It happened that year St. Mark’s Eve fell upon a Sunday, and Michael, having been reading the poems of Keats nearly all the afternoon, was struck by the coincidence. Oxford on such an occasion was able to provide exactly the same sensation for him as Winchester had given to the poet. Michael sat in his window-seat looking out over the broad thoroughfare of St. Giles, listening to the patter and lisp of Sabbath footfalls, to the burden of the bells; and as he sat there with the city receding in the wake of his window, he was aware more poignantly than ever of how actually in a few weeks it would recede. The bells and the footsteps were quiet for a while: the sun had gone: it was the vesper stillness of evening prayer: slowly the printed page before him faded from recognition. Already the farther corners of the room were black, revealing from time to time, as a tongue of flame leaped up in the grate, the golden blazonries of the books on the walls. It was everywhere dark when the people came out of church, and the footsteps were again audible. Michael envied Keats the power which he had known to preserve forever that St. Mark’s Eve of eighty years ago in Winchester. It was exasperating that now already the footfalls were dying away, that already their sensation was evanescent, that he could not with the wand of poetry forbid time to disturb this quintessential hour of Oxford. Art alone could bewitch the present in the fashion of that enchantress in the old fairy tale who sent long ago a court to sleep. What was the use of reading history unless the alchemy of literature had transcended the facts by the immortal presentation of them? These charters and acts of parliament, these exchequer-rolls and raked-up records meant nothing. Ivanhoe held more of the Middle Ages than all of Maitland’s fitting and fussing, than all of Stubbs’ ponderous conclusions. The truth of Ivanhoe, the truth of the Ingoldsby Legends, the truth of Christabel was indeed revealed to the human soul through the power of art to unlock for one convincing moment truth with the same directness of divine exposition as faith itself. Now here was Oxford opening suddenly to him her heart, and he was incapable of preserving the vision. The truth would state itself to him, and as he tried to restate it, lo, it was gone. Perhaps these moments that seemed to demand expression were indeed mystical assurances of human immortality. Perhaps they were not revealed for explanation. After all, when Keats had wrought forever in a beautiful statement the fact of a Sabbath eve, the reader could not restate why he had wrought it forever. Art could do no more than preserve the sense of the fact: it could not resolve it in such a way that life would cease to be the baffling attempt it was on the individual’s part to restate to himself his personal dreams.