What, then, since I said that it is a question how to live as well as how to express life,—what, then, is the ideal life? It is to make one’s life a poem, as Milton dreamed of the true poet; for as art works through matter and takes on concrete and sensible shape with its mortal conditions, so the soul dips in life, is in material action, and, suffering a similar fate, sinks into limitations and externals of this world and this flesh, through which it must live. In such a life, mortal in all ways, to bring down to earth the vision that floats in the soul’s eyes, the ideal order as it is revealed to the poet’s gaze, incorporating it in deed and being, and to make it prevail, so far as our lives have power, in the world of our life, is the task set for us. To disengage reason from the confusion of things, and behold the eternal forms of the mind; to unveil beauty in the transitory sights of our eyes, and behold the eternal forms of sense; so to act that the will within us shall take on this form of reason and our manifest life wear this form of beauty; and, more closely, to live in the primary affections, the noble passions, the sweet emotions,—
“Founded in reason,
loyal, just, and pure,
Relations dear, and all the
charities
Of father, son, and brother,—”
and also in the general sorrows of mankind, thereby, in joy and grief, entering sympathetically into the hearts of common men; to keep in the highway of life, not turning aside to the eccentric, the sensational, the abnormal, the brutal, the base, but seeing them, if they must come within our vision, in their place only by the edges of true life; and, if, being men, we are caught in the tragic coil, to seek the restoration of broken order, learning also in such bitterness better to understand the dark conflict forever waging in the general heart, the terror of the heavy clouds hanging on the slopes of our battle, the pathos that