And if any one still feels any doubt regarding the efficacy of this method, it is enough to point to our English kings. Every king of England has at the back of his mind a vision of a flashing axe on a frosty January morning nearly four centuries ago. It has proved highly salutary in preserving them within the narrow path of Duty. Before Charles I. English monarchs were an almost perpetual source of trouble to their people; they have scarcely ever given more than a moment's trouble since. And justice has herein been achieved by an injustice which has even worked out in Charles's favour. It has conferred upon him a prestige he could never have conferred upon himself. For of all our English monarchs since the Conquest he alone has become a martyr and a saint, so far as Protestantism can canonise anybody, and of all our dead kings he alone evokes to-day a living loyalty. Such a result is surely well worth a Decollation.

We have abandoned the method of our forefathers. And see the ignoble and feeble method we have put in its place. We cowardly promote our inefficient persons to the House of Lords, or similar obscure heights. We shelve them, or swathe them, or drop them. Sometimes, indeed, we apply a simulacrum of the ancient method of punishment, especially if the offence is sexual, but even there we have forgotten the correct method of its application, for in such cases the delinquent is usually an effective rather than an ineffective person, and when he has purged his fault we continue to punish him in petty and underhand ways, mostly degrading to those on whom they are inflicted and always degrading to those who inflict them. We have found no substitute for the sharper way of our ancestors, which was not only more effective socially, but even more pleasant for the victim. For if it was a cause of temporary triumph to his enemies, it was a source of everlasting exultation to his friends.

May 14.—I was gazing at some tulips, the supreme image in our clime of gaiety in Nature, their globes of petals opening into chalices and painted with spires of scarlet and orange wondrously mingled with a careless freedom that never goes astray, brilliant cups of delight serenely poised on the firm shoulders of their stalks, incarnate images of flame under the species of Eternity.

And by some natural transition my thoughts turned to the incident a scholarly member of Parliament chanced to mention to me yesterday, of his old student days in Paris, when early one evening he chanced to meet a joyous band of students, one of whom triumphantly bore a naked girl on his shoulders. In those days the public smiled or shrugged its shoulders: "Youth will be youth." To-day, in the Americanised Latin Quarter, the incident would merely serve to evoke the activities of the police.

Shall we, therefore, rail against the police, or the vulgar ideals of the mob whose minions they are? Rather let us look below the surface and admire the patient and infinite strategy of Nature. She is the same for ever and for ever, and can afford to be as patient as she is infinite, while she winds the springs of the mighty engine which always recoils on those who attempt to censor the staging of her Comedy or dim the radiance of the Earthly Spectacle.

And such is her subtlety that she even uses Man, her plaything, to accomplish her ends. Nothing can be more superbly natural than the tulip, and it was through the Brain of Man that Nature created the tulip.

May 16.—It is an error to suppose that Solitude leads away from Humanity. On the contrary it is Nature who brings us near to Man, her spoilt and darling child. The enemies of their fellows are bred, not in deserts, but in cities, where human creatures fester together in heaps. The lovers of their fellows come out of solitude, like those hermits of the Thebaid, who fled far from cities, who crucified the flesh, who seemed to hang to the world by no more than a thread, and yet were infinite in their compassion, and thought no sacrifice too great for a Human Being.

Here as I lie on the towans by a cloud of daisies among the waving and glistening grass, while the sea recedes along the stretching sands, and the cloudless sky throbs with the song of larks, and no human thing is in sight, it is, after all, of Humanity that I am most conscious. I realise that there is no human function so exalted or so rare, none so simple or so humble, that it has not its symbol in Nature; that if all the Beauty of Nature is in Man, yet all the Beauty of Man is in Nature. So it is that the shuttlecock of Beauty is ever kept in living movement.

It is known to many that we need Solitude to find ourselves. Perhaps it is not so well known that we need Solitude to find our fellows. Even the Saviour is described as reaching Mankind through the Wilderness.

May 20.—Miss Lind-Af-Hageby has just published an enthusiastic though discriminating book on her distinguished fellow-countryman, August Strindberg, the first to appear in English. Miss Lind-Af-Hageby is known as the most brilliant, charming, and passionate opponent of the vivisection of animals. Strindberg is known as perhaps the most ferocious and skilful vivisector of the human soul. The literary idol of the arch-antivivisector of animals is the arch-vivisector of men. It must not be supposed, moreover, that Miss Lind-Af-Hageby overlooks this aspect of Strindberg, which would hardly be possible in any case; she emphasises it, though, it may be by a warning instinct rather than by deliberate intention, she carefully avoids calling Strindberg a "vivisector," using instead the less appropriate term "dissector." "He dissected the human heart," she says, "laid bare its meanness, its uncleanliness; made men and women turn on each other with sudden understanding and loathing, and walked away smiling at the evil he had wrought."

I have often noted with interest that a passionate hatred of pain inflicted on animals is apt to be accompanied by a comparative indifference to pain inflicted on human beings, and sometimes a certain complaisance, even pleasure, in such pain. But it is rare to find the association so clearly presented. Pain is woven into the structure of life. It cannot be dispensed with in the vital action and reaction unless we dispense with life itself. We must all accept it somewhere if we would live at all; and in order that all may live we must not all accept it at the same point. Vivisection—as experiments on animals are picturesquely termed—is based on a passionate effort to combat human pain, anti-vivisection on a passionate effort to combat animal pain. In each case one set of psychic fibres has to be drawn tense, and another set relaxed. Only they do not happen to be the same fibres. We see the dynamic mechanism of the soul's force.

How exquisitely the world is balanced! It is easy to understand how the idea has arisen among so many various peoples, that the scheme of things could only be accounted for by the assumption of a Conscious Creator, who wrought it as a work of art out of nothing, spectator ab extra. It was a brilliant idea, for only such a Creator, and by no means the totality of the creation he so artistically wrought, could ever achieve with complete serenity the Enjoyment of Life.

May 23.—I seem to see some significance in the popularity of The Yellow Jacket, the play at the Duke of York's Theatre "in the Chinese manner," and even more genuinely in the Chinese manner than its producers openly profess. This significance lies in the fact that the Chinese manner of performing plays, like the Chinese manner of making pots, is the ideally perfect manner.

The people who feel as I feel take no interest in the modern English theatre and seldom have any wish to go near it. It combines the maximum of material reality with the maximum of spiritual unreality, an evil mixture but inevitable, for on the stage the one involves the other. Nothing can be more stodgy, more wearisome, more unprofitable, more away from all the finer ends of dramatic art. But I have always believed that the exponents of this theatrical method must in the end be the instruments of their own undoing, give them but rope enough. That is what seems to be happening. A reaction has been gradually prepared by Poel, Gordon Craig, Reinhardt, Barker; we have had a purified Shakespeare on the stage and a moderately reasonable Euripides. Now this Yellow Jacket, in which realism is openly flouted and a drama is played on the same principles as children play in the nursery, attracts crowds. They think they are being amused; they really come to a sermon. They are being taught the value of their own imaginations, the useful function of accepted conventions, and the proper meaning of illusion on the stage.

Material realism on the stage is not only dull, it is deadly; the drama dies at its touch. The limitations of reality on the stage are absurdly narrow; the great central facts of life become impossible of presentation. Nothing is left to the spectator; he is inert, a cypher, a senseless block.

All great drama owes its vitality to the fact that its spectator is not a mere passive block, but the living inspiration of the whole play. He is indeed himself the very stage on which the drama is enacted. He is more, he is the creator of the play. Here are a group of apparently ordinary persons, undoubtedly actors, furnished with beautiful garments and little more, a few routine stage properties, and, above all, certain formal conventions, without which, as we see in Euripides and all great dramatists, there can be no high tragedy. Out of these mere nothings and the suggestions they offer, the Spectator, like God, creates a new world and finds it very good. It is his vision, his imagination, the latent possibilities of his soul that are in play all the time.

Every great dramatic stage the world has seen, in Greece, in Spain, in Elizabethan England, in France, has been ordered on these lines. The great dramatist is not a juggler trying to impose an artifice on his public as a reality; he sets himself in the spectator's heart. Shakespeare was well aware of this principle of the drama; Prospero is the Ideal Spectator of the Theatre.

May 31.—It often impresses me with wonder that in Nature or in Art exquisite beauty is apt to appear other than it is. Jules de Gaultier seeks to apply to human life a principle of Bovarism by which we always naturally seek to appear other than we are, as Madame Bovary sought, as sought all Flaubert's personages, and indeed, less consciously on their creator's part, Gaultier claims, the great figures in all fiction. But sometimes I ask myself whether there is not in Nature herself a touch of Madame Bovary.

