Is not the desire of the everlasting hills that they be saved from their everlastingness, that something new happen, that the everlasting cycle of human cruelty, of man's inhumanity to man, be brought to an end?

To describe in words makes the kingdom sound stark and empty, like the scrub desert of eastern Washington or something. But this is only because words can't explain the feeling that everything had. The fullness of things only made you notice this feeling more. The air, for instance smelled something like sea air, but whereas sea air makes you hungry, kingdom air made you full, and it wasn't a fullness like when you're stuffed from overeating: it was more like foodless fullness you get at the end of a really good movie. Like when the Captured Girl is about to be killed because she won't tell The Secret, and she takes a last look at the hills with tears in her huge brown eyes, and here comes The Hero you thought was dead, riding down out of nowhere with his sword flashing or gun blazing, making hamburger out of Evil while the music surges through you and the goose bumps shoot up and down you. That sort of fullness. Like I said, I can't explain it.

The first is itself the memory of a memory. As I stood beside a flowering currant bush on a summer day there suddenly arose in me without warning, and as if from a depth not of years but of centuries, the memory of that earlier morning at the Old House when my brother had brought his toy garden into the nursery. It is difficult to find words strong enough for the sensation which came over me; Milton's "enormous bliss" of Eden (giving the full, ancient meaning to "enormous") comes somewhere near it. It was a sensation, of course, of desire, but desire for what? Not, certainly, for a biscuit tin filled with moss, nor even (though that came into it) for my own past... And before I knew what I desired, the desire itself was gone, the whole glimpse withdrawn, the world turned commonplace again, or only stirred by a longing for the longing that had just ceased. It had taken only a moment of time; and in a certain sense everything else that had ever happened to me was insignificant in comparison.

Did I ever tell you about a picture by Boughton, "The Pilgrim's Progress"? It is toward evening. A sandy path leads over the hills to a mountain, on the top of which is the Holy City, lit by the red sun setting behind the gray evening clouds. On the road is a pilgrim who wants to go to the city; he is already tired and asks a woman in black, who is standing by the road and whose name is "Sorrowful yet always Rejoicing": "Does the road go uphill all the way? Yes, to the very end. And will the journey take all day long? Yes, from morn till night my friend," truly, it is not a picture, but an inspiration.

It seems to me it's a painter's duty to try to put an idea into his work. In this print I have tried to express what seems to me one of the strongest proofs of the existence of the "quelque chose l'-haut" [something on high] in which Millet believed, namely the existence of God and eternity...

[It is] certainly in the infinitely touching expression of a little old man, which he himself is unconscious of, when he is sitting quietly in the corner by the fire. At the same time, there is something noble, something great, which cannot be destined for the worms... This is far from all theology, simply the fact that the poorest little woodcutter or peasant on the hearth or miner can have moments of emotion and inspiration that give him a feeling of an eternal home, and of being close to it.