destroys the body is the very spirit which the body is stifling in the rest of us; and although his private inspiration may be irrational, the tendency of it is not, but reduces the public conscience to act before any one else has had the courage to do so. Greatness is spontaneous; simplicity, trust in some one clear instinct, are essential to it; but the spontaneous variation must be in the direction of some possible sort of order; it must exclude and leave behind what is incapable of being moralised. How, then, should there be any great heroes, saints, artists, philosophers, or legislators in an age when nobody trusts himself, or feels any confidence in reason, in an age when the word _dogmatic_ is a term of reproach? Greatness has character and severity, it is deep and sane, it is distinct and perfect. For this reason there is none of it to-day. There is indeed another kind of greatness, or rather largeness of mind, which consists in being a synthesis of humanity in its current phases, even if without prophetic emphasis or direction: the breadth of a Goethe, rather than the fineness of a Shelley or a Leopardi. But such largeness of mind, not to be vulgar, must be impartial, comprehensive, Olympian; it would not be greatness if its miscellany were not dominated by a clear genius and if before the confusion of things the poet or philosopher were not himself delighted, exalted, and by no means confused. Nor does this presume omniscience on his part. It is not necessary to fathom the ground or the structure of everything in order to know what to make of it. Stones do not disconcert a builder because he may not happen to know what they are chemically; and so the unsolved problems of life and nature, and the Babel of society, need not disturb the genial observer, though he may be incapable of unravelling them. He may set these dark spots down in their places, like so many caves or wells in a landscape, without feeling bound to scrutinise their depths simply because their depths are obscure. Unexplored they may have a sort of lustre, explored they might merely make him blind, and it may be a sufficient understanding of them to know that they are not worth investigating. In this way the most chaotic age and the most motley horrors might be mirrored limpidly in a great mind, as the Renaissance was mirrored in the works of Raphael and Shakespeare; but the master's eye itself must be single, his style unmistakable, his visionary interest in what he depicts frank and supreme. Hence this comprehensive sort of greatness too is impossible in an age when moral confusion is pervasive, when characters are complex, undecided, troubled by the mere existence of what is not congenial to them, eager to be not themselves; when, in a word, thought is weak and the flux of things overwhelms it.