Hence arise a purblind revulsion and yearning in the lad's soul; the psychological moment has arrived, and I take him at once into the _country_--(Summer: The Storm). This is the first of the four out-of-door scenes, and the lad's first real experience with nature. It impresses him crudely but violently; and in the tense excitement of the tempest he is inspired to temporary eloquence; and at the close is much softened. He feels in a way but does not know that he has been a participant in one of Nature's superb dramas. (Thus do I insidiously prepare the way for the notion that creative architecture is in essence a dramatic art, and an art of eloquence; of subtle rhythmic beauty, power, and tenderness). Left alone in the country the lad becomes maudlin--a callow lover of nature--and makes feeble attempts at verse. Returning to the city he melts and unbosoms--the tender shaft of the unknowable Eros has penetrated to his heart--Nature's subtle spell is on him, to disappear and reappear. Then follow discussions, more or less didactic, leading to the second out-of-door scene (Autumn Glory). Here the lad does most of the talking and shows a certain lucidity and calm of mind. The discussion of Responsibility, Democracy, Education, etc., has inevitably detached the lurking spirit of pessimism. It has to be:--Into the depths and darkness we descend, and the work reaches the tragic climax in the third out-of-door scene--Winter. Now that the forces have been gathered and marshalled the true, sane movement of the work is entered upon and pushed at high tension, and with swift, copious modulations to its foreordained climax and optimistic peroration in the fourth and last out-of-door scene as portrayed in the Spring Song. The _locale_ of this closing number is the beautiful spot in the woods, on the shore of Biloxi Bay:--where I am writing this. I would suggest in passing that a considerable part of the K.C. is in rhythmic prose--some of it declamatory. I have endeavoured throughout this work to represent, or reproduce to the mind and heart of the reader the spoken word and intonation--not written language. It really should be read aloud, especially the descriptive and exalted passages. There was a movement once on the part of Mr. Sullivan's admirers to issue _Kindergarten Chats_ in book form, but he was asked to tone it down and expurgate it, a thing which he very naturally refused to do. Mr. Sullivan has always been completely alive to our cowardice when it comes to hearing the truth about ourselves, and alive to the danger which this cowardice entails, for to his imaginary pupil he says,