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 126 as in "Dawn";—it is most often through some beauty of the sky at such times that he becomes one with the Universal Spirit in "the rapture of the fire," that he is "lost within the 'Mother's Being,'" he would say that the soul returns to the Oversoul, Emerson would There are ways by which the soul homes other than these—sometimes it is

but it is most often by way of beauties of the sky. Some reasons are not far to seek. From sunset to sunrise the poet is free as he may be from the treadmill of the "common daily ways," and the high moods he tries to express are most easily symbolized by skyey images—massed clouds and sweeping lights of diamond, sapphire, amethyst; the still blue black of heaven thrilling with far stars; the purples of twilight horizons. In his use of these splendid symbols he is but following Proclus, whom he found quoted by Emerson as saying that "the mighty heaven exhibits, in its transfiguration, clear images of the splendor of intellectual perceptions, being moved in conjunction with the unapparent period of intellectual natures."

How important the symbol is to "A. E."—as important as it is to Emerson—may be gathered from "Symbolism," which, read in the light of what I have quoted, needs, I hope, no further interpretation.

"Now when the giant in us wakes and broods, Filled with home-yearnings, drowsily he flings From his deep heart high dreams and mystic moods. Mixed with the memory of the loved earth things: Clothing the vast with a familiar face; Reaching his right hand forth to greet the starry race.