chrysanthemums which hide the mouth of a fox's hole"; and now the two lovers have "slipped into the shadow of the cave." Left alone and too cold to sleep the priest decides to spend the night in prayer. He prays that the lovers may at last be one. Presently he sees to his wonder that the cave is lighted up "where people are talking and setting up looms for spinning and painted red sticks." The ghosts creep out and thank him for his prayer and say that through his pity "the love promises of long past incarnations" find fulfilment in a dream. Then he sees the love story unfolded in a vision and the chorus compares the sound of weaving to the clicking of crickets. A little later he is shown the bridal room and the lovers drinking from the bridal cup. The dawn is coming. It is reflected in the bridal cup and now singers, cloth, and stick break and dissolve like a dream, and there is nothing but "a deserted grave on a hill where morning winds are blowing through the pine." I remember that Aran story of the lovers who came after death to the priest for marriage. It is not uncommon for a ghost, "a control" as we say, to come to a medium to discover some old earthly link to fit into a new chain. It wishes to meet a ghostly enemy to win pardon or to renew an old friendship. Our service to the dead is not narrowed to our prayers, but may be as wide as our imagination. I have known a control to warn a medium to unsay her promise to an old man, to whom, that she might be rid of him, she had promised herself after death. What is promised here in our loves or in a witch's bond may be fulfilled in a life which is a dream. If our terrestrial condition is, as it seems the territory of choice and of cause, the one ground for all seed sowing, it is plain why our imagination has command over the dead and why they must keep from sight and earshot. At the British Museum at the end of the Egyptian Room and near the stairs are two statues, one an august decoration, one a most accurate looking naturalistic portrait. The august decoration was for a public site, the other, like all the naturalistic art of the epoch, for burial beside a mummy. So buried it was believed, the Egyptologists tell us, to be of service to the dead. I have no doubt it helped a dead man to build out of his spirit-body a recognizable apparition, and that all boats or horses or weapons or their models buried in ancient tombs were helps for a flagging memory or a too weak fancy to imagine and so substantiate the old surroundings. A shepherd at Doneraile told me some years ago of an aunt of his who showed herself after death stark naked and bid her relatives to make clothes and to give them to a beggar, the while remembering her.[4] Presently she appeared again wearing the clothes and thanked them. XII