or take some line that is quite simple, that gets its beauty from its place in a story, and see how it flickers with the light of the many symbols that have given the story its beauty, as a sword-blade may flicker with the light of burning towers. All sounds, all colours, all forms, either because of their pre-ordained energies or because of long association, evoke indefinable and yet precise emotions, or, as I prefer to think, call down among us certain disembodied powers, whose footsteps over our hearts we call emotions; and when sound, and colour, and form are in a musical relation, a beautiful relation to one another, they become as it were one sound, one colour, one form, and evoke an emotion that is made out of their distinct evocations and yet is one emotion. The same relation exists between all portions of every work of art, whether it be an epic or a song, and the more perfect it is, and the more various and numerous the elements that have flowed into its perfection, the more powerful will be the emotion, the power, the god it calls among us. Because an emotion does not exist, or does not become perceptible and active among us, till it has found its expression, in colour or in sound or in form, or in all of these, and because no two modulations or arrangements of these evoke the same emotion, poets and painters and musicians, and in a less degree because their effects are momentary, day and night and cloud and shadow, are continually making and unmaking mankind. It is indeed only those things which seem useless or very feeble that have any power, and all those things that seem useful or strong, armies, moving wheels, modes of architecture, modes of government, speculations of the reason, would have been a little different if some mind long ago had not given itself to some emotion, as a woman gives herself to her lover, and shaped sounds or colours or forms, or all of these, into a musical relation, that their emotion might live in other minds. A little lyric evokes an emotion, and this emotion gathers others about it and melts into their being in the making of some great epic; and at last, needing an always less delicate body, or symbol, as it grows more powerful, it flows out, with all it has gathered, among the blind instincts of daily life, where it moves a power within powers, as one sees ring within ring in the stem of an old tree. This is maybe what Arthur O'Shaughnessy meant when he made his poets say they had built Nineveh with their sighing; and I am certainly never certain, when I hear of some war, or of some religious excitement, or of some new manufacture, or of anything else that fills the ear of the world, that it has not all happened because of something that a boy piped in Thessaly. I remember once asking a seer to ask one among the gods who, as she believed, were standing about her in their symbolic bodies, what would come of a charming but seeming trivial labour of a friend, and the form answering, 'the