it; and he knew as Shelley knew by an act of faith that the economists should take their measurements not from life as it is, but from the vision of the world made perfect that is buried under all minds. The early Christians were of the kin of the Wilderness and of the Dry Tree, and they saw an unearthly Paradise, but he was of the kin of the Well and of the Green Tree and he saw an Earthly Paradise. He obeyed his vision when he tried to make first his own house, for he was in this matter also like a child playing with the world, and then houses of other people, places where one could live happily; and he obeyed it when he wrote essays about the nature of happy work, and when he spoke at street corners about the coming changes. He knew clearly what he was doing towards the end, for he lived at a time when poets and artists have begun again to carry the burdens that priests and theologians took from them angrily some few hundred years ago. His art was not more essentially religious than Rossetti’s art, but it was different, for Rossetti, drunken with natural beauty, saw the supernatural beauty, the impossible beauty, in his frenzy, while he being less intense and more tranquil would show us a beauty that would wither if it did not set us at peace with natural things, and if we did not believe that it existed always a little, and would some day exist in its fulness. He may not have been, indeed he was not, among the very greatest of the poets, but he was among the greatest of those who prepare the last reconciliation when the Cross shall blossom with roses. 1902. THE PHILOSOPHY OF SHELLEY’S POETRY I. HIS RULING IDEAS