There is, however, this difference in the Bovarism of Nature's most exquisite moments. They seem other than they are not by seeming more than they are but by seeming less. It is by the attenuation of the medium, by an approach to obscurity, by an approximation to the faintness of a dream, that Beauty is manifested. I recall the Greek head of a girl once shown at the Burlington Fine Arts Club,—over which Rodin, who chanced to see it there, grew rapturous,—and it seemed to be without substance or weight and almost transparent. "Las Meninas" scarcely seems to me a painting made out of solid pigments laid on to a material canvas, but rather a magically evoked vision that at any moment may tremble and pass out of sight. And when I awoke in the dawn a while ago, and saw a vase of tulips on the background of the drawn curtain over a window before me, the scene was so interpenetrated by the soft and diffused light that it seemed altogether purged of matter and nothing but mere Loveliness remained. There are flowers the horticulturist delights to develop which no longer look like living and complex organisms, but only gay fragments of crinkled tissue-paper cut at random by the swift hand of a happy artist. James Hinton would be swept by emotion as he listened to some passage in Mozart. "And yet," he would say, "there is nothing in it." Blake said much the same of the drawings of Duerer. Even the Universe is perhaps built on the same plan. "In all probability matter is composed mainly of holes," said Sir J.J. Thomson a few years ago; and almost at the same moment Poincare was declaring that "there is no such thing as matter, there is only holes in the ether." The World is made out of Nothing, and all Supernal Beauty would seem to be an approach to the Divine Mystery of Nothingness. "Clay is fashioned, and thereby the pot is made; but it is its hollowness that makes it useful," said the first and greatest of the Mystics. "By cutting out doors and windows the room is formed; it is the space which makes the room's use. So that when things are useful it is that in them which is Nothing which makes them useful." Use is the symbol of Beauty, and it is through the doors and the windows of Beautiful Things that their Beauty emerges.—Man himself, "the Beauty of the World," emerges on the world through the door of a Beautiful Thing.

June 5.—"A French gentleman, well acquainted with the constitution of his country, told me above eight years since that France increased so rapidly in peace that they must necessarily have a war every twelve or fourteen years to carry off the refuse of the people." So Thicknesse wrote in 1776, and he seems to have accepted the statement as unimpeachable. Indeed, he lived long enough to see the beginning of the deadliest wars in which France ever engaged. The French were then the most military people in Europe. Now they are the leaders in the great modern civilising movement of Anti-Militarism. To what predominant influence are we to attribute that movement? To Christianity? Most certainly not. To Humanitarianism? There is not the slightest reason to believe it. The ultimate and fundamental ground on which the most civilised nations of to-day are becoming Anti-militant, and why France is at the head of them, is—there can be no reasonable doubt—the Decline in the Birth-rate. Men are no longer cheap enough to be used as food for cannon. If their rulers fail to realise that, it will be the worse for those rulers. The people of the nations are growing resolved that they will no longer be treated as "Refuse." The real refuse, they are beginning to believe, already ripe for destruction, are those Obscurantists who set their backs to Civilisation and Humanity, and clamour for a return of that ill-fated recklessness in procreation from which the world suffered so long, the ancient motto, "Increase and multiply,"—never meant for use in our modern world,—still clinging so firmly to the dry walls of their ancient skulls that nothing will ever scrape it off. The best that can be said for them is that they know not what they talk of.

It is really a very good excuse and may serve to save them from the bloody fate they are so eager to send others to. They are entitled to contend that it holds good even of the wisest. For who knows what he talks about when he talks of even the simplest things in the world, the sky or the sunshine or the water?

June 15.—Am I indeed so unreasonable to care so much whether the sun shines? The very world, to our human eyes, seems to care. It only bursts into life, it only bursts even into the semblance of life, when the sun shines. All this anti-cyclonic day the sky has been cloudless, and for three hours on the sea the wavelets have been breaking into sudden flashes and spires of silver flower-like flames, while on the reflecting waters afar it has seemed as though a myriad argent swallows were escorting me to the coasts of France.

In the evening, in Paris, the glory of the day has still left a long delicious echo in the air and on the sky. I wander along the quays, and by a sudden inspiration go to seek out the philosophic hermit of the Rue des Saints Peres, but even he is not at home to-night, so up and down the silent quays I wander, aimlessly and joyously, to inhale the fragrance of Paris and the loveliness of the night, before I leave in the morning for Spain.

June 19.—As I entered Santa Maria del Mar this morning by the north door, and glanced along the walls under the particular illumination of the moment (for in these Spanish churches of subdued light the varying surprises of illumination are endless), there flashed on me a new swift realisation of an old familiar fact. How mediaeval it is! Those grey walls and the ancient sacred objects disposed on them with a strange irregular harmony, they seem to be as mediaeval hands left them yesterday. And indeed every aspect of this church—which to me has always been romantic and beautiful—can scarcely have undergone any substantial change. Even the worshippers must have changed but little, for this is the church of the workers, and the Spanish woman's workaday costume bears little mark of any specific century. If Cervantes were to return to this district—perhaps to this district alone—of the city he loved it is hard to see what he would note afresh, save the results of natural decay and the shifting of the social centre of gravity.

Whenever I enter an old Spanish church, in the south or in the north, still intact in its material details, in the observance of its traditions, in its antique grandiosity or loveliness, nearly always there is a latent fear at my heart. Who knows how long these things will be left on the earth? Even if they escape the dangers due to the ignorance or carelessness of their own guardians, no one knows what swift destruction may not at any moment overtake them.

In the leading article of the Barcelonese Diluvio to-day I read:

The unity which marked the Middle Ages is broken into an infinite variety of opinions and beliefs.

Everywhere else, however, except in our country, there has been formed a gradation, a rhythm, of ideas, passing from the highest to the deepest notes of the scale. There are radicals in politics, in religion, in philosophy; there are also reactionaries in all these fields; but it is the intermediate notes, conciliatory, more or less eclectic, which constitute the nucleus on which every society must depend. In Spain this central nucleus has no existence. Here in all orders of thought there are only the two extremes: all or nothing.

And the article concludes by saying that this state of things is so threatening to the nation that some pessimists are already standing, watch in hand, to count the moments of Spain's existence.

This tendency of the Spanish spirit, which there can be little doubt about, may not threaten the existence of Spain, but it threatens the existence of the last great fortress of mediaeval splendour and beauty and romance. France, the chosen land of Saintliness and Catholicism, has been swept clear of mediaevalism. England, even though it is the chosen land of Compromise, has in the sphere of religion witnessed destructive revolutions and counter-revolutions. What can save the Church in Spain from perishing by that sword of Intolerance which it has itself forged?

June 20.—In a side-chapel there is a large and tall Virgin, with seemingly closed eyes, a serene and gracious personage. Before this image of the Virgin Mother kneels a young girl, devoutly no doubt, though with a certain careless familiarity, with her dark hair down, and on her head the little transparent piece of lace which the Spanish woman, even the smallest Spanish girl-child, unlike the free-spirited Frenchwoman, never fails to adjust as she enters a church.

I have no sympathy with those who look on the Bible as an outworn book and the Church as an institution whose symbols are empty of meaning. It is a good thing that, somewhere amid our social order or disorder, the Mother whose child has no father save God should be regarded as an object of worship. It would be as well to maintain the symbol of that worship until we have really incorporated it into our hearts and are prepared in our daily life to worship the Mother whose child has no known father save God. It is not the final stage in family evolution, certainly, but a step in the right direction. So let us be thankful to the Bible for stating it so divinely and keeping it before our eyes in such splendid imagery.

The official guardians of the Bible have always felt it to be a dangerous book, to be concealed, as the Jews concealed their sacred things in the ark. When after many centuries they could no longer maintain the policy of concealing it in a foreign tongue which few could understand, a brilliant idea occurred to them. They flung the Bible in the vulgar tongue in millions of copies at the heads of the masses. And they dared them to understand it! This audacity has been justified by the results. A sublime faith in Human Imbecility has seldom led those who cherish it astray.

No wonder they feel so holy a horror of Eugenics!

June 22.—I can see, across the narrow side-street, that a room nearly opposite the windows of my room at the hotel is occupied by tailors, possibly a family of them—two men, two women, two girls. They seem to be always at work, from about eight in the morning until late in the evening; even Sunday seems to make only a little difference, for to-day is Sunday, and they have been at work until half-past seven. They sit, always in the same places, round a table, near the large French windows which are constantly kept open. At the earliest sign of dusk the electric light suspended over the table shines out. They rarely glance through the window, though certainly there is little to see, and I am not sure that they go away for meals; I sometimes see them munching a roll, and the Catalan water-pot is always at hand to drink from. If it were not that I know how the Catalan can live by night as well as by day, I should say that this little group can know nothing whatever of the vast and variegated Barcelonese world in whose heart they live, that it is nothing to them that all last night Barcelona was celebrating St. John's Eve (now becoming a movable festival in the cities) with bonfires and illuminations and festivities of every kind, or that at the very same moment in this same city the soldiery were shooting down the people who never cease to protest against the war in Morocco. They are mostly good-looking, neatly dressed, cheerful, animated; they talk and gesticulate; they even play, the men and the girls battering each other for a few moments with any harmless weapons that come to hand. They are always at work, yet it is clear that they have not adopted the heresy that man was made for work.

I am reminded of another workroom I once overlooked in a London suburb where three men tailors worked from very early till late. But that was a very different spectacle. They were careworn, sordid, carelessly half-dressed creatures, and they worked with ferocity, without speaking, with the monotonous routine of machines at high pressure. They were tragic in the fury of their absorption in their work. They might have been the Fates spinning the destinies of the world.

