest work the epic form, and that Shakespeare and Goethe were in their most fortunate moments dramatists. There must have been some reason in the nature of things for this choice of two literary forms which, differing widely in other respects, have this in common, that they represent life in action. They are very largely objective; they portray events, conditions, and deeds which have pa.s.sed beyond the stage of thought and have involved the thinker in the actual historical world of vital relationships and dramatic sequence. The lyric poet may sing, if it pleases him, like a bird in the recesses of a garden, far from the noise and dust of the highway and the clamour of men in the compet.i.tions of trade and work; but the epic or dramatic poet must find his theme and his inspiration in the stir and movement of men in social relations. He deals, not with the subjective, but with the objective man; with the man whose dreams are no longer visions of the imagination, but are becoming incorporate in some external order; whose pa.s.sions are no longer seething within him, but are working themselves out in vital consequences; whose thought is no longer purely speculative, but has begun to give form and shape to laws, habits, or inst.i.tutions. It is the revelation of the human spirit in action which we find in the epic and the drama; the inward life working itself out in material and social relations; the soul of the man becoming, so to speak, externalised.

The epic, as ill.u.s.trated in the "Iliad" and "Odyssey," deals with a main or central movement in Greek tradition; a series of events which, by reason of their nature and prominence, imbedded themselves in the memory of the Greek race. These events are described in narrative form, with episodes, incidents, and dialogues, which break the long story and relax the strain of attention from time to time, without interrupting the progress of the narrative. There are heroes whose figures stand out in the long story with great distinctness, but we are interested much more in what they do than in what they are; for in the epic, character is subordinate to action. In the dramas of Shakespeare, on the other hand, while action is more constantly employed and is thrown into bolder relief, our deepest interest centres in the actors; the action is no longer the matter of first importance; it is significant mainly because it involves men and women not only in the chain of external consequences, but also in the order of spiritual sequences. We are deeply stirred by our perception of the intimate connection between the possibilities which lie sleeping in the individual life, and the tragic events which are set in motion when those possibilities are realised in action. In both epic and drama men are seen, not in their subjective moods, but in their objective struggles; not in the detachment of the life of speculation and imagination, but in vital a.s.sociation and relation with society in its order and inst.i.tutions. With many differences, both of spirit and form, the epic and the drama are at one in portraying men in that ultimate and decisive stage which determines individual character and gives history its direction and significance.

And it is from men in action that much of the deepest truth concerning life and character has come; indeed, it is not until we pa.s.s out of the region of the speculative, the merely potential, that the word "character" takes on that tremendous meaning with which thousands of years of actual happenings have invested it. A purely ideal world--a world fashioned wholly apart from the realities which convey definite, concrete revelations of what is in us and in our world--would necessarily be an unmoral world. The relationships which bind men together and give human intercourse such depth and richness spring into being only when they are actually entered upon; they could never be understood or foreseen in a world of pure thought; nor would it be possible, in such a world, to realise that reaction of the deed upon the doer which creates character, nor that far-reaching influence of the deed upon society, and the sequence of events which so often issues in tragedy and from which history derives its immense interest and meaning. A world which stopped short of realisation in action would not only lose the fathomless dramatic interest which inheres in human life, but it would part with all those moral implications of the integrity and persistence of the individual soul, its moral quality and its moral responsibility, which make man something different from the dust which whirls about him on the highway, or the stone over which he stumbles. This is precisely the character of those speculative systems which deny the reality of action and subst.i.tute the idea for the deed; such a world does more than suffocate the individual soul; it destroys the very meaning of life by robbing it of moral order and meaning. The end of such a conception of the universe is necessarily annihilation, and its mood is necessarily despair.

"How can a man come to know himself?" asked Goethe. "Never by thinking, but by doing." Now, this knowledge of self in the large sense is precisely the knowledge which ripens and clarifies us, which gives us sanity, repose, and power. To know what is in humanity and what life means to humanity, we must study humanity in its active, not in its pa.s.sive, moods; in the hours when it is doing, not thinking.

