One of the finest lines of Shakespeare is, "How sweet the moonlight sleeps upon this bank." The beauty of the line rests entirely upon the use of the word "sleeps" to express something which could not be otherwise said without the use of many words. The moonbeam is apparently perfectly still, the atmosphere calm, and there is nothing in the surroundings to disturb the natural tranquillity, these conditions inducing a feeling of softness and rest in the observer. If it had been necessary to say all this, Shakespeare would certainly have omitted reference to the moonlight, but his powerful imagination brings to mind the word "sleeps" to express the conditions, and we are overwhelmed with a beautiful picture suddenly thrown on the brain as if by a brilliant flash of light. Among the many illustrations of the point which may be found in the Bible, is the great passage, "And God said, 'Let there be Light,' and there was Light." This is described by Longinus as nobly expressed, but he does not suggest any cause for its æsthetic effect. It is true that nothing could be finer, but the nobility of the expression is derived from its brevity--from the extreme rapidity with which so vast and potent an event as an act of creation is pictured on the brain.[23] A description of an act of creation, although involving psychological considerations of sublimity, is not necessarily so beautiful in expression as to be a work of art. In the case of lyric poetry, brevity of expression, though still of high importance, is not of so much moment as in epic or dramatic verse, because the substance is subordinated to beauty of expression and musical form. Devices are used chiefly for strengthening the sensorial element, the appeal to the mind being in most cases secondary. Nevertheless the lyric poet wastes no words. Take for example Sappho's _Ode to Anactoria_. The substance of these amazing lines is comparatively insignificant, being merely the expression of emotion on the part of an individual consequent upon disappointment, yet the transcendent beauty of the poem has held enthralled fourscore generations of men and women, and still the world gasps with astonishment at its perfection. Obviously the beauty of the ode rests mainly on qualities of form which cannot be reproduced in translation, but the substance may be, and it will be observed that the description of the action is unsurpassable. The picture, the whole picture, and nothing but the picture, is thrown on the mind rapidly and directly; so rapidly that the movement of the brush is scarcely discernible, and so simply that not a thought is required for its elucidation. With the chain of symptoms broken or less closely connected, the passion indicated would be comparatively feeble, whatever the force of the artifices in rhythm and expression which Sappho knew so well how to employ.[24]