h for thinking of it!
And I confess to Father Anselmo
To-morrow--how can I ever tell him _all_?...
One last glance at the mirror.
O, I'm sure That they'll adore me at the ball to-night."

Before the fire she stands admiringly.
O God! a spark has leapt into her gown.
Fire, fire!--O run!--Lost thus when mad with hope?
What, die? and she so fair? The hideous flames
Rage greedily about her arms and breast,
Envelop her, and leaping ever higher,
Swallow up all her beauty, pitiless--
Her eighteen years, alas! and her sweet dream.

Adieu to ball, to pleasure, and to love!
"Poor Constance!" said the dancers at the ball,
"Poor Constance!"--and they danced till break of day.

[66] _Isaiah_ xiv, 8.

[67] _Isaiah_ lv, 12.

[68] _Night Thoughts_, 2. 345.

[69] Pastorals: _Summer, or Alexis_, 73 ff., with the omission of
two couplets after the first.

[70] From the poem beginning _'T is said that some have died for
love_, Ruskin evidently quoted from memory, for there are several
verbal slips in the passage quoted.

[71] Stanza 16, of Shenstone's twenty-sixth Elegy.

[72] _The Excursion_, 6. 869 ff.

[73] I cannot quit this subject without giving two more instances,
both exquisite, of the pathetic fallacy, which I have just come
upon, in Maud:--

For a great speculation had fail'd;
And ever he mutter'd and madden'd, and ever wann'd with despair;
And out he walk'd, when the wind like a broken worldling wail'd,
And the _flying gold of the ruin'd woodlands drove thro' the air._

There has fallen a splendid tear
From the passion-flower at the gate.
_The red rose cries, "She is near, she is near!"
And the white rose weeps, "She is late."
The larkspur listens, "I hear, I hear!"
And the lily whispers, "I wait."_ [Ruskin.]

OF CLASSICAL LANDSCAPE

VOLUME III, CHAPTER 13

My reason for asking the reader to give so much of his time to the
examination of the pathetic fallacy was, that, whether in literature
or in art, he will find it eminently characteristic of the modern
mind; and in the landscape, whether of literature or art, he will also
find the modern painter endeavouring to express something which he, as
a living creature imagines in the lifeless object, while the classical
and mediaeval painters were content with expressing the unimaginary and
actual qualities of the object