dictated the term 'flamboyant' to express the wavy flame-like outline,
which, at a particular period of art, the tracery in the Gothic window
assumed.

'Godsacre' or 'Godsfield,' is the German name for a burial-ground, and
once was our own, though we unfortunately have nearly, if not quite,
let it go. What a hope full of immortality does this little word
proclaim! how rich is it in all the highest elements of poetry, and of
poetry in its noblest alliance, that is, in its alliance with faith--
able as it is to cause all loathsome images of death and decay to
disappear, not denying them, but suspending, losing, absorbing them in
the sublimer thought of the victory over death, of that harvest of life
which God shall one day so gloriously reap even there where now seems
the very triumphing place of death. Many will not need to be reminded
how fine a poem in Longfellow's hands unfolds itself out of this word.

Lastly let me note the pathos of poetry which lies often in the mere
tracing of the succession of changes in meaning which certain words
have undergone. Thus 'elend' in German, a beautiful word, now signifies
wretchedness, but at first it signified exile or banishment. [Footnote:
On this word there is an interesting discussion in Weigand's _Etym.
Dict._, and compare Pott, _Etym. Forsch._ i. 302. _Ellinge_, an English
provincial word of infinite pathos, still common in the south of
England, and signifying at once lonely and sad, is not connected, as
has been sometimes supposed, with the German _elend_, but represents
Anglo-Saxon _ae-lenge_, protracted, tedious; see the _New English
Dictionary_ (s.v. _alange_)] The sense of this separation from the
native land and from all home delights, as being the woe of all woes,
the crown of all sorrows, little by little so penetrated the word, that
what at first expressed only one form of misery, has ended by