And now, a second time, in our own hour, the two have drawn close and confronted each other. Once again, a fusion has taken place. We are to-day in the midst of a movement likely to surpass the period of Hellenization in duration and extent. This time, perhaps, no dramatic march of Macedonians to the banks of the Indus has served to make the connection. Nevertheless, in the image of Amy Lowell, guns have again shown themselves keys. For a couple of centuries, great gates have been swinging throughout the East at the behest of frigates and armed merchantmen. And slowly, once again, Asia has been seeping into Europe. Warm spicy gusts have been drifting over the West, steadily permeating the air. At first, there appeared to be nothing serious in the infiltration. The eighteenth century was apparently coquetting only with Eastern motifs. If Chinese palaces put in their appearance at Drottningholm and Pillnitz, in all portions of the continent; if Chippendale began giving curious delicate twists to his furniture, it seemed nothing more than a matter of caprice. The zest for Persian letters, Oriental nouvelles, Turkish marches, arose apparently only from the desire for masquerade. Gretry, Mozart, Wieland, scarcely took their seraglios, pashas, bulbuls earnestly. But, gradually, with the arrival of the nineteenth century, what had hitherto seemed play only, began to assume a different shape. The East was indeed dawning upon the West again. The mists were being burned away. Through Sir William Jones and Friedrich Schlegel, the wisdom of the dangerous slippery Indies was opened to Europe. Goethe, as ever the outrider, revealed the new orientation in his "West-Oestlicher Divan" and his "Chinesich-Deutsche Jahres-und-Tages-Zeiten." In 1829, Victor Hugo published "Les Orientales"; in 1859, Fitzgerald his "Omar." If Weber little more than toyed with Chinese and Turkish musical color in "Turandot" and in "Oberon," Felicien David in his songs and in his "Le Desert" attempted seriously to infiltrate into European music the musical feeling of the Levant. In the corner of Schopenhauer's apartment there sat an effigy of the Buddha; volumes of the Upanishads lay on his table. In 1863 for the first time, a Paris shop offered for sale a few Japanese prints. Manet, Whistler, Monet, the brothers De Goncourt came and bought. But though the craze for painting Princesses du Pays de la Porcelaine ended rapidly, European painting was revolutionized. Surfaces once more came into being. Color was born again under the brushes of the impressionists and the post-impressionists. The sense of touch was freed. In all the arts the art of Japan became powerful. De Maupassant wrote a prose that is full of the technique of the Japanese prints; that works chiefly through means of sharp little lines and dainty spotting. All five senses were being born again. People listened with new keenness to the sounds of instruments. The Russian sons of Berlioz with their new orchestral