Between the sublime intensity of St. John and the crystalline simplicity of St. Mechthild, mystical literature provides us with examples of almost every type of romantic and symbolic language; deliberate or involuntary translation of the heavenly fact into the earthly image. True, the earthly image is transfused by a new light, radiant with a new colour, has been lifted into a new atmosphere; and thus has often a suggestive quality far in excess of its symbolic appropriateness. In their search for such images the mystics explore the resources of all the arts. In particular, music and dancing—joyous harmony, unceasing measured movement—have seemed to them specially significant _media_ whereby to express their intuitions of Eternal Life. St. Francis, and after him Richard Rolle, heard celestial melodies; Kabir, the “Unstruck Music of the Infinite.” Dante saw the saints dancing in the sphere of the sun; Suso heard the music of the angels, and was invited to join in their song and dance. It was not, he says, like the dancing of this world, but was like a celestial ebb and flow within that incomprehensible Abyss which is the secret being of the Deity. There is no need to dwell upon the remarkable way in which mystics of all countries and periods, from Plotinus to Jacob Boehme, resort to the dance as an image of the glad harmonious movements of liberated souls. I will take two characteristic examples, from the East and from the West. The first is a poem by Kabir: “Dance, my heart! dance to-day with joy. The strains of love fill the days and the nights with music, and the world is listening to its melodies; Mad with joy, life and death dance to the rhythm of this music. The hills and the sea and the earth dance. The world of man dances in laughter and tears.... Behold! my heart dances in the delight of a hundred arts, and the Creator is well pleased.”