As the worth of nature thus became vindicated in painting, parallel changes were wrought in the other arts. Arts less distinctly rational began to assert themselves, and even to take the lead. The art most characteristic of modern times, the one which most widely and poignantly appeals to us, is music. But in music we are not distinctly conscious of a meaning. Most of us in listening to music forget ourselves under its lulling charms, abandon ourselves to its spell, and by it are swept away, perhaps to the infinite, perhaps to an obliteration of all clear thought. Is it not largely because we are so hard pressed under the anxious conditions of modern life that music becomes such an enormous solace and strength? I do not say that no other factors have contributed to the vogue of music, but certainly it is widely prized as an effective means of escape from ourselves. Music too, though early known in calm and elementary forms, has within the last two centuries been developed into almost a new art. Of all the arts poetry is the most strikingly rational and articulate. Its material is plain thought, plain words. We employ in it the apparatus of conscious life. Poetry was therefore concerned in early times entirely with things of the spirit. It dealt with persons, and with them alone. It celebrated epic actions, recorded sagacious judgments, or uttered in lyric song emotions primarily felt by an individual, yet interpreting the common lot of man. But there has occurred a great change in poetry too, a change notable during the last century but initiated long before. Poetry has been growing naturalistic, and is to-day disposed to reject all severance of body and spirit. The great nature movement which we associate with the names of Cowper, Burns, and Wordsworth, has withdrawn man's attention from conscious responsibility, and has taught him to adore blind and vast forces which he cannot fully comprehend. We all know the refreshment and the deepening of life which this mystic new poetry has brought. But it is hard to say whether poetry is nowadays a spiritual or a natural art. Many of us would incline to the latter view, and would hold that even in dealing with persons it treats them as embodiments of natural forces. Our instincts and unguided passions, the features which most identify us with the physical world, are coming more and more to be the subjects of modern poetry. IV