A marvellous thing how pliant the human animal is to work! Certainly it is no Gospel of Work that the world needs. It has ever been the great concern of the lawgivers of mankind, not to ordain work, but, as we see so interestingly in the Mosaic Codes, to enjoin holidays from work.

June 23.—At a little station on the Catalonian-Pyrenean line near Vich a rather thin, worn-looking young woman alighted from the second-class carriage next to mine, and was greeted by a stout matronly woman and a plump young girl with beaming face. These two were clearly mother and daughter, and I suppose that the careworn new-comer from the city, though it was less obviously so, was an elder daughter. The two women greeted each other with scarcely a word, but they stood close together for a few moments, and slight but visible waves of emotion ran sympathetically down their bodies. Then the elder woman tenderly placed her arm beneath the other's, and they walked slowly away, while the radiant girl, on the other side of the new-comer, lovingly gave a straightening little tug to the back of her jacket, as though it needed it.

One sets out for a new expedition into the world always with a concealed unexpressed hope that one will see something new. But in our little European world one never sees anything new. There is merely a little difference in the emotions, a little finer or a little coarser, a little more open or a little more restrained, a little more or a little less charm in the expression of them. But they are everywhere just the same human emotions manifested in substantially the same ways.

It is not indeed always quite the same outside Europe. It is not the same in Morocco. I always remember how I never grew tired of watching the Moors in even the smallest operation of their daily life. For it always seemed that their actions, their commonest actions, were set to a rhythm which to a European was new and strange. Therefore it was infinitely fascinating.

June 24.—St. John's Eve was celebrated here in Ripoll on the correct, or, as the Catalans call it, the classical, date last night. The little market-place was full of animation. (The church, I may note, stands in the middle of the Plaza, and the market is held in the primitive way all round the church, the market-women's stalls clinging close to its walls.) Here for hours, and no doubt long after I had gone to bed, the grave, sweet Catalan girls were dancing with their young men, in couples or in circles, and later I was awakened by the singing of Catalan songs which reminded me a little of Cornish carols. The Catalan girls, up in these Pyrenean heights, are perhaps more often seriously beautiful than in Barcelona, though here, too, they are well endowed with the substantial, homely, good-humoured Catalan graces. But here they do their hair straight and low on the brows on each side and fasten it in knots near the nape of the neck, so they have an air of distinction which sometimes recalls the Florentine women of Ghirlandajo's or Botticelli's portraits. The solar festival of St. John's Eve is perhaps the most ancient in our European world, but even in this remote corner of it the dances seem to have lost all recognised connection with the bonfires, which in Barcelona are mostly left to the children. This dancing is just human, popular dancing to the accompaniment, sad to tell, of a mechanical piano. Yet even as such it is attractive, and I lingered around it. For I am English, very English, and I spend much of my time in London, where dancing in the street is treated by the police as "disorderly conduct." For only the day before I left a London magistrate admonished a man and woman placed in the dock before him for this heinous offence of dancing in the street, which gave so much pleasure to my Catalan youths and maidens all last night: "This is not a country in which people can afford to be jovial. You must cultivate a spirit of melancholy if you want to be safe. Go away and be as sad as you can."

June 25.—Up here on the solitary mountain side, with Ripoll and its swirling, roaring river and many bridges below me, I realise better the admirable position of this ancient monastery city, so admirable that even to-day Ripoll is a flourishing little town. The river has here formed a flat, though further on it enters a narrow gorge, and the mountains open out into an amphitheatre. It is, one sees, on a large and magnificent scale, precisely the site which always commended itself to the monks of old, and not least to the Benedictines when they chose the country for their houses instead of the town, and here, indeed, they were at the outset far away from any great centre of human habitation. Founded, according to the Chronicles, in the ninth century by Wilfred the Shaggy, the first independent Count of Barcelona, one suspects that the selection of the spot was less, an original inspiration of the Shaggy Count's than put into his head by astute monks, who have modestly refrained from mentioning their own part in the transaction. In any case they flourished, and a century later, when Montserrat had been devastated by the Moors, it was restored and repeopled by monks from Ripoll. In their own house they were greatly active. There is the huge monastery of which so much still remains, not a beautiful erection, scarcely even interesting for the most part, massive, orderly, excessively bare, but with two features which will ever make it notable; its Romanesque cloisters with the highly variegated capitals, and the sculptured western portal. This is regarded as one of the earliest works of sculpture in Spain, and certainly it has some very primitive, one may even say Iberian, traits, for the large toro-like animals recall Iberian sculpture. Yet it is a great work, largely and systematically planned, full of imaginative variety; at innumerable points it anticipates what the later more accomplished Gothic sculptors were to achieve, and I suspect, indeed, that much of its apparent lack of executive skill is due to wearing away of the rather soft stone the sculptors used. In the capitals of the cloisters—certainly much later—a peculiarly hard stone has been chosen, and, notwithstanding, the precision and expressive vigour of these artists is clearly shown. But the great portal, a stupendous work of art, as we still dimly perceive it to be, wrought nearly a thousand years ago in this sheltered nook of the Pyrenees, lingers in the memory. Also, like so many other things in the far Past, its crumbling outlines scatter much ancient dust over what we vainly call Modern Progress.

June 26.—Every supposed improvement in methods of travelling seems to me to sacrifice more than it gains; it gains speed, but it sacrifices nearly everything else, even comfort. Yet, I fear, there is a certain unreality in one's lamentations over the decay of the ancient methods; one is still borne on the stream. I have long wanted to cross the Pyrenees, and certainly I should prefer to cross them leisurely, as Thicknesse would have done (had he not preferred to elude them by the easier and beaten road), in one's own carriage. But, failing that, surely I ought to have walked, or, at least, to have travelled by the diligence. Yet I cannot escape the contagious disease of Modernity, and I choose to be whirled through the most delicious and restful scenery in the world, at the most perfect moment of the year, in three hours (including the interval for lunch) in a motor 'bus, while any stray passengers on the road, as by common accord, plant themselves on the further side of the nearest big tree until our fearsome engine of modernity has safely passed. It is an adventure I scarcely feel proud of.

Yet even this hurried whirl has not been too swift to leave memories which will linger long and exquisitely, among far other scenes, even with a sense of abiding peace. How often shall I recall the exhilaration of this clear, soft air of the mountains, touched towards the summits by the icy breath of the snow, these glimpses of swift streams and sudden cascades, the scent of the pine forests, the intense flame of full-flowered broom, and perhaps more than all, the trees, as large as almond trees, of richly blossomed wild roses now fully out, white roses and pink roses, which abound along these winding roads among the mountains. Where else can there be such wild rose trees?

June 27.—It is, I suppose, more than twenty years since I stopped at Perpignan for the night, on the eve of first entering Spain, and pushed open in the twilight the little door of the Cathedral, and knew with sudden deep satisfaction the beauty and originality of Catalonian architecture. The city of Perpignan has emerged into vigorous modern life since then, but the Cathedral remains the same and still calls me with the same voice. It seems but yesterday that I entered it. And there, at the same spot, in the second northern bay, the same little lamp is still twinkling, each faint throb seemingly the last, as in memory it has twinkled for twenty years.

June 28.—Nowhere, it is said, are the offices of the Church more magnificently presented than in Barcelona. However this may be, I nowhere feel so much as in Spain that whatever may happen to Christianity it is essential that the ancient traditions of the Mass should be preserved, and the churches of Catholicism continue to be the arena of such Sacred Operas as the Mass, their supreme and classic type.

I do not assert that it need necessarily be maintained as a Religious Office. There are serious objections to the attempt at divine officiation by those who have no conviction of their own Divine Office. There are surely sufficient persons, even in pessimistic and agnostic Spain, to carry on the Mass in sincerity for a long time to come. When sincerity failed, I would hold that the Mass as an act of religion had come to an end.

It would remain as Art. As Art, as the embodied summary of a great ancient tradition, a supreme moment in the spiritual history of the world, the Mass would retain its vitality as surely as Dante's Divine Comedy retains its vitality, even though the stage of that Comedy has no more reality for most modern readers than the stage of Punch and Judy. So it is here. The Play of the Mass has been wrought through centuries out of the finest intuitions, the loftiest aspirations, of a long succession of the most sensitively spiritual men of their time. Its external shell of superstition may fall away. But when that happens the play will gain rather than lose. It will become clearly visible as the Divine Drama it is, the embodied presentation of the Soul's Great Adventure, the symbolic Initiation of the Individual into the Spiritual Life of the World.

It is not only for the perpetuation of the traditions of the recognised Sacred Offices that Churches such as the Spanish churches continue to constitute the ideal stage. Secular drama arises out of sacred drama, and at its most superb moments (as we see, earlier than Christianity, in the Bacchae, the final achievement of the mature art of Euripides) it still remains infused with the old sacred spirit and even the old sacred forms, for which the Church remains the only fitting background. It might possibly be so for Parsifal. Of all operas since Parsifal that I have seen, the Ariane et Barbe Bleue of Dukas and Maeterlinck seems to me the most beautiful, the most exalted in conception, the most finely symbolic, and surely of all modern operas it is that in which the ideas and the words, the music, the stage pictures, are wrought with finest artistry into one harmonious whole. It seems to me that the emotions aroused by such an Opera as Ariane could only be fittingly expressed—unecclesiastical as Blue Beard's character may appear—in the frame of one of these old Catalonian churches. The unique possibilities of the church for dramatic art constitute one of the reasons why I shudder at the thought that these wonderful and fascinating buildings may some day be swept of their beauty and even torn down.