Sooner or later all its thinking which has any reality in it pa.s.ses on into action. The emotion, pa.s.sion, thought, impulse, which never gets beyond the subjective stage, dies before birth; and all those philosophies which urge abstinence from action would cut the plant of life at the root; they are, in the last a.n.a.lysis, pleas for suicide.

Men really live only as they freely express themselves through thought, emotion, and action. They get at the deepest truth and enter into the deepest relationships only as they act. Inaction involves something more than the disease and decay of certain faculties; it involves the deformity of arrested development, and failure to enter into that larger world of truth which is open to those races alone which live a whole life. It is for this reason that the drama must always hold the first place among those forms which the art of literature has perfected; it is for this reason that Homer, Dante, Shakespeare, and Goethe, consciously or unconsciously, chose those forms of expression which are specially adapted to represent and ill.u.s.trate life in action; it is for this reason, among others, that these writers must always play so great a part in the work of educating the race. Culture is, above all things, real and vital; knowledge may deal with abstractions and unrelated bits of fact, but culture must always fasten upon those things which are significant in a spiritual order. It has to do with the knowledge which may become incorporate in a man's nature, and with that knowledge especially which has come to humanity through action. It is this deeper knowledge which holds a lighted torch aloft in the deepest recesses of the soul, or over those abysses of possible experience which open on all sides about every man, which is to be found in the pages of Homer, Dante, Shakespeare, and Goethe, and of all those great artists who have seen men in those decisive and significant moments when they strike into the movement of history, or, through their deeds and sufferings, the order of life suddenly shines forth.

Chapter XXII.

The Interpretation of Idealism.

Idealism has so often been a.s.sociated in recent years with vagueness of thought, slovenly construction, and a weak sentimentalism, that it has been discredited, even among those who have recognised the reality behind it and the great place it must hold in all rich and n.o.ble living. It is the misfortune of what is called Idealism, that, like other spiritual principles, it attracts those who mistake the longings of unintelligent discontent for aspiration, or the changing outlines of vapory fancies for the firm and consistent form and shape of real conceptions deeply realised in the imagination. Idealism has suffered much at the hands of feeble pract.i.tioners who have subst.i.tuted irrational dreams for those far-reaching visions and those penetrating insights which are characteristic of its true use and ill.u.s.tration in the arts. The height of the reaction so vigorously and impressively ill.u.s.trated in a great group of modern realistic works is due largely to the weakness and extravagance of the idealistic movement. When sentiment is exchanged for its corrupting counterfeit, sentimentalism, and clear and definite thinking gives place to vague and elusive emotions and fancies, reaction is not only inevitable but wholesome; the instinct for sanity in men will always prevent them from becoming mere dreamers and star-gazers.

The true Idealist has his feet firmly planted on reality, and his idealism discloses itself not in a disposition to dream dreams and see visions, but in the largeness of a vision which sees realities in the totality of their relations and not merely in their obvious and superficial relations. It is a great mistake to discern in men nothing more substantial than that movement of hopes and longings which is so often mistaken for aspiration; it is equally a mistake to discern in men nothing more enduring and aspiring than the animal nature; either report, standing by itself, would be fundamentally untrue. Man is an animal; but he is an animal with a soul, and the sane view of him takes both body and soul into account. The defect of a good deal of current Realism lies in its lack of veracity; it is essentially untrue, and it is, therefore, fundamentally unreal. The love of truth, the pa.s.sion for the fact, the determination to follow life wherever life leads, are n.o.ble, artistic instincts, and have borne n.o.ble fruit; but what is often called Realism has suffered quite as much as Idealism from weak pract.i.tioners, and stands quite as much in need of rectification and restatement.

