Elizabethan Irish poet cries: 'Three things are waiting for my death. The devil, who is waiting for my soul and cares nothing for my body or my wealth; the worms, who are waiting for my body but care nothing for my soul or my wealth; my children, who are waiting for my wealth and care nothing for my body or my soul. O Christ, hang all three in the one noose.' Such love and hatred seek no mortal thing but their own infinity, and such love and hatred soon become love and hatred of the idea. The lover who loves so passionately can soon sing to his beloved like the lover in the poem by 'A. E.,' 'A vast desire awakes and grows into forgetfulness of thee.' When an early Irish poet calls the Irishman famous for much loving, and a proverb, a friend has heard in the Highlands of Scotland, talks of the lovelessness of the Irishman, they may say but the same thing, for if your passion is but great enough it leads you to a country where there are many cloisters. The hater who hates with too good a heart soon comes also to hate the idea only; and from this idealism in love and hatred comes, as I think, a certain power of saying and forgetting things, especially a power of saying and forgetting things in politics, which others do not say and forget. The ancient farmers and herdsmen were full of love and hatred, and made their friends gods, and their enemies the enemies of gods, and those who keep their tradition are not less mythological. From this 'mistaking dreams,' which are perhaps essences, for 'realities' which are perhaps accidents, from this 'passionate, turbulent reaction against the despotism of fact,' comes, it may be, that melancholy which made all ancient peoples delight in tales that end in death and parting, as modern peoples delight in tales that end in marriage bells; and made all ancient peoples, who like the old Irish had a nature more lyrical than dramatic, delight in wild and beautiful lamentations. Life was so weighed down by the emptiness of the great forests and by the mystery of all things, and by the greatness of its own desires, and, as I think, by the loneliness of much beauty; and seemed so little and so fragile and so brief, that nothing could be more sweet in the memory than a tale that ended in death and parting, and than a wild and beautiful lamentation. Men did not mourn merely because their beloved was married to another, or because learning was bitter in the mouth, for such mourning believes that life might be happy were it different, and is therefore the less mourning; but because they had been born and must die with their great thirst unslaked. And so it is that all the august sorrowful persons of literature, Cassandra and Helen and Deirdre, and Lear and Tristan, have come out of legends and are indeed but the images of the primitive imagination mirrored in the little looking-glass of the modern and classic imagination. This is that 'melancholy a man knows when he is face to face' with nature, and thinks