June 29.—I have always felt a certain antipathy—unreasonable, no doubt—to Brittany, and never experienced any impulse to enter it. Now that I have done so the chances of my route have placed my entry at Nantes, where the contact of neighbouring provinces may well have modified the Breton characteristics. Yet they seem to me quite pronounced, and scarcely affected even by the vigorous and mercantile activity of this large city. A large and busy city, and yet I feel that I am among a people who are, ineradically, provincial peasants, men and women of a temper impervious to civilisation. Here too are those symbols of peasantry, the white caps of endless shape and fashion which seem to exert such an attraction on the sentimental English mind. Yet they are not by any means beautiful. And what terrible faces they enfold—battered, shapeless, featureless faces that may have been tossed among granite rocks but seem never to have been moulded by human intercourse. The young girls are often rather pretty, sometimes coquettish, with occasionally a touch of careless abandonment which reminds one of England rather than of France. But the old women—one can scarcely believe that these tragic, narrow-eyed, narrow-spirited old women are next neighbours to the handsome, jovial old women of Normandy. And the old men, to an extent that surely is seldom found, are the exact counterparts of the old women, with just the same passive, battered, pathetic figures. (I recall the remark of an English friend who has lived much in Brittany, that these people look as though they were still living under the Ancient Regime.) I know I shall never forget the congregation that I saw gathered together in the Cathedral at High Mass this Sunday morning, largely made up of these poor old decayed abortions of humanity, all moved by the most intense and absorbed devotion.

There is something gay and open about this Cathedral. The whole ritual is clear to view; there is a lavish display of scarlet in the choir upholstery; the music is singularly swift and cheerful; the whole tone of the place is bright and joyous. One cannot but realise how perfectly such a worship is adapted to such worshippers. Surely an accomplished ecclesiastical art and insight have been at work here. We seem to see a people scarcely made for this world, and sunk in ruts of sorrow, below the level of humanity, where no hope is visible but the sky. And here is their sky! How can it be but that they should embrace the vision with a fervour surely unparalleled in Christendom outside Russia.

July 4.—Feeble little scraps of reproduction of the Bayeux Tapestry have been familiar to me since I was a child. Yet until to-day I entered the room opposite the Cathedral where it has lately been simply but fittingly housed, I never imagined, and no one had ever told me, how splendid a work of art it is. Nothing could be more unpretentious, more domestic in a sense, with almost the air of our grandmothers' samplers, than this long strip of embroidered canvas, still so fresh in its colours that it might have been finished, if indeed it is finished, yesterday. It is technically crude, childishly conventionalised, wrought with an enforced economy of means. Yet how superbly direct and bold in the presentation of the narrative, in the realism of the essential details, in all this marshalling of ships and horses and men, in this tragic multiplication of death on the battlefield. One feels behind it the fine and free energy of a creative spirit. It is one of our great European masterpieces of art, a glory alike for Normans and for English. It is among the things that once known must live in one's mind to recur to memory with a thrill of exhilaration. There is in it the spirit of another great Norman work of art, the Chanson de Roland; there is even in it the spirit of Homer, or the spirit of Flaubert, "the French Homer," as Gourmont has called him, who lived and worked so few miles away from this city of Bayeux.

July 9.—Now that I have again crossed Normandy, this time from the south-west, I see the old puzzle of the architectural quality of the Norman from a new aspect. Certainly the Normans seem to have had a native impulse to make large, strong, bold buildings. But the aesthetic qualities of these buildings seem sometimes to me a little doubtful. Surely Coutances must lie in a thoroughly Norman district; it possesses three great churches, of which St. Nicolas pleases me most; the Cathedral, even in its strength and originality, makes no strong appeal to me. I find more that is attractive in Bayeux Cathedral, which is a stage nearer to the Seine. And I have asked myself this time whether the architectural phenomena of Normandy may not be explained precisely by this presence of the Seine, running right through the middle of it, and of its capital city, Rouen, which is also its great architectural centre. What is architecturally of the first quality in Normandy and the neighbouring provinces seems to me now to lie on the Seine, or within some fifty miles of its banks. That would include Bayeux and Chartres to the south, as well as Amiens and Beauvais to the north. So I ask myself whether what we see in this region may not be the result of the great highway passing through it. Have we not here, perhaps, action and reaction between the massive constructional spirit of Normandy and the exquisite inventive aesthetic spirit of the Ile de France?

July 12.—Certainly June, at all events as I have known it this year, is the ideal month for rambling through Europe. Here along the Norman coast, indeed, at Avranches and Fecamp, one encounters a damp cloudiness to remind one that England is almost within sight. Yet during a month in Spain and in France, in the Pyrenees and in Normandy, it has never been too hot or too cold, during the whole time I have scarcely so much as seen rain. Everywhere my journey has been an endless procession of summer pageantry, of greenery that is always fresh, of flowers that have just reached their hour of brilliant expansion. "To travel is to die continually"; and I have had occasion to realise the truth of the saying during the past few weeks. But I shall not soon forget the joy of this wild profusion of flowers scattered all along my path, for two thousand miles—the roses and lilies, the broom and the poppies.

July 18.—When one considers that Irony which seems so prevailing a note of human affairs, if we choose to regard human affairs from the theological standpoint, it is interesting to remember that the most pronounced intellectual characteristic of Jesus, whom the instinct of the populace recognised as the Incarnation of God, was, in the wider sense, a ferocious Irony. God is Love, said St. John. The popular mind seems to have had an obscure conviction that God is Irony. And it is in his own image, let us remember, that Man creates God.

July 29.—In his essay on "The Comparative Anatomy of Angels," Fechner, the father of experimental psychology, argued that angels can have no legs. For if we go far down in the animal scale we find that centipedes have God knows how many legs; then come butterflies and beetles with six, and then mammals with four; then come birds, which resemble angels by their free movement through space, and man, who by his own account is half an angel, with only two legs; in the final step to the angelic state of spherical perfection the remaining pair of legs must finally disappear. (Indeed, Origen is said to have believed that the Resurrection body would be spherical.)

One is reminded of Fechner's playful satire by the spectacle of those poets who ape angelic modes of progression. The poet who desires to achieve the music of the spheres may impart to his movement the planetary impulse if he can suggest to our ears the illusion of the swift rush of rustling wings, but he must never forget that in reality he still possesses legs, and that these legs have to be accounted for, and reckoned in the constitution of metre. Every poet must still move with feet, feet that must be exquisitely sensitive to the earth's touch, impeccably skilful to encounter every obstacle on the way with the joyous flashing of his feet. The most splendidly angelic inspirations will not suffice to compensate the poet for feet that draggle in the mud, or stumble higgledy-piggledy among stony words, which his toes should have kissed into jewels.

We find this well illustrated in a quite genuine poet whose biography has just been published. In some poems of Francis Thompson we see that the poet seeks to fling himself into a planetary course, forgetting, and hoping to hypnotise his readers into forgetting, that the poet has feet. He thereby takes his place in the group which Matthew Arnold termed that of Ineffectual Angels. Arnold, it is true, a pedagogue rather than a critic, invented this name for Shelley, whom it scarcely fits. For Shelley, whose feet almost keep pace with his wings, more nearly belongs to the Effectual Angels.

August 3.—In our modern life an immense stress is placed on the value of Morality. Very little stress is placed on the value of Immorality. I do not, of course, use the words "Morality" and "Immorality" in any question-begging way as synonymous of "goodness" and of "badness," but, technically, as names for two different sorts of socially-determined impulses. Morality covers those impulses, of a more communal character, which conform to the standards of action openly accepted at a given time and place; Immorality stands for those impulses, of a more individual character, which fail so to conform. Morality is, more concisely, the mores of the moment; Immorality is the mores of some other moment, it may be a better, it may be a worse moment. Every nonconformist action is immoral, but whether it is thereby good, bad, or indifferent remains another question. Jesus was immoral; so also was Barabbas.

The more one knows of the real lives of people the more one perceives how large a part of them is lived in the sphere of Immorality and how vitally important that part is. It is not the part shown to the world, the mechanism of its activities remains hidden. Yet those activities are so intimate and so potent that in a large proportion of cases it is in their sphere that we must seek the true motive force of the man or woman, who may be a most excellent person, one who lays, indeed, emphatically and honestly, the greatest stress on the value of the impulses of Morality. "The passions are the winds which fill the sails of the vessel," said the hermit to Zadig, and Spinoza had already said the same thing in other words. The passions are by their nature Immoralities. To Morality is left the impulses which guide the rudder, of little value when no winds blow.

