What is it that gives words their character and makes a style high or low? Obviously, their associations; the company they habitually keep in the minds of those who use them. A word which belongs to the language of bars and billiard saloons will become permeated by the normal standard of mind prevalent in such places; a word which suggests Milton or Carlyle will have the flavour of those men's minds about it. I therefore cannot resist the conclusion that, if the language of Greek poetry has, to those who know it intimately, this special quality of keen austere beauty, it is because the minds of the poets who used that language were habitually toned to a higher level both of intensity and of nobility than ours. It is a finer language because it expresses the minds of finer men. By 'finer men' I do not necessarily mean men who behaved better, either by our standards or by their own; I mean men to whom the fine things of the world, sunrise and sea and stars and the love of man for man, and strife and the facing of evil for the sake of good, and even common things like meat and drink, and evil things like hate and terror, had, as it were, a keener edge than they have for us and roused a swifter and a nobler reaction. Let us resume this argument before going further. We start from the indisputable fact that the Greeks of about the fifth century B. C. did for some reason or other produce various works of art, buildings and statues and books, especially books, which instead of decently dying or falling out of fashion in the lifetime of the men who made them, lasted on and can still cause high thoughts and intense emotions. In trying to explain this strange fact we notice that the Greeks had a great and pervading instinct for beauty, and for beauty of a particular kind. It is a beauty which never lies in irrelevant ornament, but always in the very essence and structure of the object made. In literature we found that the special beauty which we call Greek depends partly on the directness, truthfulness, and simplicity with which the Greeks say what they want to say, and partly on a special keenness and nobility in the language, which seems to be the natural expression of keen and noble minds. Can we in any way put all these things together so as to explain them--or at any rate to hold them together more clearly?