curved forward to
kiss the sand. Silvery in the sun they rolled. And they came
assured, as if they had forgotten that they had come at other
dawns, only to retire before the inert earth.'

This is almost the exact 'short-long-short-long' of waves themselves,
and there is _balance_ because each short-long grouping figures one
curled wave. Nothing clarifies this idea so well as the Morse Code.

With perfect _balance_ go _grace_ and _harmony_. While _grace_ must
stand by itself as a not especially important quality because it is not,
need not, always be present, _harmony_ must be recognised as a synonym
of _balance_. It is only because _grace_ is often used where _harmony_
is meant that it finds a place in this glossary. Obviously there is no
_grace_ in Rodin's Balzac, while there is _grace_ in every note of Lulli
and Glueck; by _grace_ we mean the quality of lightness we find in Pater,
Meredith, Andre Gide, Mozart, Watteau, Donatello: the instances suffice
to indicate the meaning, while _harmony_, if it be taken as a synonym of
_balance_, needs no further explanation than has been given for that
term.

I venture to repeat in conclusion that there is nothing dogmatic about
these ideas. They are subject to criticism and objection, for we are
groping in the dark towards what Mr Leonard Inkster calls the
standardisation of artistic terms; if I prefer to his scientific way the
more inspired suggestion of 'esperanto,' that is a common language of
the arts, it is without fear of being called metaphysical. It may be
argued that a purely intellectual attempt to extract and correlate the
inspirations of forms of art is a metaphysical exercise doomed to
failure by its own ambition. I do not think so. For art is universal
enough to contain all the appeals, the sensuous, the intellectual, and,
for those who perceive it, the spiritual; but the sensuous is incapable
of explanation because sensuousness is a thing of perceptions which
vanish as soon as the brain attempts to state them in mental terms; and
the spiritual, which I will define much as I would faith as a
stimulation produced by a thing which one knows to be inexistent, also
resists analysis; if we are to bridge the gulfs that separate the
various forms of art, some intellectual process must be applied. Now it
may be metaphysical to treat of the soul in terms of the intellect, but
the intellect has never in philosophic matters refrained from laying
hands upon