Thus to emphasise the value of Immorality is not to diminish the value of Morality. They are both alike necessary. ("Everything is dangerous here below, and everything is necessary.") There should be no call on us to place the stress on one side at the expense of the other side. When Carducci, with thoughts directed on the intellectual history of humanity, wrote his hymn to Satan, it was as the symbol of the revolutionary power of reason that he sang the triumph of Satan over Jehovah. But no such triumph of Immorality over Morality can be foreseen or desired. When we place ourselves at the high biological standpoint we see the vital necessity of each. It is necessary to place the stress on both.

If we ask ourselves why at the present moment the sphere of Morality seems to have acquired, not in actual life, but in popular esteem, an undue prominence over the sphere of Immorality, we may see various tendencies at work, and perhaps not uninfluentially the decay of Christianity. For Religion has always been the foe of Morality, and has always had a sneer for "mere Morality." Religion stands for the Individual as Morality stands for Society. Religion is the champion of Grace; it pours contempt on "Law," the stronghold of Morality, even annuls it. The Pauline and pseudo-Pauline Epistles are inexhaustible on this theme. The Catholic Church with its Absolution and its Indulgences could always override Morality, and Protestantism, for all its hatred of Absolution and of Indulgences, by the aid of Faith and of Grace easily maintained exactly the same conquest over Morality. So the decay of Christianity is the fall of the Sublime Guardian of Immorality.

One may well ask oneself whether it is not a pressing need of our time to see to it that these two great and seemingly opposed impulses are maintained in harmonious balance, by their vital tension to further those Higher Ends of Life to which Morality and Immorality alike must be held in due subjection.

August 18.—How marvellous is the Humility of Man! I find it illustrated in nothing so much as in his treatment of his Idols and Gods. With a charming irony the so-called "Second Isaiah" described how the craftsman deals with mere ordinary wood or stone which he puts to the basest purposes; "and the residue thereof he maketh a God." One wonders whether Isaiah ever realised that he himself was the fellow of that craftsman. He also had moulded his Jehovah out of the residue of his own ordinary emotions and ideas. But that application of his own irony probably never occurred to Isaiah, and if it had he was too wise a prophet to mention it.

Man makes his God and places Him, with nothing to rest on, in a Chaos, and imposes on Him the task of introducing life and order, everything indeed, out of His own Divine Brains. To the savage theologian and his more civilised successors that seems an intelligent theory of the Universe. They fail to see that they have merely removed an inevitable difficulty a stage further back. (And we can understand the reply of the irritable old-world theologian to one who asked what God was doing before the creation: "He was making rods for the backs of fools.") For the Evolution of a Creator is no easier a problem than the Evolution of a Cosmos.

The theologians, with their ineradicable anthropomorphic conceptions, have never been able to see how stupendous an anachronism they committed (without even taking the trouble to analyse Time) when they placed God prior to His Created Universe in the void and formless Nebula. Such a God would not have been worth the mist He was made of.

It is only when we place God at the End, not at the Beginning, that the Universe falls into order. God is an Unutterable Sigh in the Human Heart, said the old German mystic. And therewith said the last word.

August 21.—Is not a certain aloofness essential to our vision of the Heaven of Art?

As I write I glance up from time to time at the open door of a schoolhouse, and am aware of a dim harmony of soft, rich, deep colour and atmosphere framed by the doorway and momentarily falling into a balanced composition, purified of details by obscurity, the semblance of a Velasquez. Doors and windows and gateways vouchsafe to us perpetually the vision of a beauty apparently remote from the sphere of our sorrow, and the impression of a room as we gaze into it from without through the window is more beautiful than when we move within it. Every picture, the creation of the artist's eye and hand, is a vision seen through a window.

It is the delight of mirrors that they give something of the same impression as I receive from the schoolhouse doorway. In music-halls, and restaurants, and other places where large mirrors hang on the walls, we may constantly be entranced by the lovely and shifting pictures of the commonplace things which they chance to frame. In the atmosphere of mirrors there always seems to be a depth and tone which eludes us in the actual direct vision. Mirrors cut off sections of the commonplace real world, and hold them aloof from us in a sphere of beauty. From the days of the Greeks and Etruscans to the days of Henri de Regnier a peculiar suggestion of aesthetic loveliness has thus always adhered to the mirror. The most miraculous of pictures created by man, "Las Meninas," resembles nothing so much as the vision momentarily floated on a mirror. In this world we see "as in a glass darkly," said St. Paul, and he might have added that in so seeing we see more and more beautifully than we can ever hope to see "face to face."

There is sometimes even more deliciously the same kind of lovely attraction in the reflection of lakes and canals, and languid rivers and the pools of fountains. Here reality is mirrored so faintly and tremulously, so brokenly, so as it seems evanescently, that the simplest things may be purged and refined into suggestions of exquisite beauty. Again and again some scene of scarcely more than commonplace charm—seen from some bridge at Thetford, or by some canal at Delft, some pond in Moscow—imprints itself on the memory for ever, because one chances to see it under the accident of fit circumstance reflected in the water.

Still more mysterious, still more elusive, still more remote are the glorious visions of the external world which we may catch in a polished copper bowl, as in crystals and jewels and the human eye. Well might Boehme among the polished pots of his kitchen receive intimation of the secret light of the Universe.

In a certain sense there is more in the tremulously faint and far reflection of a thing than there is in the thing itself. The dog who preferred the reflection of his bone in the water to the bone itself, though from a practical point of view he made a lamentable mistake, was aesthetically justified. No "orb," as Tennyson said, is a "perfect star" while we walk therein. Aloofness is essential to the Beatific Vision. If we entered its portals Heaven would no longer be Heaven.

August 23.—I never grow weary of the endless charm of English parish churches. The more one sees of them the more one realises what fresh, delightful surprises they hold. Nothing else in England betrays so well the curious individuality, the fascinating tendency to incipient eccentricity, which marks the English genius. Certainly there are few English churches one can place beside some of the more noble and exquisitely beautiful French churches, such a church, for instance, as that of Caudebec on the Seine. But one will nowhere find such a series of variously delightful churches springing out of concretely diversified minds.

Here at Maldon I enter the parish church in the centre of the town, and find that the tower, which appears outside, so far as one is able to view it, of the normal four-sided shape, is really triangular; and when in the nave one faces west, this peculiarity imparts an adventurous sense of novelty to the church, a delicious and mysterious surprise one could not anticipate, nor even realise, until one had seen.

Individuality is as common in the world as ever it was, and as precious. But its accepted manifestations become ever rarer. What architect to-day would venture to design a triangular-towered church, and what Committee would accept it? No doubt they would all find excellent reasons against such a tower. But those reasons existed five hundred years ago. Yet the men of Maldon built this tower, and it has set for ever the seal of unique charm upon their church.

The heel of Modern Man is struck down very firmly on Individuality, and not in human life only, but also in Nature. Hahn in his summary survey of the North American fauna and flora comes to the conclusion that their aspect is becoming ever tamer and more commonplace, because all the animals and plants that are rare or bizarre or beautiful are being sedulously destroyed by Man's devastating hand. There is nothing we have to fight for more strenuously than Individuality. Unless, indeed, since Man cannot inhabit the earth for ever, the growing dulness of the world may not be a beneficent adaptation to the final extinction, and the last man die content, thankful to leave so dreary and monotonous a scene.

August 24.—A month ago I was wandering through the superb spiritual fortress overlying a primeval pagan sanctuary, which was dreamed twelve centuries ago in the brain of a Bishop of neighbouring Avranches, and slowly realised by the monastic aspiration, energy, and skill of many generations to dominate the Bay of St. Michel even now after all the monks have passed away. And to-day I have been wandering in a very different scene around the scanty and charming remains of the Abbey of Beeleigh, along peaceful walks by lovely streams in this most delightful corner of Essex, which the Premonstratensian Canons once captured, in witness of the triumph of religion over the world and the right of the religious to enjoy the best that the world can give.

The Premonstratensian Canons who followed the mild Augustinian rule differed from the Benedictines, and it was not in their genius to seize great rocks and convert them into fortresses. Their attitude was humane, their rule not excessively ascetic; they allowed men and women to exercise the religious life side by side in neighbouring houses; they lived in the country but they were in familiar touch with the world. The White Canons ruled Maldon, but they lived at Beeleigh. They appear to have been admirable priests; the official Visitor (for they were free from Episcopal control) could on one occasion find nothing amiss save that the Canons wore more luxuriant hair than befitted those who bear the chastening sign of the tonsure, and their abbots seem to have been exceptionally wise and prudent. This sweet pastoral scenery, these slow streams with luxuriant banks and pleasant, sheltered walks, were altogether to their taste. Here were their fish-ponds and their mills. Here were all the luxuries of Epicurean austerity. Even in the matter of comfort compare the cramped dungeons, made for defence, in which the would-be lords of the world dwelt, with the spacious democratic palaces, or the finely spaced rural villas, with no need to think of defence, in which men led the religious life. Compare this abbey even with Castle Hedingham a few miles away, once the home of the great De Veres, by no means so gloomy as such castles are wont to be, and I doubt if you would prefer it to live in; as a matter of fact it has been little used for centuries, while Beeleigh is still a home. Here in these rich and peaceful gardens, Abbot Epicurus of Beeleigh—who held in his hands, at convenient arm's length, the prosperous town of Maldon—could discourse at leisure to his girl disciples—had there been a house of canonesses here—of the lusts and passions that dominate the world, repletion, extravagance, disorders, disease, warfare, and death. In reality Abbot Epicurus had captured all the best things the world can hold and established them at Beeleigh, leaving only the dregs. And at the same time, by a supreme master-stroke of ironic skill, he persuaded those stupid dregs that in spurning them he had renounced the World!

