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THEDECAYOFLYINGADIALOGUE.Persons:CyrilandVivian.Scene:theLibraryofacountryhouseinNottinghamshire.CYRIL(cominginthroughtheopenwindowfromtheterrace).MydearVivian,don'tcoopyourselfupalldayinthelibrary.Itisaperfectlylovelyafternoon.Theairisexquisite.Thereisamistuponthewoods,likethepurplebloomuponaplum.LetusgoandlieonthegrassandsmokecigarettesandenjoyNature.VIVIAN.EnjoyNature!IamgladtosaythatIhaveentirelylostthatfaculty.PeopletellusthatArtmakesusloveNaturemorethanwelovedherbefore;thatitrevealshersecretstous;andthatafteracarefulstudyofCorotandConstableweseethingsinherthathadescapedourobservation.MyownexperienceisthatthemorewestudyArt,thelesswecareforNature.WhatArtreallyrevealstousisNature'slackofdesign,hercuriouscrudities,herextraordinarymonotony,herabsolutelyunfinishedcondition.Naturehasgoodintentions,ofcourse,but,asAristotleoncesaid,shecannotcarrythemout.WhenIlookatalandscapeIcannothelpseeingallitsdefects.Itisfortunateforus,however,thatNatureissoimperfect,asotherwiseweshouldhavenoartatall.Artisourspiritedprotest,ourgallantattempttoteachNatureherproperplace.AsfortheinfinitevarietyofNature,thatisapuremyth.ItisnottobefoundinNatureherself.Itresidesintheimagination,orfancy,orcultivatedblindnessofthemanwholooksather. CYRIL.Well,youneednotlookatthelandscape.Youcanlieonthegrassandsmokeandtalk.VIVIAN.ButNatureissouncomfortable.Grassishardandlumpyanddamp,andfullofdreadfulblackinsects.Why,evenMorris'spoorestworkmancouldmakeyouamorecomfortableseatthanthewholeofNaturecan.Naturepalesbeforethefurnitureof'thestreetwhichfromOxfordhasborroweditsname,'asthepoetyoulovesomuchoncevilelyphrasedit.Idon'tcomplain.IfNaturehadbeencomfortable,mankindwouldneverhaveinventedarchitecture,andIpreferhousestotheopenair.Inahouseweallfeeloftheproperproportions.Everythingissubordinatedtous,fashionedforouruseandourpleasure.Egotismitself,whichissonecessarytoapropersenseofhumandignity,isentirelytheresultofindoorlife.Outofdoorsonebecomesabstractandimpersonal.One'sindividualityabsolutelyleavesone.AndthenNatureissoindifferent,sounappreciative.WheneverIamwalkingintheparkhere,IalwaysfeelthatIamnomoretoherthanthecattlethatbrowseontheslope,ortheburdockthatbloomsintheditch.NothingismoreevidentthanthatNaturehatesMind.Thinkingisthemostunhealthythingintheworld,andpeopledieofitjustastheydieofanyotherdisease.Fortunately,inEnglandatanyrate,thoughtisnotcatching.Oursplendidphysiqueasapeopleisentirelyduetoournationalstupidity.Ionlyhopeweshallbeabletokeepthisgreathistoricbulwarkofourhappinessformanyyearstocome;butIamafraidthatwearebeginningtobeover-educated;atleasteverybodywhoisincapableoflearninghastakentoteaching-thatisreallywhatourenthusiasmforeducationhascometo.Inthemeantime,youhadbettergobacktoyourwearisomeuncomfortableNature,andleavemetocorrectmyproofs.CYRIL.Writinganarticle!Thatisnotveryconsistentafterwhat