For all these reasons the war is likely to have little deep or lasting influence on literature. But one immediate effect it may surely have. Let who will snatch a moment in these days to be with Nature—let him go into a wood, or walk down the Flower Walk in Kensington Gardens, of a fine afternoon. On the still birch trees a pigeon will be sitting motionless among the grey twig tracery; the cedar-branches are dark and flat on the air; the sun warms the cheek, and brightens the cream and pink chestnut and maple buds just opening; the waxy hyacinths deepen in hue, and the little green shoots everywhere swell as he gazes. A sensation of delight begins to lift his heart, he takes a deep breath; and suddenly, from a bench he hears: “One of ’em’s alive an’ two’s dead.” Or: “The Germans are movin’ ’em!” Gone is the beginning of delight. The heavy hand comes down again. No good! There is no Spring! The sky is _not_ bright. The heart cannot rejoice. As with any man, so, and even more, with the artist-writer. When the war is over and the heavy hand lifted, his heart and brain will rush to that of which he has been deprived too long—will rush to the beauty which, for sheer pity and horror, he cannot now enjoy, will rush as a starved and thirsting creature. There may well be an instant outburst of joyful and sensuous imaginings; a painting of beauty, not faked but really felt, by brushes at once more searching and yet softer. And very likely, too, there will be a spurt of zest and frankness, as from men who have been too long constrained to a single emotion under the spell of a powerful drug. One more thought may be jotted down. Unless the national unity now prevailing lasts on into the years of peace that follow, the country will certainly pass through great internal stress. That stress will most likely have a more intimate and powerful influence upon literature than the war itself. If there is to come any startling change, it should be five or ten years after the war rather than at once. ART AND THE WAR (From the _Atlantic Monthly_ and _Fortnightly Review_, 1915.) Monsieur Rodin—perhaps the greatest living artist—has lately defined art as the pursuit of beauty, and beauty as “the expression of what there is best in man.” “Man,” he says, “needs to express in a perfect form of art all his intuitive longings towards the Unknowable.” His words may serve as warning to those who imagine that the war will loosen one root of the tree of art—a tree which has been growing slowly since first soul came into men’s eyes.