August 27.—Here in the north-west of Suffolk and on into Norfolk there is a fascinating blank in the map. Much of it was in ancient days fenland, with, long before the dawn of history, at least one spot which was a great civilising centre of England, and even maybe of Europe, from the abundance and the quality of the flints here skilfully worked into implements. Now it is simply undulating stretches of heathland, at this season freshly breaking into flower, with many pine trees, and the most invigorating air one can desire. Not a house sometimes for miles, not a soul maybe in sight all day long, not (as we know of old by sad experience and are provided accordingly) a single wayside inn within reach. Only innumerable rabbits who help to dig out the worked flints one may easily find—broken, imperfect, for the most part no doubt discarded—and rare solitary herons, silent and motionless, with long legs and great bills, and unfamiliar flowers, and gorgeous butterflies. Here, on a bank of heather and thyme, we spread our simple and delicious meal.

Do not ask the way to this ancient centre of civilisation, even by its modern and misleading name, even at the nearest cottage. They cannot tell you, and have not so much as heard of it. Yet it may be that those cottagers themselves are of the race of the men who were here once the pioneers of human civilisation, for until lately the people of this isolated region were said to be of different physical type and even of different dress from other people. So it is, as they said of old, that the glory of the world passes away.

August 29.—Whenever, as to-day, I pass through Bury St. Edmunds or Stowmarket or Sudbury and the neighbourhood, I experience a curious racial home-feeling. I never saw any of these towns or took much interest in them till I had reached middle age. Yet whenever I enter this area I realise that its inhabitants are nearer to me in blood, and doubtless in nervous and psychic tissue, than the people of any other area. It is true that one may feel no special affinity to the members of one's own family group individually. But collectively the affinity cannot fail to be impressive. I am convinced that if a man were to associate with a group of one hundred women (I limit the sex merely because it is in relation to the opposite sex that a man's instinctive and unreasoned sympathies and antipathies are most definite), this group consisting of fifty women who belonged to his own ancestral district, and therefore his own blood, and fifty outside that district, his sympathies would more frequently be evoked by the members of the first group than the second, however indistinguishably they were mingled. That harmonises with the fact that homogamy, as it is called, predominates over heterogamy, that like is attractive to like. Therefore, after all, the feeling I have acquired concerning this part of Suffolk may be in part a matter of instinct.

September 3.—Why is it that notwithstanding my profound admiration for Beethoven, and the delight he frequently gives me, I yet feel so disquieted by that master and so restively hostile to his prevailing temper? I always seem to have a vague feeling that he is a Satan among musicians, a fallen angel in the darkness who is perpetually seeking to fight his way back to happiness, and to enter on the impossible task of taking the Kingdom of Heaven by violence.

Consider the exceedingly popular Fifth Symphony. It seems to me to represent the strenuous efforts of a man who is struggling virtuously with adversity. It is morality rather than art (I would not say the same of the Seventh Symphony, or of the Ninth), and the morality of a proud, self-assertive, rather ill-bred person. I always think of Beethoven as the man who, walking with Goethe at Weimar and meeting the Ducal Court party, turned up his coat collar and elbowed his way through the courtiers, who were all attention to him, while Goethe, scarcely noticed, stood aside bowing, doubtless with an ironic smile at his heart. The Fifth Symphony is a musical rendering of that episode. We feel all through it that self-assertive, self-righteous little man, vigorously thrusting himself through difficulties to the goal of success, and finely advertising his progress over obstacles by that ever-restless drum which is the backbone of the whole symphony. No wonder the Fifth Symphony appeals so much to our virtuous and pushful middle-class audiences. They seem to feel in it the glorification of "a nation of shopkeepers" who are the happy possessors of a "Nonconformist Conscience."

It is another appeal which is made by Bach and Mozart and Schubert. They also may be moved by suffering and sorrow. But they are never in vain rebellion against the Universe. Their sorrow is itself at one with the Universe, and therefore at one with its joy. Such sorrow gives wings to the soul, it elevates and enlarges us; we are not jarred and crushed by violent attacks on a Fortress of Joy which to such attacks must ever be an unscaleable glacis. The Kingdom of Heaven is not taken by violence, and I feel that in the world of music many a smaller man is nearer to the Kingdom of Heaven than this prodigious and lamentable Titan.

September 9.—As I sit basking in the sunshine on this familiar little rocky peninsula in the centre of the bay, still almost surrounded by the falling tide, I note a youth and a girl crossing the sands below me, where the gulls calmly rest, to the edge of dry beach. Then she sits down and he stands or bends tenderly over her. This continues for some time, but the operation thus deliberately carried out, it ultimately becomes clear, is simply that of removing her shoes and stockings. At last it is accomplished, he raises her, swiftly harmonises his costume to hers, and forthwith conducts her through some shallow water to an island of sand. The deeper passage to my peninsula still remains to be forded, and the feat requires some circumspection. In less than half an hour it will be easy to walk across dry-shod, and time is evidently no object. But so prosaic a proceeding is disdained by Paul and Virginia. He wades carefully forward within reach of the rocks, flings boots, white stockings, and other cumbersome belongings on to the lowest ledge of rock, returns to the island, and lifts her up, supporting her body with one arm as she clasps his neck, while with the other he slowly and anxiously feels his way with his stout stick among the big seaweed-grown stones in the surf. I see them clearly now, a serious bespectacled youth of some twenty—one years and a golden—haired girl, some two or three years younger, in a clinging white dress. The young St. Christopher at last deposits his sacred burden at the foot of the peninsula, which they climb, to sit down on the rocks, and in the same deliberate, happy, self-absorbed spirit complete their toilet and depart.

I know not what relation of tender intimacy unites them, but when they have gone their faces remain in my memory. I seem to see them thirty years hence, that honest, faithful, straightforward face of the youth, transformed into the rigid image of an eminently-worthy and wholly-undistinguished citizen, and the radiant, meaningless girl a stout and careful Mrs. Grundy with a band of children around her. Yet the memory of to-day will still perhaps be enshrined in their hearts.

September 12.—"I study you as I study the Bible," said a wise and religious old doctor to a patient who had proved a complex and difficult case. His study was of much benefit to her and probably to himself.

It is precisely in this spirit that the psychoanalysts, taught by the genius of Freud, study their patients, devoting an hour a day for weeks or months or more to the gospel before them, seeking to purge themselves of all prepossessions, to lie open to the Divine mystery they are approaching, as the mystic lies open to his Divine mystery, to wait patiently as every page of the physical and spiritual history is turned over, to penetrate slowly to the most remote and intimate secrets of personality, even those that the surface shows no indication of, that have never been uttered or known—until at last the Illumination comes and the Meaning is clear.

How few among the general run of us, medical or lay, have yet learnt to deal thus reverently with Human Beings! Here are these things, Men, Women, and Children, infinitely fascinating and curious in every curve and function of their bodies and souls, with the world set in the heart of each of them, indeed whole Immortalities and Cosmoses, of which one may sometimes catch glimpses, with amazement if not indeed with amusement, and such a holy awe as Dostoeffsky felt when in moments of revelation he saw by some sudden gleam into the hearts of the criminals around him in Siberia—and what do we do with them? Tie up their souls in official red tape and render their bodies anaemic with clothes, distort them in factories or slay them on battlefields. The doctor is herein the New Mystic at whose feet all must patiently learn the Revelation of Humanity. When there is not quite so much Mankind in the world, and what remains is of better quality, we may perhaps begin to see that a new task lies before Religion, and that all the patient study which men devoted to the Revelation that seemed to them held in the Text of the Bible is but a feeble symbol of the Revelation held in the Text of Men and Women, of whom all the Bibles that ever were merely contain the excretions. It is indeed exactly on that account that we cannot study Bibles too devoutly.

So before each New Person let us ejaculate internally that profound and memorable saying: "I study you as I study the Bible."

September 18.—The approach to the comprehension of any original personality, in art or in philosophy, is slow but full of fascination. One's first impulse, I have usually found, is one of tedious indifference, followed by rejection, probably accompanied with repugnance. In this sphere the door which opens at a touch may only lead into a hovel. The portal to a glorious temple may be through a dark and dreary narthex, to be traversed painfully, it may be on one's knees, a passage only illuminated in its last stages by exhilarating bursts of light as the door ahead momentarily swings open.