youhavejustsaid.VIVIAN.Whowantstobeconsistent?Thedullardandthedoctrinaire,thetediouspeoplewhocarryouttheirprinciplestothebitterendofaction,totheREDUCTIOADABSURDUMofpractice.NotI.LikeEmerson,Iwriteoverthedoorofmylibrarytheword'Whim.'Besides,myarticleisreallyamostsalutaryandvaluablewarning.Ifitisattendedto,theremaybeanewRenaissanceofArt.CYRIL.Whatisthesubject?VIVIAN.Iintendtocallit'TheDecayofLying:AProtest.'CYRIL.Lying!Ishouldhavethoughtthatourpoliticianskeptupthathabit.VIVIAN.Iassureyouthattheydonot.Theyneverrisebeyondthelevelofmisrepresentation,andactuallycondescendtoprove,todiscuss,toargue.Howdifferentfromthetemperofthetrueliar,withhisfrank,fearlessstatements,hissuperbirresponsibility,hishealthy,naturaldisdainofproofofanykind!Afterall,whatisafinelie?Simplythatwhichisitsownevidence.Ifamanissufficientlyunimaginativetoproduceevidenceinsupportofalie,hemightjustaswellspeakthetruthatonce.No,thepoliticianswon'tdo.Somethingmay,perhaps,beurgedonbehalfoftheBar.ThemantleoftheSophisthasfallenonitsmembers.Theirfeignedardoursandunrealrhetoricaredelightful.Theycanmaketheworseappearthebettercause,asthoughtheywerefreshfromLeontineschools,andhavebeenknowntowrestfromreluctantjuriestriumphantverdictsofacquittalfortheirclients,evenwhenthoseclients,asoftenhappens,wereclearlyandunmistakeablyinnocent.Buttheyarebriefedbytheprosaic,andarenotashamedtoappealtoprecedent.Inspiteoftheir endeavours,thetruthwillout.Newspapers,even,havedegenerated.Theymaynowbeabsolutelyreliedupon.Onefeelsitasonewadesthroughtheircolumns.Itisalwaystheunreadablethatoccurs.Iamafraidthatthereisnotmuchtobesaidinfavourofeitherthelawyerorthejournalist.Besides,whatIampleadingforisLyinginart.ShallIreadyouwhatIhavewritten?Itmightdoyouagreatdealofgood.CYRIL.Certainly,ifyougivemeacigarette.Thanks.Bytheway,whatmagazinedoyouintenditfor?VIVIAN.FortheRETROSPECTIVEREVIEW.IthinkItoldyouthattheelecthadrevivedit.CYRIL.Whomdoyoumeanby'theelect'?VIVIAN.Oh,TheTiredHedonists,ofcourse.ItisaclubtowhichIbelong.Wearesupposedtowearfadedrosesinourbutton-holeswhenwemeet,andtohaveasortofcultforDomitian.Iamafraidyouarenoteligible.Youaretoofondofsimplepleasures.CYRIL.Ishouldbeblack-balledonthegroundofanimalspirits,Isuppose?VIVIAN.Probably.Besides,youarealittletooold.Wedon'tadmitanybodywhoisoftheusualage.CYRIL.Well,Ishouldfancyyouareallagooddealboredwitheachother.VIVIAN.Weare.Thisisoneoftheobjectsoftheclub.Now,ifyoupromisenottointerrupttoooften,Iwillreadyoumyarticle.CYRIL.Youwillfindmeallattention. VIVIAN(readinginaveryclear,musicalvoice).THEDECAYOFLYING:APROTEST.-OneofthechiefcausesthatcanbeassignedforthecuriouslycommonplacecharacterofmostoftheliteratureofourageisundoubtedlythedecayofLyingasanart,ascience,andasocialpleasure.Theancienthistoriansgaveusdelightfulfictionintheformoffact;themodemnovelistpresentsuswithdullfactsundertheguiseoffiction.TheBlue-Bookisrapidlybecominghisidealbothformethodandmanner.HehashistediousDOCUMENTHUMAIN,hismiserablelittleCOINDELACREATION,intowhichhepeerswithhismicroscope.HeistobefoundattheLibrairieNationale,orattheBritishMuseum,shamelesslyreadinguphissubject.Hehasnoteventhecourageofotherpeople'sideas,butinsistsongoingdirectlytolifeforeverything,andultimately,betweenencyclopaediasandpersonalexperience,hecomestotheground,havingdrawnhistypesfromthefamilycircleorfromtheweeklywasherwoman,andhavingacquiredanamountofusefulinformationfromwhichnever,eveninhismostmeditativemoments,canhethoroughlyfreehimself.'Thelosethatresultstoliteratureingeneralfromthisfalseidealofourtimecanhardlybeoverestimated.Peoplehaveacarelesswayoftalkingabouta"bornliar,"justastheytalkabouta"bornpoet."Butinbothcasestheyarewrong.Lyingandpoetryarearts-arts,asPintosaw,notunconnectedwitheachother-andtheyrequirethemostcarefulstudy,themostdisinteresteddevotion.Indeed,theyhavetheirtechnique,justasthemorematerialartsofpaintingandsculpturehave,theirsubtlesecretsofformandcolour,theircraft-mysteries,theirdeliberateartisticmethods.Asoneknowsthepoetbyhisfinemusic,soonecanrecognisetheliarbyhisrichrhythmicutterance,andinneithercasewillthecasualinspirationofthemomentsuffice.Here,aselsewhere,practicemust,precedeperfection.Butin