That intensity of pleasure passing into the pure spiritual Ananda comes where everything else may be present, but all is powerfully carried on the surge of a spiritual vision which has found its inspired and inevitable speech. All or any of the other elements may be there, but they are at once subordinated and transfigured to their highest capacity for poetic light and rapture. This intensity belongs to no particular style, depends on no conceivable formula of diction. It may be the height of the decorative imaged style as often we find it in Kalidasa or Shakespeare; it may be that height of bare and direct expression where language seems to be used as a scarcely felt vaulting board for a leap into the infinite; it may be the packed intensity of language which uses either the bare or the imaged form at will, but fills every word with its utmost possible rhythmic and thought suggestion. But in itself it depends on none of these things; it is not a style, but poetic style itself, the Word; it creates and carries with it its elements rather than is created by them. Whatever its outward forms, it is always the one fit style for the Mantra.

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