rather than Salome, and for a place called Wapping rather than a place called Westermain. Even in the relapse into rowdiness there is a sort of relapse into comfort. There is also what is so large a part of comfort; carelessness. The undergraduate breaks windows because he does not care about windows, not because he does care about more fresh air like a hygienist, or about more light like a German poet. Still less does he heroically smash a hundred windows because they come between him and the voice of Mrs. Asquith. But least of all does he do it because he seriously prides himself on the energy apart from its aim, and on the will-power that carries it through. He is not 'bound' to smash the windows, even in the sense of being bent upon it. He is not bound at all but rather relaxed; and his violence is not only a relaxation but a laxity. Finally, this is shown in the fact that he only smashes windows when he is in the mood to smash windows; when some fortunate conjunction of stars and all the tints and nuances of nature whisper to him that it would be well to smash windows. But the American is always ready, at any moment, to waste his energies on the wilder and more suicidal course of going to lectures. And this is because to him such excitement is not a mood but a moral ideal. As I note in another connection, much of the English mystery would be clear to Americans if they understood the word 'mood.' Englishmen are very moody, especially when they smash windows. But I doubt if many Americans understand exactly what we mean by the mood; especially the passive mood.
It is only by trying to get some notion of all this that an Englishman can enjoy the final crown and
