It is customary to ridicule the traveller who passes rapidly through a country, and then writes his impression of it. The truth is he sees much that is hidden for ever from the eyes of the inhabitants. Habit and custom have blinded them. They are indignant when it is said that their land is arid, that it has few running streams, that its population is scanty, and that vegetables are scarce; and they are amused and surprised when he discants for three pages on the glorious rarity of their air, and the scientific interest of their mingled peoples: yet these are the prominent external features which differentiate their land from all others. Nevertheless, there is a sense in which the people of a country are justified in their contempt of the bird's-eye view of the stranger. There is a certain knowledge of a land which is only to be gained by one born in it, or brought into long-continued, close, personal contact with it, and which in its perfection is perhaps never obtained by any man with regard to a country which he has not inhabited before he was thirty. It is the subjective emotional sympathy with its nature, and the comprehension not merely of the vices and virtues of its people, but of the how and why of their existence, which is possible to a man only with regard to a country that is more or less his own. The stranger sees the barren scene, but of the emotion which that barren mountain is capable of awakening in the man who lives under its shadow he knows nothing. He marks the curious custom, but of the social condition which originated it, and the passions concerned in its maintenance, he understands absolutely nothing. This subtle, sympathetic, subjective knowledge of a land and people is that which is essential to the artist, and to the great leader of men. Without it no artist has ever greatly portrayed a land or a people, no great statesman or reformer has ever led or guided a nation or race. To Balzac nothing was easier than to paint the Paris boarding-house. All the united intellect and genius of Europe could not have painted it if the grimy respectability of those chairs and tables, the sordid narrowness of the faded human lives, had not eaten first into their own substance, emotionally. To a Gladstone nothing is easier than to make a speech which shall move five thousand Scotchmen to madness. No foreigner could do it. He might lay out the arguments as well. He could not put out his hand and touch chord after chord of national emotion and passion, producing what sound he would. The knowledge of these chords, and of the manner of touching them, is possible only to a man within whom they potentially exist. Both forms of knowledge are essential to the true understanding of a country. And if it may be said that no man understands a thing till he has coldly criticized it, it may also be said that no man knows a thing till he has loved it.