or, at least, it remains more exclusively shut up in itself, and is consequently selfish and sentimental. A spiritual mood of this type, in its depression and gloom, finds its most forceful outlet in the popular songs of barbarous peoples. The spontaneous and joyful emotional atmosphere is, on the contrary, congenial to the East, and particularly characteristic of the Mohammedan Persians, who openly and gladly surrender themselves with all their soul to the Divine influence, and indeed to everything that appears to merit such devotion, while they do not fail to retain the freedom of independence in such surrender, and consciously to preserve the same in their attitude to the world and all that surrounds them. We may, in fact, observe in the ardour of this passion, the most expansive ecstasy and parrhesia[70] of the emotional life, through which, in its inexhaustible wealth of gorgeous and splendid images, one emphatic note of joy, beauty, and happiness rings again and again. If the Oriental suffers or is unfortunate he takes his reverses as the unalterable fiat of Destiny, and falls back upon the strength of his own resources without any increase of depression, sensitiveness, or vexation of spirit. In the poetry of Hafis we hear often enough of the lover's woes and laments[71], as of many another kind, but our poet persists through grief, no less than in happiness, as free of care as ever. This is the mood of that sometime refrain: /$ For thanks, in that the present glow Of friendship circles thee, Light strong the taper e'en in woe, And joyful be. $/ The taper teaches us both to laugh and to weep; it laughs through the flame of shining merriment, albeit it melts at the same time in hot tears; in the act of consumption it spreads wide the brightness of joviality. This is also the general character throughout of this type of poetry.