moderndayswhilethefashionofwritingpoetryhasbecomefartoocommon,andshould,ifpossible,bediscouraged,thefashionoflyinghasalmostfallenintodisrepute.Manyayoungmanstartsinlifewithanaturalgiftforexaggerationwhich,ifnurturedincongenialandsympatheticsurroundings,orbytheimitationofthebestmodels,mightgrowintosomethingreallygreatandwonderful.But,asarule,hecomestonothing.Heeitherfallsintocarelesshabitsofaccuracy-'CYRIL.Mydearfellow!VIVIAN.Pleasedon'tinterruptinthemiddleofasentence.'Heeitherfallsintocarelesshabitsofaccuracy,ortakestofrequentingthesocietyoftheagedandthewell-informed.Boththingsareequallyfataltohisimagination,asindeedtheywouldbefataltotheimaginationofanybody,andinashorttimehedevelopsamorbidandunhealthyfacultyoftruth-telling,beginstoverifyallstatementsmadeinhispresence,hasnohesitationincontradictingpeoplewhoaremuchyoungerthanhimself,andoftenendsbywritingnovelswhicharesolifelikethatnoonecanpossiblybelieveintheirprobability.Thisisnoisolatedinstancethatwearegiving.Itissimplyoneexampleoutofmany;andifsomethingcannotbedonetocheck,oratleasttomodify,ourmonstrousworshipoffacts,Artwillbecomesterile,andbeautywillpassawayfromtheland.'EvenMr.RobertLouisStevenson,thatdelightfulmasterofdelicateandfancifulprose,istaintedwiththismodernvice,forweknowpositivelynoothernameforit.Thereissuchathingasrobbingastoryofitsrealitybytryingtomakeittootrue,andTHEBLACKARROWissoinartisticasnottocontainasingleanachronismtoboastof,whilethetransformationofDr.JekyllreadsdangerouslylikeanexperimentoutoftheLANCET.AsforMr. RiderHaggard,whoreallyhas,orhadonce,themakingsofaperfectlymagnificentliar,heisnowsoafraidofbeingsuspectedofgeniusthatwhenhedoestellusanythingmarvellous,hefeelsboundtoinventapersonalreminiscence,andtoputitintoafootnoteasakindofcowardlycorroboration.Norareourothernovelistsmuchbetter.Mr.HenryJameswritesfictionasifitwereapainfulduty,andwastesuponmeanmotivesandimperceptible'pointsofview"hisneatliterarystyle,hisfelicitousphrases,hisswiftandcausticsatire.Mr.HallCaine,itistrue,aimsatthegrandiose,butthenhewritesatthetopofhisvoice.Heissoloudthatonecannotbearwhathesays.Mr.JamesPaynisanadeptintheartofconcealingwhatisnotworthfinding.Hehuntsdowntheobviouswiththeenthusiasmofashort-sighteddetective.Asoneturnsoverthepages,thesuspenseoftheauthorbecomesalmostunbearable.ThehorsesofMr.WilliamBlack'sphaetondonotsoartowardsthesun.Theymerelyfrightentheskyateveningintoviolentchromolithographiceffects.Onseeingthemapproach,thepeasantstakerefugeindialect.Mrs.Oliphantprattlespleasantlyaboutcurates,lawn-tennisparties,domesticity,andotherwearisomethings.Mr.MarionCrawfordhasimmolatedhimselfuponthealtaroflocalcolour.HeisliketheladyintheFrenchcomedywhokeepstalkingabout"lebeaucield'Italie."Besides,hehasfallenintothebadhabitofutteringmoralplatitudes.Heisalwaystellingusthattobegoodistobegood,andthattobebadistobewicked.Attimesheisalmostedifying.ROBERTELSMEREisofcourseamasterpiece-amasterpieceofthe"genreennuyeux,"theoneformofliteraturethattheEnglishpeopleseemsthoroughlytoenjoy.AthoughtfulyoungfriendofoursoncetoldusthatitremindedhimofthesortofconversationthatgoesonatameatteainthehouseofaseriousNonconformistfamily,andwecanquitebelieveit.IndeeditisonlyinEnglandthatsuchabookcouldbeproduced.Englandisthehomeoflostideas.Asforthatgreatanddailyincreasingschoolofnovelistsforwhomthe