Context:
that
 ideal
 on
 
which
 his
 
faith
 is
 
fixed
.”
 Man
 has
 that
 quality
 of
 
faith
 in
 accord
ance
 with
 his
 
disposition
;
 and
 he
 also

 continu
ally
 
become
s
 of
 the
 nature
 of
 the
 ideal
 on
 
which
 his
 
faith
 is
 
fixed
.
 It
 is
 evident
,
 then
,
 that
 we
 
ought
 to
 be

 sure
 of
 the
 nature
 of
 the
 
faith
 
upon
 
which
 our
 ideal
 is
 place
d
.
 If
 one
 
places
 his
 
faith
 on
 any
 external
ity
,
 
whatever
 it

 may
 be
god
s
 or
 men
,
 religions
 or
 systems
 of
 thought
he
 has
 place
d
 it
 
upon
 
a
 
broken
 re
ed
;
 he
 has
 
limited
 the
 
very
 power

 of
 his
 own
 spirit
 to
 expand
 it
self
 
beyond
 the
 limit
ations
 of
 his
 ideal
.
 
When
,
 for
 
instance
,
 we
 accept
 the
 idea
 that
 

nothing
 is
 real
 but
 that
 
which
 we
 can
 see
 or
 hear
 or
 taste
 or
 
smell
 or
 touch
,
 we
 have
 place
d
 our
 
faith
 on
 
a
 
very
 low

 basis
.
 There
 is
 some
 reason
 for
 our
 fals
ity
 of
 thought
 and
 action
,
 
when
 we
 have
 assum
ed
 the
 present
 moment
 to
 be
 the

 only
 moment
,
 the
 out
ward
 
terres
trial
 world
 and
 this
 one
 
existence
 to
 be
 the
 only
 life
,
 from
 
which
 we
 go
,
 we
 know
 not
 

where
,
 nor
 to
 what
 purpose
 it
 all
 has
 been
.
 To
 look
 on
 all
 
being
s
 
according
 to
 one
s
 own
 limit
ation
 of
 mind
 and
 range
 of

 per
ception
,
 and
 to
 see
 only
 
their
 external
ities
 of
 
speech
 or
 action
 in
 accord
ance
,
 is
 not
 
seeing
 them
 as
 the
y
 
really

 are
.
 An
 outside
 God
,
 or
 an
 outside
 
devil
,
 an
 outside
 Law
,
 an
 outside
 
ato
nement
 for
 
sins
,
 the
 idea
 of
 sin
 
being
 other

 than
 
a
 den
ial
 of
 our
 own
 spiritual
 nature
 (
the
 un
pardon
able
 sin
),
 are
 All
 external
 
faith
s
 of
 the
 nature
 of
 tama
s
,
 or

 ignoran
ce
.
 
Ignor
ance
 
always
 lead
s
 to
 supersti
tion
.
 Super
s
tition
 lead
s
 to
 
false
 b
elief
,
 and
 
false
 b
elief
 to
 
false
 
faith
.

 We
 are
 all
 in
 constant
 conflict
 with
 
each
 other
 
because
 of
 
false
 base
s
 of
 
faith
,
 for
 the
 
very
 reason
 that
 
faith
 
fixed

 on
 any
 thing
 will
 bring
 results
,
 and
 men
 are
 blind
ed
 to
 real
 and
 true
 
faith
 by
 the
 results
 of
 even
 
false
 
faith
.
 Yet
 so

 long
 as
 we
 have
 
a
 
false
 
faith
 
shall
 we
 continue
 to
 create
 for
 our
selves
 lives
 of
 miser
y
.
 The
 results
 flow
ing
 from
 
a
 

false
 
faith
 in
 

Input:
 call
 for
 
a
 
definite
,
 tr
enchant
 solution
,
 and
 should
 handle
 them
,
 and
 
judge
 them
,
 in
 accord
ance
 with
 
their
 in
herent

 quality
.
 Let
 
us
,
 
however
,
 define
 our
 terms
,
 and
 be
 sure
 that
 we
 know
 what
 we
 are
 
talking
 about
.
 By
 an
 "
un
empha
tic
 

ending
"
 I
 am
 far
 from
 meaning
 
a
 make
shift
 
ending
,
 an
 
ending
 care
lessly
 and
 
conventional
ly
 hud
dled
 up
.
 Nor
 do
 I
 mean
 an

 inde
ci
sive
 
ending
,
 
where
 the
 c
urtain
 
falls
,
 as
 the
 say
ing
 
goes
,
 on
 
a
 note
 of
 interrog
ation
.
 An
 un
empha
tic
 
ending
,
 as
 I

 understand
 it
,
 is
 
a
 delibera
te
 antic
li
max
,
 an
 
idyl
lic
,
 or
 eleg
ia
c
,
 or
 philosophi
c
 last
 act
,
 
following
 
upon
 
a
 pen

ultimate
 act
 of
 
very
 much
 
higher
 tension
.
 The
 
disposition
 to
 co
ndemn
 such
 an
 
ending
 off
-
hand
 is
 what
 I
 am
 here
 p
leading
 

against
.
 It
 is
 
sometimes
 assum
ed
 that
 the
 play
wright
 
ought
 
always
 to
 make
 his
 action
 conclu
de
 
within
 five
 minutes
 of
 its

 cul
mination
;
 but
 for
 such
 
a
 hard
-
and
-
fast
 rule
 I
 can
 find
 no
 
sufficient
 reason
.
 The
 consequ
ences
 of
 
a
 great
 
emotional

 or
 spiritual
 
crisis
 can
not
 
always
 be
 work
ed
 out
,
 or
 even
 for
e
shadow
ed
,
 
within
 so
 
brief
 
a
 space
 of
 time
.
 If
,
 after
 such
 

a
 
crisis
,
 we
 are
 un
willing
 to
 keep
 our
 seat
s
 for
 
another
 half
-
hour
,
 in
 order
 to
 learn
 "
what
 came
 of
 it
 all
,"
 the
 author

 has
 evident
ly
 
failed
 to
 awak
en
 in
 
us
 any
 real
 interest
 in
 his
 characters
.
 A
 good
 
instance
 of
 the
 un
empha
tic
 
ending
 is

 the
 last
 act
 of
 Sir
 Arthur
 Pine
ro
'
s
 Lett
y
.
 This
 "
epi
logue
"
s
o
 the
 author
 
calls
 it
has
 been
 de
nounced
 as
 
a
 
concession
 to

 popular
 sentimental
ity
,
 and
 an
 un
pardon
able
 antic
li
max
.
 An
 antic
li
max
 it
 is
,
 
beyond
 all
 doub
t
;
 but
 it
 
does
 not
 follow

 that
 it
 is
 an
 
artistic
 ble
mish
.
 
Nothing
 
would
 have
 been
 
e
asier
 than
 not
 to
 write
 it

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