(_a_) To explain this more fully we would point out that so long as the poet yearns to behold the Divine in everything, and really so beholds it, he also surrenders his own personality; but, while doing so, he realizes quite as vividly the immanence of the Divine in his spiritual world thus expanded and delivered; and consequently there grows up within him that joyful ardour of the soul, that liberal happiness, that revel of bliss, which is so peculiar to the Oriental, who in freeing himself from his own particularity seems wholly to sink himself in the Eternal and Absolute, and henceforth to know and feel the image and presence of the Divine in all things. Such a self-absorption in the Divine, such an intoxicated life of bliss in God borders closely on mysticism. Under this aspect no volume is more famous than the Oschelaleddin-Rumi, of which Rückert, with the help of his marvellous powers of expression, which enable him to make light of both words and rhymes with all the wealth and freedom of the phantasy that comes so natural to the Persian poet, has supplied us with the fairest examples. Love to God, with whom man identifies himself in most boundless surrender, beholding Him as the One through every part of His Universe, with whom and to whom every and each thing is related and referred--this it is that gives us the focus of this type of thought, a centre which radiates in every direction. (_b_) And, further, while in the true type of the sublime, as will appear shortly, the most excellent objects and the most glorious shapes are employed merely as the ornament of God, and as servants to celebrate the splendour and majesty of the One, being set before our eyes to do Him honour as Lord of all creation, in pantheism, on the contrary, it is the immanence of the Divine in external fact which exalts the determinate existence itself of the world, Nature, and humanity to its own self-substantial glory. The identical Life of Spirit in the phenomena of Nature and all human relations animates and spiritualizes the same in their own nature, and is further the source of that characteristic attitude of subjective feeling in the soul of the poet toward the objects he celebrates in his song. Suffused with the animating influx of this glory the soul is essentially serene, independent, free, secure in its comprehension and greatness; and in this positive identification of itself with such qualities it penetrates imaginatively with its life into the very heart of objective existence, sharing the restful unity that it finds there, and grows up in most blissful, most blithesome intimacy with the natural world and its munificence, with the drinking-booth no less than the beloved, and, in short, all that is held worthy of praise or affection. We find, no doubt, the same kind of self-absorption in the romantic temperament of the West. Generally speaking, however, and more particularly in the North, it is not so gladsome, spontaneous, or free from yearning;