than they did, it is this instinct which is the root of the whole matter and the ground of all our success; and this instinct the world has mainly learnt of the Greeks, inasmuch as they are humanity's most signal manifestation of it. Greek art, again, Greek beauty, have their root in the same impulse to see things as they really are, inasmuch as Greek art and beauty rest on fidelity to nature,—the best nature,—and on a delicate discrimination of what this best nature is. To say we work for sweetness and light, then, is only another way of saying that we work for Hellenism. But, oh! cry many people, sweetness and light are not enough; you must put strength or energy along with them, and make a kind of trinity of strength, sweetness and light, and then, perhaps, you may do some good. That is to say, we are to join Hebraism, strictness of the moral conscience, and manful walking by the best light we have, together with Hellenism, inculcate both, and rehearse the praises of both.
Or, rather, we may praise both in conjunction, but we must be careful to praise Hebraism most. 'Culture,' says an acute, though somewhat rigid critic, Mr. Sidgwick, 'diffuses sweetness and light. I do not undervalue these blessings, but religion gives fire and strength, and the world wants fire and strength even more than sweetness and light.' By religion, let me explain, Mr.
