life, complete faculties, independent existence. Another day is done, and leaves me as bewildered, as ignorant as ever, as aware of my small limitations, as lonely and uncomforted. Who shall show me why I love, with this deep and thirsty intensity, the array of gold and silver light, these mist-hung fields with their soft tints, the glow that flies and fades, the cold veils of frosty vapour? Thousands of men and women have seen the sunset pass, loving it even as I love it. They have gone into the silence as I too shall go, and no hint comes back as to whether they understand and are satisfied. And now I turn in at the well-known gate, and see the dark gables of my house, with the high elms of the grove outlined against the pale sky. The cheerful windows sparkle with warmth and light, welcoming me, fresh from the chilly air, out of the homeless fields. With such array of cheerful usages I beguile my wondering heart, and chase away the wild insistent thoughts, the deep yearnings that thrill me. Thus am I bidden to desire and to be unsatisfied, to rest and marvel not, to stay, on this unsubstantial show of peace and security, the aching and wondering will. December 4, 1888. Writing, like music, ought to have two dimensions--a horizontal movement of melody, a perpendicular depth of tone. A person unskilled in music can only recognise a single horizontal movement, an air. One who is a little more skilled can recognise the composition of a chord. A real musician can read a score horizontally, with all its contrasting and combining melodies. Sometimes one gets, in writing, a piece of horizontal structure, a firm and majestic melody, with but little harmony. Such are the great spare, strong stories of the old world. Modern writing tends to lay much more emphasis upon depth of colour, and the danger there is that such writing may become a mere structureless modulation, The perfect combination is to get firm structure, sparingly and economically enriched by colour, but colour always subordinated to structure. When I was young I undervalued structure and overvalued colour; but it was a good training in a way, because I learned to appreciate the vital necessity of structure, and I learnt the command of harmony. What is it that gives structure? It is firm and clear intellectual conception, the grasp of form and proportion; while colour is given by depth and richness of personality, by power of perception, and still more by the power of fusing perception with personality. The important thing here is that the thing perceived and felt should not simply be registered and pigeon-holed, but that it should become a cell of the writer's soul, respond to his pulse, be animated by his vital forces.