meaning. The deadness with which custom invests the familiar vanishes, and existence as a whole appears transfigured. The state of a mind thus awakened from torpor is well expressed in these words, which I take from a friend's letter:―
"If we occupy ourselves in summing up all the mercies and bounties we are privileged to have, we are overwhelmed by their number (so great that we can imagine ourselves unable to give ourselves time even to begin to review the things we may imagine we have not). We sum them and realize that we are actually killed with God's kindness; that we are surrounded by bounties upon bounties, without which all would fall. Should we not love it; should we not feel buoyed up by the Eternal Arms?"
Sometimes this realization that facts are of divine sending, instead of being habitual, is casual, like a mystical experience. Father Gratry gives this instance from his youthful melancholy period:―
"One day I had a moment of consolation, because I met with something which seemed to me ideally perfect. It was a poor drummer beating the tattoo in the streets of Paris. I walked behind him in returning to the school on the evening of a holiday. His drum gave out the tattoo in such a way that, at that moment at least, however peevish I were, I could find no pretext for fault-finding. It was impossible to conceive more nerve or spirit, better time or measure, more clearness or richness, than were in this drumming. Ideal desire could go no farther in that direction. I was enchanted and consoled; the perfection of this wretched act did me good. Good is at least possible, I said, since the ideal can thus sometimes get embodied."[1]
In Sénancour's novel of Obermann a similar transient lifting of the veil is recorded. In Paris streets, on a March day, he comes across a flower in bloom, a jonquil:
- ↑ Souvenirs de ma Jeunesse, 1897, p. 122.
