while the author of an intellectual performance, — even should it be a supreme masterpiece — is quite willing to take whatever remuneration he can get, those, on the other hand, who have done something morally excellent, almost without exception, refuse compensation for it. The latter fact is specially observable where conduct rises to the heroic. For instance, when a man at the risk of his life has saved another, or perhaps many, from destruction, as a rule, he simply declines all reward, poor though he may be; because he instinctively feels that the metaphysical value of his act would be thereby impaired.

At the end of B�rger's song, “The Brave Man,” we find a poetical presentment of this psychological process. Nor does the reality, for the most part, differ at all from the ideal, as I have