sunalwaysrisesintheEast-End,theonlythingthatcanbesaidaboutthemisthattheyfindlifecrude,andleaveitraw.'InFrance,thoughnothingsodeliberatelytediousasROBERTELSMEREhasbeenproduced,thingsarenotmuchbetter.M.GuydeMaupassant,withhiskeenmordantironyandhishardvividstyle,stripslifeofthefewpoorragsthatstillcoverher,andshowsusfoulsoreandfesteringwound.Hewritesluridlittletragediesinwhicheverybodyisridiculous;bittercomediesatwhichonecannotlaughforverytears.M.Zola,truetotheloftyprinciplethathelaysdowninoneofhispronunciamientosonliterature,"L'hommedegenien'ajamaisd'esprit,"isdeterminedtoshowthat,ifhehasnotgotgenius,hecanatleastbedull.Andhowwellhesucceeds!Heisnotwithoutpower.Indeedattimes,asinGERMINAL,thereissomethingalmostepicinhiswork.Buthisworkisentirelywrongfrombeginningtoend,andwrongnotonthegroundofmorals,butonthegroundofart.Fromanyethicalstandpointitisjustwhatitshouldbe.Theauthorisperfectlytruthful,anddescribesthingsexactlyastheyhappen.Whatmorecananymoralistdesire?WehavenosympathyatallwiththemoralindignationofourtimeagainstM.Zola.ItissimplytheindignationofTartuffeonbeingexposed.Butfromthestandpointofart,whatcanbesaidinfavouroftheauthorofL'ASSOMMOIR,NANAandPOT-BOUILLE?Nothing.Mr.RuskinoncedescribedthecharactersinGeorgeEliot'snovelsasbeinglikethesweepingsofaPentonvilleomnibus,butM.Zola'scharactersaremuchworse.Theyhavetheirdrearyvices,andtheirdreariervirtues.Therecordoftheirlivesisabsolutelywithoutinterest.Whocareswhathappenstothem?Inliteraturewerequiredistinction,charm,beautyandimaginativepower.Wedon'twanttobeharrowedanddisgustedwithanaccountofthedoingsofthelowerorders.M.Daudetisbetter.Hehaswit,alighttouchandanamusingstyle.Buthehaslatelycommittedliterarysuicide.NobodycanpossiblycareforDelobelle withhis"Ilfautlutterpourl'art,"orforValmajourwithhiseternalrefrainaboutthenightingale,orforthepoetinJACKwithhis"motscruels,"nowthatwehavelearnedfromVINGTANSDEMAVIELITTERAIREthatthesecharactersweretakendirectlyfromlife.Toustheyseemtohavesuddenlylostalltheirvitality,allthefewqualitiestheyeverpossessed.Theonlyrealpeoplearethepeoplewhoneverexisted,andifanovelistisbaseenoughtogotolifeforhispersonagesheshouldatleastpretendthattheyarecreations,andnotboastofthemascopies.Thejustificationofacharacterinanovelisnotthatotherpersonsarewhattheyare,butthattheauthoriswhatheis.Otherwisethenovelisnotaworkofart.AsforM.PaulBourget,themasteroftheROMANPSYCHOLOGIQUE,hecommitstheerrorofimaginingthatthemenandwomenofmodernlifearecapableofbeinginfinitelyanalysedforaninnumerableseriesofchapters.Inpointoffactwhatisinterestingaboutpeopleingoodsociety-andM.BourgetrarelymovesoutoftheFaubourgSt.Germain,excepttocometoLondon,-isthemaskthateachoneofthemwears,nottherealitythatliesbehindthemask.Itisahumiliatingconfession,butweareallofusmadeoutofthesamestuff.InFalstaffthereissomethingofHamlet,inHamletthereisnotalittleofFalstaff.Thefatknighthashismoodsofmelancholy,andtheyoungprincehismomentsofcoarsehumour.Wherewedifferfromeachotherispurelyinaccidentals:indress,manner,toneofvoice,religiousopinions,personalappearance,tricksofhabitandthelike.Themoreoneanalysespeople,themoreallreasonsforanalysisdisappear.Soonerorlateronecomestothatdreadfuluniversalthingcalledhumannature.Indeed,asanyonewhohaseverworkedamongthepoorknowsonlytoowell,thebrotherhoodofmanisnomerepoet'sdream,itisamostdepressingandhumiliatingreality;andifawriterinsistsuponanalysingtheupperclasses,hemightjustaswellwriteofmatch-girlsandcostermongersatonce.'However,mydearCyril,Iwillnotdetainyouanyfurtherjust here.Iquiteadmitthatmodernnovelshavemanygoodpoints.AllIinsistonisthat,asaclass,theyarequiteunreadable.CYRIL.Thatiscertainlyaverygravequalification,butImustsaythatIthinkyouareratherunfairinsomeofyourstrictures.IlikeTHEDEEMSTER,andTHEDAUGHTEROFHETH,andLEDISCIPLE,andMR.ISAACS,andasforROBERTELSMERE,Iamquitedevotedtoit.NotthatIcanlookuponitasaseriouswork.AsastatementoftheproblemsthatconfronttheearnestChristianitisridiculousandantiquated.ItissimplyArnold'sLITERATUREANDDOGMAwiththeliteratureleftout.ItisasmuchbehindtheageasPaley'sEVIDENCES,orColenso'smethodofBiblicalexegesis.Norcouldanythingbelessimpressivethantheunfortunateherogravelyheraldingadawnthatroselongago,andsocompletelymissingitstruesignificancethatheproposestocarryonthebusinessoftheoldfirmunderthenewname.Ontheotherhand,itcontainsseveralclevercaricatures,andaheapofdelightfulquotations,andGreen'sphilosophyverypleasantlysugarsthesomewhatbitterpilloftheauthor'sfiction.Ialsocannothelpexpressingmysurprisethatyouhavesaidnothingaboutthetwonovelistswhomyouarealwaysreading,BalzacandGeorgeMeredith.Surelytheyarerealists,bothofthem?VIVIAN.Ah!Meredith!Whocandefinehim?Hisstyleischaosilluminedbyflashesoflightning.Asawriterhehasmasteredeverythingexceptlanguage:asanovelisthecandoeverything,excepttellastory:asanartistheiseverythingexceptarticulate.SomebodyinShakespeare-Touchstone,Ithink-talksaboutamanwhoisalwaysbreakinghisshinsoverhisownwit,anditseemstomethatthismightserveasthebasisforacriticismofMeredith'smethod.Butwhateverheis,heisnotarealist.OrratherIwouldsaythatheisachildofrealismwhoisnotonspeakingtermswithhisfather.Bydeliberatechoicehehasmade himselfaromanticist.HehasrefusedtobowthekneetoBaal,andafterall,eveniftheman'sfinespiritdidnotrevoltagainstthenoisyassertionsofrealism,hisstylewouldbequitesufficientofitselftokeeplifeatarespectfuldistance.Byitsmeanshehasplantedroundhisgardenahedgefullofthorns,andredwithwonderfulroses.AsforBalzac,hewasamostremarkablecombinationoftheartistictemperamentwiththescientificspirit.Thelatterhebequeathedtohisdisciples.Theformerwasentirelyhisown.ThedifferencebetweensuchabookasM.Zola'sL'ASSOMMOIRandBalzac'sILLUSIONSPERDUESisthedifferencebetweenunimaginativerealismandimaginativereality.'AllBalzac'scharacters;'saidBaudelaire,'aregiftedwiththesameardouroflifethatanimatedhimself.Allhisfictionsareasdeeplycolouredasdreams.Eachmindisaweaponloadedtothemuzzlewithwill.Theveryscullionshavegenius.'AsteadycourseofBalzacreducesourlivingfriendstoshadows,andouracquaintancestotheshadowsofshades.Hischaractershaveakindofferventfiery-colouredexistence.Theydominateus,anddefyscepticism.OneofthegreatesttragediesofmylifeisthedeathofLuciendeRubempre.