In the other voyage, that enterprise is offered in no shadowy region of dreams, but amid the hard and tangible materials of to-day: in that “Romance” whose habitation is everlasting, and kingdom without end. It is the inspiration of Stevenson and his successors: accepting all things, delighting in all things with the solemn engrossing play of children; living in “make-believe,” knowing it make-believe, and yet not desiring to have it otherwise. “He seems to be marching through a land and atmosphere,” says a critic, “where the men are strange men, and the lights are garish, and there is a queer noise of music borne upon the wind. And yet this land, for all its strangeness, is found to be the land we knew before, but seen under a new perspective, upon a more imaginative plane.” He has never lacked successors: some finding in the actual adventure of so-called settled and orderly life all the amazing romance of the vicissitudes of fortune: some, like Mr. Rudyard Kipling, exhibiting just outside the ordered garden the riotous forces of natural and untameable things--the hills and the sea--calling upon man joyfully to an encounter which may be ruinous but is never dull. So there is inspiration in such a great writer as Mr. Joseph Conrad, with his sense of companionship, laughter, and fury in the defiance of wind and tempest: in a lesser example, in that “Beloved Vagabond” who discovered “why I was sent into the world. It was to play the fiddle up and down the sunny land of France.” II