When Jules de Gaultier sent me on publication his first book Le Bovarysme, I glanced through it with but a faint interest and threw it aside. (I had done the same some years before, perhaps as stupidly, who knows? with the Matiere et Memoire of the rival philosopher who has since become so magnificently prosperous in the world.) The awkward and ill-chosen title offended me, as it offends me still, and Gaultier had then scarcely attained the full personal charm of his grave, subdued, and reticent style. But another book arrived from the same author, and yet another, and I began to feel the attraction of this new thinker and to grasp slowly his daring and elusive conception of the world. Here, one remarks, is where the stupid people who are slow of understanding have their compensation in the end. For whereas the brilliant person sees so much light at his first effort that he is apt to be content with it, the other is never content, but is always groping after more, perhaps to come nearer to the Great Light at last.

For Gaultier the world is a spectacle. We always conceive ourselves other than we are (that is the famous "Bovarism"), we can never know the world as it is. The divine creative principle is Error. All the great dramatists and novelists have unconsciously realised this in the sphere of literature; Flaubert consciously and supremely realised it. In life also the same principle holds. Life is a perpetual risk and danger, the perpetual toss of a die which can never be calculated, a perpetual challenge to high adventure. But it is only in Art that the solution of Life's problems can be found. Life is always immoral and unjust. It is Art alone which, rising above the categories of Morality, justifies the pains and griefs of Life by demonstrating their representative character and emphasising their spectacular value, thus redeeming the Pain of Life by Beauty.

It is along this path that Jules de Gaultier would lead by the hand those tender and courageous souls who care to follow him.

September 19.—Imbecility is the Enemy, and there are two tragic shapes of Imbecility which one meets so often, and finds so disheartening, perhaps not indeed hopeless, not beyond the power even of Training, to say nothing of Breeding, to better.

There is that form of Imbecility which shows itself in the inability to see any person or any thing save in a halo of the debased effluvium which the imbecile creature himself exudes, and in the firm conviction—that is where the Imbecility comes in—that the halo pertains not to himself but to the object he gazes at. Law, necessary as it is, powerfully aids these manifestations, and the Policeman is the accepted representative of this form of Imbecility. It is a sad form, not only because it is so common, and so powerfully supported, but because it effectually destroys the finest blossoms of human aspiration on the pathway to any more beautiful life. It is the guardian against us of the Gate of Paradise. If the inspired genius who wrote the delightful book of Genesis were among us to-day, instead of two cherubim with flaming swords, he would probably have placed at the door of his Eden two policemen with truncheons. Nothing can be lovelier, more true to the spiritual fact, than the account in the Gospel of the angel Gabriel's visit to the Virgin Mary; it represents the experience of innumerable women in all ages, and on that account it has received sanctification for ever. It was an incident described by a saint who was also a poet. But imagine that incident described by a policeman, and one shudders. So long as the policeman's special form of Imbecility triumphs in the world, there will be no Paradise Regained.

But there is another shape in which Imbecility is revealed, scarcely less fatal though it is of the reverse kind. It is the Imbecility of those young things who, themselves radiating innocence and fragrance, instinctively cast a garment of their own making round every object that attracts them, however foul, and never see it for what it is, until too late, and then, with their illusion, their own innocence and fragrance have also gone. For this kind of Imbecility erects a fortress for the Evil in the world it could by a glance strike dead.

In the one case, as in the other, it is Intelligence which is at fault, the enlightened brain, the calm and discerning eye that can see things for what they are, neither debasing nor exalting them. The clear-sighted eye in front of the enlightened brain—there can be no Imbecility then. Only the Diseases of the Soul which Reason can never cure.

From these two shapes of Imbecility one would like to see a delivering Saviour arise.

September 24.—The act of bathing in the sea, rightly considered, is a sacred act, and is so recognised in many parts of the world. It should not be made as commonplace as a mere hygienic tubbing, nor be carried out by a crowd of clothed persons in muddy water. No profane unfriendly eye should be near, the sun must be bright, the air soft, the green transparent sea should ripple smoothly over the rocks, as I see it below me now, welling rhythmically into rock-basins and plashing out with a charge of bubbling air and a delicious murmur of satisfied physiological relief. Enter the sea in such a manner, on such a day, and the well-tempered water greets the flesh so lovingly that it opens like a flower with no contraction of hostile resistance. The discomforting sensation of the salt in the nostrils becomes a delightful and invigorating fragrance as it blends with the exhilaration of this experience. So to bathe is more than to bathe. It is a rite of which the physical delight is a symbol of the spiritual significance of an act of Communion with Nature, to be stored up with one's best experiences of Fine Living.

September 27.—It is a soft, wet Cornish day, and as I sit in the garden, sheltered from the rain, there floats back to memory a day, two months ago at Ripoll, when I wandered in the wonderful and beautiful cloisters, where every capital is an individual object of fascinating study, still fresh after so many centuries, and not a footstep ever disturbed my peace.

Nothing so well evidences the fine utility of monasticism as the invention of the cloister. In a sense it was the centre of monastic life, so that monastery and cloister are almost synonymous terms. No peasant-born monk of the West, in the carol of his cloister, had occasion to envy the King of Granada his Court of the Lions. Fresh air, the possibility of movement, sunshine in winter and shade in summer, the vision of flowers, the haunting beauty of the well in the centre, and the exhilarating spring of the arches all around, the armaria of books at hand, and silence—such things as these are for every man who thinks and writes the essentials of intellectual living. And every cloister offered them. Literature has smelt unpleasantly of the lamp since cloisters were no longer built, and men born for the cloister, the Rousseaus and the Wordsworths and the Nietzsches, wandered homelessly among the hills, while to-day we seek any feeble substitute for the cloister wherein to work at leisure in the free air of Nature, and hear the song of the birds and the plash of the rain at one's feet.

September 30.—When I pass through the little Cornish valley there is one tree on which my eye always dwells. It is of no greater size than many other trees in the valley, nor even, it may be to a casual glance, of any marked peculiarity; one might say, indeed, that in this alien environment, so far from its home on the other side of the world, it manifests a certain unfamiliar shyness, or a well-bred condescension to the conventions of the English floral world. Yet, such as it is, that tree calls up endless pictures from the recesses of memory, of the beautiful sun-suffused land where the Eucalyptus in all its wonderful varieties, vast and insolent and solemn and fantastic, is lord of the floral land, and the Mimosa, with the bewitching loveliness that aches for ever at one's heart, is the lady of the land.

So I walk along the Cornish valley in a dream, and once more kangaroos bound in slow, great curves down the hills, and gay parrakeets squabble on the ground, and the soft grey apple-gums slumber in the distance, and the fragrance of the wattles is wafted in the air.

October 2.—If this Cornish day were always and everywhere October, then October would never be a month to breed melancholy in the heart, and I could enter into the rapture of De Regnier over this season of the year. It would, indeed, be pleasant to think of October as a month when, as to-day, the faint northeasterly wind is mysteriously languorous, and the sun burns hot even through misty clouds, and the dim sea has all the soft plash of summer, and from the throats of birds comes now and again a liquid and idle note which, they themselves seem to feel, has no function but the delight of mere languid contentment, and the fuchsia tree casts a pool of crimson blossoms on the ground while yet retaining amid its deep metallic greenery a rich burden of exotic bells, to last maybe to Christmas. If this is indeed October as Nature made October, then we might always approach Winter in the same mood as, if we are wise, we shall always approach Death.

October 6.—The Russian philosopher Schestoff points out that while we have to be reticent regarding the weaknesses of ordinary men, we can approach the great with open eyes and need never fear to give their qualities the right names. "How simply and quietly the Gospel reports that in one night the Apostle Peter denied his Master thrice! And yet that has not hindered mankind from building him a magnificent temple in Rome, where untold millions have reverently kissed the feet of his statue, and even to-day his representative is counted infallible."

It is a pregnant observation that we might well bear in mind when we concern ourselves with the nature and significance of genius. I know little about St. Peter's claim to genius. But at least he is here an admirable symbol. That is how genius is made, and, it is interesting to note, how the popular mind realises that genius is made; for the creators of the Gospels, who have clearly omitted or softened so much, have yet emphatically set forth the bald record of the abject moral failure in the moment of decisive trial of the inappropriately named Rock on which Christ built His Church. And Peter's reputation and authority remain supreme to this day.

James Hinton was wont to dwell on the weakness of genius, as of a point of least resistance in human nature, an opening through which the force of Nature might enter the human world. "Where there is nothing there is God," and it may be that this weakness is no accident but an essential fact in the very structure of genius. Weakness may be as necessary to the man of genius as it is unnecessary to the normal man.

Our biographers of genius are usually futile enough on all grounds, even in the record of the simplest biological data, as in my own work I have had sad occasion to experience. But at no point are they so futile as in toning down, glozing over, or altogether ignoring all those immoralities, weaknesses, defects, and failures which perhaps are the very Hallmark of Genius. They all want their Peters to look like real rocks. And on such rocks no churches are built.

October 13.—I wish that people would be a little more cautious in the use of the word "Perfection." Or else that they would take the trouble to find out what they mean by it. One grows tired of endless chatter concerning the march of Progress towards Perfection, and of the assumption underlying it that Perfection—as usually defined—is a quality which any one need desire in anything.

If Perfection is that which is most beautiful and desirable to us, then it is something of which an essential part is Imperfection.

