For then the loftiness of sentiment and the excitation of the inner creative forces is in many so great, that offerings are brought to this quality, offerings from the best of what each possesses. At its feet the serious man lays his seriousness, the dignified man his dignity, women their gentleness, the young all the wealth of hope and futurity that in them lies; the poet lends it words and names, sets it marching in the procession of similar beings, gives it a pedigree, and finally, as is the way of artists, adores the picture of his fancy as a new godhead—he even teaches others to adore. Thus in the end, with the co-operation of universal love and gratitude, a virtue becomes, like a statue, a repository of all that is good and honourable, a sort of temple and divine personage combined. It appears thenceforward as an individual virtue, as an absolute entity, which it was not before, and exercises the power and privileges of a sanctified super-humanity.—In the later days of Greece the cities were full of such deified human abstractions (if one may so call them). The nation, in its own fashion, had set up a Platonic “Heaven of Ideas” on earth, and I do not think that its inhabitants were felt to be less alive than any of the old Homeric divinities. 191. DAYS OF DARKNESS.—“Days of Darkness” is the name given in Norway to the period when the sun remains below the horizon the whole day long. The temperature then falls slowly but continually.—A fine simile for all thinkers for whom the sun of the human future is temporarily eclipsed. 192. THE PHILOSOPHY OF LUXURY.—A garden, figs, a little cheese, and three or four good friends—that was the luxury of Epicurus. 193. THE EPOCHS OF LIFE.—The real epochs of life are those brief periods of cessation midway between the rise and decline of a dominating idea or emotion. Here once again there is satisfaction: all the rest is hunger and thirst—or satiety. 194. DREAMS.—Our dreams, if for once in a way they succeed and are complete—generally a dream is a bungled piece of work—are symbolic concatenations of scenes and images in place of a narrative poetical language. They paraphrase our experiences or expectations or relations with poetic boldness and definiteness, so that in the morning we are always astonished at ourselves when we remember the nature of our dream. In dreams we use up too much artistry—and hence are often too poor in artistry in the daytime. 195.