But it is, of course, upon the qualities symbolised and not upon the outward symbols that we must insist. I will, therefore, say, that the inward beauty, whether fully represented or not by the outward form, implies, in the first place, the absence of all those qualities which tend to lower and vulgarise life. What we call the worldly view, for example, of love and marriage, is simply unintelligible to such a nature. Love means, to it, an absolute self-surrender, and the complete fusion of its own life with the life of the beloved object. It can only be granted in return for a reciprocal surrender; and becomes the mutual passion by which fear and distrust are utterly cast out; and the intensity proves not liability to weak illusions, but the sure insight of the lofty instincts which cannot fail to recognise corresponding instincts in others. To the lower mind, such a character appears to be too highly strung, too impassioned, romantic, and careless of the solid advantages which secure at least comfort. To those of more or less congenial sentiment, it will rather appear to imply a spirit which, because it breathes a higher element than that at which men habitually live, perceives also more distinctly what are the truest and deepest sources of all that deserves to be called real happiness. To live in an atmosphere of the strongest and most unqualified affection, to have the very substance of life woven out of the unreserved love of a worthy object, is its ideal; and that ideal represents, I am convinced, the highest and purest happiness that can be enjoyed in this world.