found in them." What he wrote of Anatole France, might fittingly be applied to himself. "A pessimism, stabbed and gashed with the radiance of epigrams as a thunder-cloud is stabbed by lightning is a type of spiritual life far from contemptible. A reasonable sadness, chastened by the music of consummate prose is an attitude and an achievement, that will help many men to bear with more resignation the burden of our century." His defence of the use of the epigram and its purpose is vigorous and arresting: "The epigrammatist, too, and the whole tribe of image-makers dwell under a disfavour far too austere. We must distinguish. There is in such images an earned and an unearned increment of applause. The sudden, vast, dazzling, and deep-shadowed view of traversed altitudes that breaks on the vision of a climber, who, after long effort, has reached the mountain-top, is not to be grudged him. And the image that closes up in a little room the infinite riches of an argument carefully pursued is not only legitimate but admirable."
His writings abound in fine images and epigrams which seem to come naturally to his pen. Galway is to him the "Bruges-la-Morte" of western Ireland; again "the opulent loneliness of the Golden Vale," is a picture in words. He referred to Irish emigrants as "landless men from a manless land"; England, he said, found Ireland a nation and left her a question. Loyalty he described as