That is clearly so in relation to physical beauty. A person who is without demonstrable defect of beauty—some exaggeration of proportion, some visible flaw—leaves us cold and indifferent. The flaw or the defect may need to be of some special kind or quality to touch us individually, but still it is needed. The absence of flaw in beauty is itself a flaw. As I write my eye falls on a plate of tomatoes. The tense and smoothly curved red fruits with their wayward green stalks lie at random on a blue dish of ancient pattern. They are beautiful. Yet each fruit has conspicuously on it a fleck of reflected light. Looked at in itself, each fleck is ugly, a greyish patch which effaces the colour it rests on. Yet the brilliant beauty of these fruits is largely dependent on those flecks of light. So it is with some little mole on the body of a beautiful woman, or a mutinous irregularity in the curve of her mouth, or some freak in the distribution of her hair.

There are some people willing to admit that Perfection is a useless conception in relation to physical beauty, and yet unwilling to believe that it is equally useless in the moral sphere. Yet in the moral world also Imperfection is essential to beauty and desire. What we are pleased to consider Perfection of character is perhaps easier to attain than Perfection of body. But, not on that account alone, it is equally unattractive. The woman who seems a combination of unalloyed virtues is as inadequate as the woman who is a combination of smooth physical perfections. In the moral world, indeed, the desired Imperfection needs to be dynamic and shifting rather than static and fixed, because virtues are contradictory. Modesty and Courage, for instance, do not sort well together at the same moment. Men have rhapsodied much on the modesty of woman, but a woman who was always modest would be as insipid as a woman who was always courageous would be repellent. An incalculable and dynamic combination of Shyness and Daring is at the core of a woman's fascination. And the same relationship binds the more masculine combination of Justice and Generosity.

Why should we pretend any more that the world is on the road to Perfection? Or that we want it to be? The world is in perpetual oscillation. Let us be thankful for every inspiring revelation of a New Imperfection.

October 23.—There has been much discussion over Flaubert's views of the artist's attitude towards his own work—how far the artist stands outside his own work, and how far he is himself the stuff of his work—and I see that Mr. Newbolt has been grappling again with that same problem. Yet surely it is hardly a problem. Flaubert, we are told, contradicted himself in those volumes of Correspondance which have seemed to some (indeed what has Flaubert written that has not seemed to some?) the most fascinating and profoundly interesting part of his work. The artist must be impersonal, he insisted, and yet St. Anthony is Flaubert, and he himself said, "Madame Bovary, c'est moi." He contradicted himself. Well, what then? "Do I contradict myself?" he might have asked with Whitman. "Very well, then, I contradict myself." The greatest of literary artists, we may rest assured, had the clearest vision of the haven for which he was sailing. But he was bound for a port which few mariners have ever come near, and he knew that the wind was ever in his teeth. It was only by taking a course that was a constant series of zigzags, it was only by perpetually tacking, that he could ever hope to come into harbour. He was not, therefore, the less acutely aware of his precise course. He was merely adopting the most strictly scientific method of navigation. The fluctuating judgments which Flaubert seems to pronounce on the aim of the artist all represent sound approximations to a complete truth which no formula will hold. No sailor on this sea ever sailed more triumphantly into port. That seems to settle the matter.

October 24.—At the crowded concert this evening I found a seat at the back of the orchestra, and when a singer came on to sing the "Agnus Dei" of Bach's Mass in B Minor I had the full view of her back, her dress, cut broad and low, fully showing her shoulder-blades. I thus saw that, though the movements of her arms were slight, yet as she sang the long drawn-out sighs, rising and falling, of the "Miserere," the subdued loveliness of the music was accompanied by an unceasing play of the deltoid and trapezius muscles. It was a perpetual dance of all the visible muscles, in swelling and sinking curves, opening out and closing in, rising and falling and swaying, a beautifully expressive rhythm in embodiment of the melody.

One sees how it was that the Greeks, for whom the whole body was an ever-open book, could so train their vision to its vivid music (has not Taine indeed said something to this effect in his travel notes in Southern Italy?) that when they came to carve reliefs for their Parthenon, even to represent the body in seeming repose, they instinctively knew how to show it sensitive, alive, as in truth it is, redeemed from grossness by the exquisite delicacy of its mechanism at every point. People think that the so-called danse du ventre is an unnatural distortion, and in its customary exaggerations so it is. But it is merely the high-trained and undue emphasis of beautiful natural expression. Rightly considered, the whole body is a dance. It is for ever in instinctive harmonious movement, at every point exalted to unstained beauty, because at every moment it is the outcome of vital expression that springs from its core and is related to the meaning of the whole. In our blind folly we have hidden the body. We have denied its purity. We have ignored its vital significance. We pay the bitter penalty. And I detect a new meaning in the wail of that "Miserere."

October 29.—I am interested to hear that the latest theorists of harmony in music are abandoning the notion that they must guide practice, or that music is good or bad according as it follows, or fails to follow, theoretical laws. One recalls how Beethoven in his lifetime was condemned by the theorists, and how almost apologetically he himself referred at the end to his own deliberate breaking of the rules. But now, it appears, the musical theorists are beginning to realise that theory must be based on practice and not practice on theory. The artist takes precedence of the theorist, who learns his theories from observation of the artist, and when in his turn he teaches, the artist is apt to prove dangerous. "In matters of art," says Lenormand in his recent book on harmony, "it is dangerous to learn to do as others do."

Now this interests me because it is in this spirit that I have always contemplated the art of writing. This must be our attitude before the so-called rules of grammar and syntax. Certainly one cannot be too familiar with the rules, they cannot even be wisely broken unless they are known, and we cannot be too familiar with the practice of those who have gone before us. But the logic of thought takes precedence of the rules of grammar, and syntax must ever be moulded afresh on the sensibility of the individual writer. Only in so far as a man writes in this temper—the resolute temper, as Thoreau said, of a man who is grasping an axe or a sword—can he achieve the daring and the skill by which writing lives. To be clear, to be exact, to be expressive, and so to be beautiful—that is the writer's proper aim. The rules are good so far—but only so far—as they help him to sail on the voyage towards his desired haven. Let him sail warily, and if he miscalculates let him suffer shipwreck.

That is the really inviolable law of all the arts. How long will it be before we understand that it is also the law of morality, the greatest art of all, the Art of Living?

November 5.—Surely an uncomfortable feeling must overcome many excellent people when they realise—if that ever happens—the contrast between their view of the world and that which prevailed in the ages most apt for great achievement and abounding vitality. In the moral world of to-day such didactic energy as men possess is concentrated into one long litany of Thou Shalt Not.

May it be because the Tradesman has inherited the earth and stocked Morality on his shelves? That he stocks no line of moral goods to which the yard-measure cannot be applied? The Saints as well as the Sinners must go empty away in a social state whose lordship has fallen to Hogarth's Good Apprentice.

But that is not how Life is. In the moral world—so far as it is a world of great achievement—the tape-measure is out of place. It is only the Immeasurable that counts. And Life is not only Immeasurable but magnificently inconsistent, even incomprehensible, to those who have not the clue to its Divine Maze.

Think of the thirteenth century, the fourteenth, the fifteenth, the sixteenth, and all that they achieved for humanity, and consider in what surviving recesses of them you would find a place for the Moralists of the Counter, who in their eagerness to open up new markets would cut the cloth of the moral life not merely for themselves—that would matter to nobody—but for mankind at large. There would have been no room for them in the monasteries where, on first thought, we might be inclined to hide them, notwithstanding the exaggerated love of rule which marked the monastic mind, for that rule was itself based on a magnificent extravagance, heroic even when it was not natural. There would have been still less room for them in the churches, where the priests themselves joined in the revels of the Feast of Fools, and the builders delighted to honour God by carving on their temples, inside and outside, the images of wildest licence, as we may still see here and there to-day. And as for the ages of Humanism and the Renaissance, our moralists would have been submerged in laughter. Look even at Boccaccio, a very grave scholar, and see how in his stories of human life he serenely wove all that men thought belonged to Heaven and all that they thought belonged to Hell into a single variegated and harmonious picture.

Since then a strange blindness has struck men in the world we were born into. There has been a Goethe, no doubt, a Wilhelm von Humboldt, a Whitman. Men have scarcely noted them. Perhaps the responsibility in part lies at the door of Protestantism. Unamuno remarks that Catholicism knew little of that anxious preoccupation with sin, so destructive of heroic greatness, which has gnawed at the vitals of the Protestantism which we have inherited, if only in the form of a barren Freethought spreading its influence far beyond Protestant lands.

Is this a clue to our Intellectual Anaemia and Spiritual Starvation?

November 8.—In a letter of St. Bernard—the ardent theologian, the relentless fanatic, the austere critic of the world and the flesh—to his friend Rainald, the Abbot of Foigny, I come with surprised delight on a quotation from "your favourite"—and it almost seems as though the Saint had narrowly escaped writing "our favourite"—"your favourite Ovid." So the Abbot of Foigny, amid the vexations and tribulations he felt so bitterly, was wont to pore in his cell over the pages of Ovid.