Something more might need to be said in regard to the Overhead note in poetry and the Overmind aesthesis; but these are exactly the subjects on which it is difficult to write with any precision or satisfy the intellect's demand for clear and positive statement. I do not know that it is possible for me to say why I regard one line or passage as having the Overhead touch or the Overhead note while another misses it. When I said that in the lines about the dying man the touch came in through some intense passion and sincerity in the writer, I was simply mentioning the psychological door through which the thing came. I did not mean to suggest that such passion and sincerity could of itself bring in the touch or that they constituted the Overhead note in the lines. I am afraid I have to say what Arnold said about the grand style; it has to be felt and cannot be explained or accounted for. One has an intuitive feeling, a recognition of something familiar to one's experience or one's deeper perception in the substance and the rhythm or in one or the other which rings out and cannot be gainsaid. One might put forward a theory or a description of what the Overhead character of the line consists in, but it is doubtful whether any such mentally constructed definition could be always applicable. You speak, for instance, of the sense of the Infinite and the One which is pervasive in the Overhead planes; that need not be explicitly there in the Overhead poetic expression or in the substance of any given line: it can be expressed indeed by Overhead poetry as no other can express it, but this poetry can deal with quite other things.   more »