That is all, and it is enough. A kneeling figure, the wintry moon, and some few of the colours of the glass, described as they fall upon what you would really note, the head and breast and the clasped hands. What would not a Rossetti have done with such material! These are descriptions. It is the same with emotions. "Pray you, undo this button." The supreme writer does not tear passion rhetorically to pieces. He does not elaborate it till he fritters it away. He condenses it all into the poignant cry which goes straight from heart to heart. What in the circumstances could Burns have said more final than-- Had we never loved sae kindly, Had we never loved sae blindly, Never met and never parted, We had ne'er been broken-hearted. I know that there are people who cannot see that these four simple lines are the consummate expression of a vast range of feeling. We can only pray that Heaven will some day be merciful to them. * * * * * One word more seems necessary to be said. How can we tell when a writer is succeeding in his effort to communicate, to body forth what he seeks to body forth? Simply by our own complete apprehension, by the universal humanity in us, by the fact that we keenly recognize that such and such a sensation is one in which we have at least shared, but which we have never known how to express. We realize how it has been brought over us by loneliness, mountain solitude, a sunset, great heights, stormy seas, music, sorrow, love, the sound of distant bells, calm evenings, summer and the perfume of the flowers, fine characters, heroic deeds, and a thousand other causes, within us and without: and, when the supreme writer voices it for us, whatever it may be, we feel and know it at once for the final and the perfect. If that test is not sufficient, I know no other. Hebraism and Hellenism