So far I have spoken of temporary alterations produced by shifting excitements in the same person. But the relatively fixed differences of character of different persons are explained in a precisely similar way. In a man with a liability to a special sort of emotion, whole ranges of inhibition habitually vanish, which in other men remain effective, and other sorts of inhibition take their place. When a person has an inborn genius for certain emotions, his life differs strangely from that of ordinary people, for none of their usual deterrents check him. Your mere aspirant to a type of character, on the contrary, only shows, when your natural lover, fighter, or reformer, with whom the passion is a gift of nature, comes along, the hopeless inferiority of voluntary to instinctive action. He has deliberately to overcome his inhibitions; the genius with the inborn passion seems not to feel them at all; he is free of all that inner friction and nervous waste. To a Fox, a Garibaldi, a General Booth, a John Brown, a Louise Michel, a Bradlaugh, the obstacles omnipotent over those around them are as if non‐existent. Could the rest of us so disregard them, there might be many such heroes, for many have the wish to live for similar ideals, and only the adequate degree of inhibition‐ quenching fury is lacking.(145) The difference between willing and merely wishing, between having ideals that are creative and ideals that are but pinings and regrets, thus depends solely either on the amount of steam‐pressure chronically driving the character in the ideal direction, or on the amount of ideal excitement transiently acquired. Given a certain amount of love, indignation, generosity, magnanimity, admiration, loyalty, or enthusiasm of self‐ surrender, the result is always the same. That whole raft of cowardly obstructions, which in tame persons and dull moods are sovereign impediments to action, sinks away at once. Our conventionality,(146) our shyness, laziness, and stinginess, our demands for precedent and permission, for guarantee and surety, our small suspicions, timidities, despairs, where are they now? Severed like cobwebs, broken like bubbles in the sun— “Wo sind die Sorge nun und Noth Die mich noch gestern wollt’ erschlaffen? Ich schäm’ mich dess’ im Morgenroth.” The flood we are borne on rolls them so lightly under that their very contact is unfelt. Set free of them, we float and soar and sing. This auroral openness and uplift gives to all creative ideal levels a bright and caroling quality, which is nowhere more marked than where the controlling emotion is religious. “The true monk,” writes an Italian mystic, “takes nothing with him but his lyre.” ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