The essence of Idealism is the application of the imagination to realities; it is not a play of fancy, a golden vision arbitrarily projected upon the clouds and treated as if it had an objective existence. Goethe, who had such a vigorous hold upon the realities of existence, and who had also an artist's horror of mere abstractions, touched the heart of the matter when he defined the Ideal as the completion of the real. In this simple but luminous statement he condensed the faith and practice not only of the greater artists of every age, but of the greater thinkers as well. In the order of life there can be no real break between things as they now exist and things as they will exist in the remotest future; the future cannot contradict the present, nor falsify it; for the future must be the realisation of the full possibilities of the present. The present is related to it as the seed is related to the flower and fruit in which its development culminates. There are vast changes of form and dimension between the seed and the tree hanging ripe with fruit, but there is no contradiction between the germ and its final unfolding.

A rigid Realism, however, sees in the seed nothing but its present hardness, littleness, ugliness; a true and rational Idealism sees all these things, but it sees also not only appearances but potentialities; or, to recall another of Goethe's phrases, it sees the object whole.

To see life clearly and to see it whole is not only to see distinctly the obvious facts of life, but to see these facts in sequence and order; in other words, to explain and interpret them. The power to do this is one of the signs of a great imagination; and, other things being equal, the rank of a work of art may, in the last a.n.a.lysis, be determined by the clearness and veracity with which explanation and interpretation are suggested. Homer is, for this reason, the foremost writer of the Greek race. He is wholly free from any purpose to give ethical instruction; he is absolutely delivered from the temptation to didacticism; and yet he reveals to us the secret of the temperament and genius of his race. And he does this because he sees in his race the potentialities of the seed; the vitality, beauty, fragrance, and growth which lie enfolded in its tiny and unpromising substance. If the reality of a thing is not so much its appearance as the totality of that which is to issue out of it, then nothing can be truly seen without the use of the imagination. All that the Idealist asks is that life shall be seen not only with his eyes but with his imagination.

His descriptions are accurate, but they are also vital; they give us the thing not only as it looked standing by itself, but as it appeared in the complete life of which it was a part; he makes us see the physical side of the fact with great distinctness, but he makes us see its spiritual side as well. As a result, there is left in our minds by the intelligent reading of Homer a clear impression of the spiritual, political, and social apt.i.tudes and characteristics of the Greek people of his age,--an impression which no exact report of mere appearances could have conveyed; an impression which is due to the constant play of the poet's imagination upon the facts with which he is dealing.

This is true Idealism; but it is also true Realism. It is not only the fact, but the truth. The fact may be observed, but the truth must be discerned by insight,--it is not within the range of mere observation; and it is this insight, this discernment of realities in their relation to the whole order of things, which characterises true Idealism, and which makes all the greater writers Idealists in the fundamental if not in the technical sense. Tolstoi has often been called a Realist by those who are eager to label everything and everybody succinctly; but Tolstoi is one of the representative Idealists of his time, and his "Master and Man" is one of the most touching and sincere bits of true Idealism which has been given the world for many a day.

There is nothing which needs such constant reinforcement as this faculty of seeing things in their totality; for we are largely at the mercy of the hour unless we invoke the aid of the imagination to set the appearances of the moment in their large relations. To the man who sees things as they rush like a stream before him, there is no order, progression, or intelligent movement in human affairs; but to the student who brings to the study of current events wide and deep knowledge of the great historic movements, these apparently unrelated phenomena disclose the most intimate inter-relations and connections.

The most despairing pessimism would be born in the heart of the man who should be fated to see to-day apart from yesterday and to-morrow; a rational and inspiring hope may be born in the soul of the man who sees the day as part of the year and the year as part of the century.

The great writers are a refuge from the point of view of the moment, because they set the events of life in a fundamental order, and make us aware of the finer potentialities of our race. They are Idealists in the breadth of their vision and the n.o.bility of the interpretation of events which they offer us.

Chapter XXIII.

The Vision of Perfection.