An end-of-the-century horse is doubtless pretty much the same as a horse of another period, but is there not in literature, art, politics and in intellectual and moral matters generally, an element, a spirit peculiar to the time and not altogether discernible to observation—a something which, not hitherto noted, or at least not so noticeable, now “pervades and animates the whole?” It seems to me that there is. Precisely what is its nature? That is not easy to answer; the thing is felt rather than observed. It is subtle, elusive, addressing, perhaps, only those sensibilities for whose needs of expression our English vocabulary makes little provision. I should with some misgiving call it the note of despair, or, more accurately, desperation. It sounds through the tumult of our lives as the boatswain’s whistle penetrates with a vibrant power the uproar of the storm—the singing and shouting of the wind in the cordage, the hissing of the waves, the shock and thunder of their monstrous buffets as they burst against the ship. O there’s a meaning in the phrase—a significance born of iteration. As certain predictions by their power upon the imagination assist in their own fulfilment, so this haunting phrase has made itself a meaning and shaped the facts to fit it. In the twilight of the century we have prophecies of the coming night, and see ghosts. We are all dominated by our imaginations and our views are creatures of our viewpoints. To the ordinary mind the end of a century seems the end of one of a series of stages of progress, arranged in straight-away order, and impossible of prolongation. To turn the end of one line is to go back and begin it all _de novo_ on a parallel line—an end of progress, a long leap to the rear, a slow and painful resumption. Of course there is nothing in the facts to correspond to this fanciful and fantastic notion, but it is none the less powerful for that. To the person of that order of mind it undoubtedly seems that with the final year of the century the race will have lost a century of some advantage which he is not likely to see regained. He does not think that—he thinks nothing at all about it—he merely feels so, and can not even formulate the feeling. Quite the same it colors his moods, his character, his very manner of life and action. He has something of the ghastly gaiety of the plague-smitten soldiers in the song, who drank to those already dead and hurrahed for those about to die. The _fin de siècle_ spirit is fairly expressible by an intention to make the most of a vanishing opportunity by doing something out of the common.