It is a great pity that at this critical moment a very simple consideration did not occur to this troubled spirit. When we read the Sermon on the Mount we read "words, words, words"; when we read some horrible piece of profanity or indecency it is again "words, words, words"; when we read the demonstration of a proposition in Euclid it is "words, words, words"; and, again, when we take up Tennyson's In Memoriam we find that its whole tissue is "words, words, words." But would it tend in the least to lessen one's reverence for the Sermon on the Mount to be reminded that it was constructed out of the same verbal elements as the piece of profanity? or would it diminish our admiration for In Memoriam to be told that it was constructed of words just like the dullest piece of prose? If not, then why should one be so terribly disconcerted and depressed to find that all our mental life finds its basis in vibrations? Or why should the inference be drawn that, because the basis is one, all that reposes on it must also be one in character and meaning? Is our delight in the lily or the rose impaired by the reflection that it springs from the same soil that produces noisome weeds; or do we gaze on the humming bird with less admiration because it flies in the same atmosphere as the bat? Why should "vibrations" not be the condition of existence of one mental phenomenon as well as of another? Surely the very fact that Dr. Crozier classes all the feelings he mentions as mental affections should prepare him to believe that they have a common basis. But how feelings shall be classified and ranked _after they have taken form_ is a question precisely similar to the question how the various combinations of words should be classified and ranked. In the latter case words are the basis of them all, but we say: "This is an epic poem; this is a moral essay; this is an immoral novel; this is a silly joke; this is a market report." Are these distinctions illusory because words are the basis and substance of all these various forms of composition? Does the poem lose anything of its beauty, or the essay anything of its ethical value, because each was not composed of elements altogether peculiar to itself? The solid globe itself was once a diffused nebula, but we do not on that account find a less varied beauty in flower and tree, in hillside and running brook and grandly flowing river.