To thoughts and expressions of peculiar force and beauty we give the epithets "happy" and "felicitous," as if we esteemed them a product rather of the writer's fortune than of his toil. Thus, Dryden says of Shakspeare, "All the images of Nature were still present to him, and he drew from them, not laboriously, but luckily." And, indeed, when one contemplates a noble creation in art or literature, one seems to receive from the work itself a certain testimony that it was never wrought out with wrestling struggle, but was genially and joyfully produced, as the sun sends forth his beams and the earth her herbage. This appearance of play and ease is sometimes so notable as to cause a curious misapprehension. For example, De Quincey permits himself, if my memory serve me, to say that Plato probably wrote his works not in any seriousness of spirit, but only as a pastime! A pastime for the immortals that were. The reason of this ease may be that perfect performance is ever more the effluence of a man's nature than the conscious labor of his hands. That the hands are faithfully busy therein, that every faculty contributes its purest industry, no one could for a moment doubt; since there could not be a total action of one's nature without this loyalty of his special powers. Nevertheless, there are times when the presiding intelligence descends into expression by a law and necessity of its own, as clouds descend into rain; and perhaps it is only then that consummate work is done. He who by his particular powers and gifts serves as a conduit for this flowing significance may indeed toil as no drudge ever did or can, yet with such geniality and success, that he shall feel of his toil only the joy, and that we shall see of it only the prosperity. A swan labors in swimming, a pigeon in his flight; yet as no part of this industry is defeated, as it issues momentarily in perfect achievement, it makes upon us the impression, not of the limitation of labor, but of the freedom and liberation of an animal genius. "Long deliberations," says Goethe, "commonly indicate that we have not the point to be determined clearly in view." So an extreme sense of striving effort, or, in other words, an extreme sense of inward hindrance, in the performance of a high task, usually denotes the presence in us of an element irrelevant to our work, and perhaps unfriendly to it. If a stream flow roughly, you infer obstructions in the channel. Often the explanation may be that one is attempting to-day a task proper to some future time,--to another year, or another century. It is the green fruit that clings tenaciously to the bough; the ripe falls of itself.