The redemptive power of divine grace no longer seemed credible, nor very respectable in the arbitrary performance that was claimed for it.
There are acacias, a graceful species amusingly devitalized by sentimentality, this kind drooping its leaves with the grace of a young widow bowed in controllable grief, this one obscuring them with a smooth silver as of placid tears. They please, like the minor French novelists of the eighteenth century, by suggesting a universe in which nothing cuts deep.
The delight we find in art amounts to recognition of a saving grace, to an acknowledgment that the problem of life has a solution implicit in its own nature, though not yet formulated by the intellect.