The word "glittering," which Patmore so frequently uses, and always with words which soften its sharpness, may be applied, not unsuitably, to much of his writing in this book: a "glittering peace" does indeed seem to illuminate it. The writing throughout is classical, in a sense in which perhaps no other writing of our time is classical. When he says of the Virgin: Therefore, holding a little thy soft breath, Thou underwent'st the ceremony of death; or, of the eternal paradox of love: Tis but in such captivity The unbounded Heavens know what they be; when he cries: O Love, that, like a rose, Deckest my breast with beautiful repose; or speaks of "this fond indignity, delight;" he is, though with an entirely personal accent, writing in the purest classical tradition. He was accustomed always, in his counsels to young writers, to reiterate that saying of Aristotle, that in the language of poetry there should be "a continual slight novelty;" and I remember that he would point to his own work, with that legitimate pride in himself which was one of the fierce satisfactions of his somewhat lonely and unacknowledged old age. There is in every line of _The Unknown Eros_ that continual slight novelty which makes classical poetry, certainly, classical. Learned in every meter, Patmore never wrote but in one, the iambic: and there was a similar restraint, a similar refusal of what was good, but not (as he conceived) the highest good, all strangeness of beauty, all trouble, curiosity, the splendor of excess, in the words and substance of his writing. I find no exception even in that fiercely aristocratic political verse, which is the very rapture of indignation and wrath against such things as seemed to him worthy to be hated of God. Like Landor, with whom he had other points of resemblance, Coventry Patmore was a good hater. May one not say, like all great lovers? He hated the mob, because he saw in it the "amorous and vehement drift of Man's herd to hell." He hated Protestantism, because he saw in it a weakening of the bonds of spiritual order. He hated the Protestantism of modern art, its revolt against the tradition of the "true Church," the many heresies of its many wanderings after a strange, perhaps forbidden, beauty. Art was to him religion, as religion was to him the supreme art. He was a mystic who found in Catholicism the sufficing symbols of those beliefs which were the deepest emotions of his spirit. It was a necessity to him to be dogmatic, and he gave to even his petulances the irresistible sanction of the Church.