We are told to follow the gleam, but the counsel is somewhat ambiguous. The gleam that one follows may be that which is associated with the concentric imagination and which gives steadiness and informing purpose, or it may be the romantic will o’ the wisp. One may, as I have said, in recreative moments allow one’s imagination to wander without control, but to take these wanderings seriously is to engage in a sort of endless pilgrimage in the void. The romanticist is constantly yielding to the “spell” of this or the “lure” of that, or the “call” of some other thing. But when the wonder and strangeness that he is chasing are overtaken, they at once cease to be wondrous and strange, while the gleam is already dancing over some other object on the distant horizon. For nothing is in itself romantic, it is only imagining that makes it so. Romanticism is the pursuit of the element of illusion in things for its own sake; it is in short the cherishing of glamour. The word glamour introduced into literary usage from popular Scotch usage by Walter Scott itself illustrates this tendency. Traced etymologically, it turns out to be the same word as grammar. In an illiterate age to know how to write at all was a weird and magical accomplishment,[183] but in an educated age, nothing is so drearily unromantic, so lacking in glamour as grammar. The final question that arises in connection with this subject is whether one may quell the mere restlessness of one’s spirit and impose upon it an ethical purpose. “The man who has no definite end is lost,” says Montaigne. The upshot of the romantic supposition that purpose is incompatible with the freedom of the imagination is a philosophy like that of Nietzsche. He can conceive of nothing beyond whirling forever on the wheel of change (“the eternal recurrence”) without any goal or firm refuge that is set above the flux. He could not help doubting at times whether happiness was to be found after all in mere endless, purposeless mutation. Have _I_ still a goal? A haven towards which _my_ sail is set? A good wind? Ah, he only who knoweth _whither_ he saileth, knoweth what wind is good, and a fair wind for him. What still remaineth to me? A heart weary and flippant; an unstable will; fluttering wings; a broken backbone. … _Where_ is _my_ home? For it do I ask and seek, and have sought, but have not found it. O eternal everywhere, O eternal nowhere, O eternal--in vain.[184]