it is a Shelleyan union with the most intimate, the most inexpressible things in nature that is revealed in such a note as the following:  ’A nameless day, a day without form, yet a day in which the Spring most mysteriously begins to stir.  Warm air in the lengthening days; a sudden softening, a weakening of nature.’  In describing this atmosphere, this too sudden softness, he uses a word frequent in the vocabulary of Shelley—­’fainting.’  In truth, like the great English poet, whom he seems not to have known, he seeks from the beauty of things a faculty of self-forgetfulness in lyrical poetry, an inexpressible and blissful passing of the poet’s being into the thing he contemplates.  What he makes his own in the course of those weeks, what he remembers afterwards, and what he would recall, never to lose it again, is the culminating moment in which he has achieved self-forgetfulness and reached the ineffable.  The simplest of natural objects is able to yield him such a moment; see, for instance, this abrupt intuition:  ’I had lapsed from my former sense of the benediction of God, when suddenly the beauty—­all the beauty—­of a certain tree spoke to my inmost heart; and then I understood that an instant of such contemplation is the whole of life.’  And still more continuous, still more vibrant, is at times his emotion, as when the bow draws out to the utmost a long ecstatic tone from a sensitive violin.  ’What joy is this perpetual thrill in the heart of Nature!  That same horizon of which I had watched the awakening, I saw last night bathe itself in rosy light; and then the full moon went up into a tender sky, fretted by coral and saffron trees.’  It is very nearly ecstasy with him in that astonishing Christmas night which no one then at the front can ever forget—­a solemn night, a blue night, full of stars and of music, when the order and the divine unity of the universe stood revealed to the eyes of men who, free for a moment from the dream of hatred and of blood, raised one chant along six miles, ‘hymns, hymns, from end to end.’

Of the carnage in February there are a few precise notes, sufficient to suggest the increasing horror.  The narrative grows quicker; the reader is aware of the pulse and the impetus of action, the imperious summons of duty; the young sergeant is in charge of men, and has to execute terrible tasks.  But ever across the tumult and the slaughter, there are moments of recollection and of compassion; and, in the evening of a day of battle, what infinite tranquillity among the dead!  At this period there are no more notes of landscape effects; the description is of the war, technical; otherwise the writer’s thought is not of earth at all.  Once only, towards the end, we find a sorrowful recollection of himself, a profound lamentation at the remembrance of bygone hopes, of bygone work, of the immensity of the sacrifice.  ’This war is long, too long for those who had something else to do in the world!  Why am I so sacrificed, when so many others, not my equals, are