ItisagrieffromwhichIhaveneverbeenablecompletelytoridmyself.Ithauntsmeinmymomentsofpleasure.IrememberitwhenIlaugh.ButBalzacisnomorearealistthanHolbeinwas.Hecreatedlife,hedidnotcopyit.Iadmit,however,thathesetfartoohighavalueonmodernityofform,andthat,consequently,thereisnobookofhisthat,asanartisticmasterpiece,canrankwithSALAMMBOorESMOND,orTHECLOISTERANDTHEHEARTH,ortheVICOMTEDEBRAGELONNE.CYRIL.Doyouobjecttomodernityofform,then?VIVIAN.Yes.Itisahugepricetopayforaverypoorresult.Puremodernityofformisalwayssomewhatvulgarising.Itcannothelpbeingso.Thepublicimaginethat,becausetheyare interestedintheirimmediatesurroundings,Artshouldbeinterestedinthemalso,andshouldtakethemashersubject-matter.ButthemerefactthattheyareinterestedinthesethingsmakesthemunsuitablesubjectsforArt.Theonlybeautifulthings,assomebodyoncesaid,arethethingsthatdonotconcernus.Aslongasathingisusefulornecessarytous,oraffectsusinanyway,eitherforpainorforpleasure,orappealsstronglytooursympathies,orisavitalpartoftheenvironmentinwhichwelive,itisoutsidethepropersphereofart.Toart'ssubject-matterweshouldbemoreorlessindifferent.Weshould,atanyrate,havenopreferences,noprejudices,nopartisanfeelingofanykind.ItisexactlybecauseHecubaisnothingtousthathersorrowsaresuchanadmirablemotiveforatragedy.IdonotknowanythinginthewholehistoryofliteraturesadderthantheartisticcareerofCharlesReade.Hewroteonebeautifulbook,THECLOISTERANDTHEHEARTH,abookasmuchaboveROMOLAasROMOLAisaboveDANIELDERONDA,andwastedtherestofhislifeinafoolishattempttobemodern,todrawpublicattentiontothestateofourconvictprisons,andthemanagementofourprivatelunaticasylums.CharlesDickenswasdepressingenoughinallconsciencewhenhetriedtoarouseoursympathyforthevictimsofthepoor-lawadministration;butCharlesReade,anartist,ascholar,amanwithatruesenseofbeauty,ragingandroaringovertheabusesofcontemporarylifelikeacommonpamphleteerorasensationaljournalist,isreallyasightfortheangelstoweepover.Believeme,mydearCyril,modernityofformandmodernityofsubject-matterareentirelyandabsolutelywrong.WehavemistakenthecommonliveryoftheageforthevestureoftheMuses,andspendourdaysinthesordidstreetsandhideoussuburbsofourvilecitieswhenweshouldbeoutonthehillsidewithApollo.Certainlyweareadegradedrace,andhavesoldourbirthrightforamessoffacts. CYRIL.Thereissomethinginwhatyousay,andthereisnodoubtthatwhateveramusementwemayfindinreadingapurelymodelnovel,wehaverarelyanyartisticpleasureinre-readingit.Andthisisperhapsthebestroughtestofwhatisliteratureandwhatisnot.Ifonecannotenjoyreadingabookoverandoveragain,thereisnousereadingitatall.ButwhatdoyousayaboutthereturntoLifeandNature?Thisisthepanaceathatisalwaysbeingrecommendedtous.VIVIAN.IwillreadyouwhatIsayonthatsubject.Thepassagecomeslateroninthearticle,butImayaswellgiveittoyounow:-'Thepopularcryofourtimeis"LetusreturntoLifeandNature;theywillrecreateArtforus,andsendtheredbloodcoursingthroughherveins;theywillshoeherfeetwithswiftnessandmakeherhandstrong."But,alas!wearemistakeninouramiableandwell-meaningefforts.Natureisalwaysbehindtheage.AndasforLife,sheisthesolventthatbreaksupArt,theenemythatlayswasteherhouse.'CYRIL.WhatdoyoumeanbysayingthatNatureisalwaysbehindtheage?VIVIAN.Well,perhapsthatisrathercryptic.WhatImeanisthis.IfwetakeNaturetomeannaturalsimpleinstinctasopposedtoself-consciousculture,theworkproducedunderthisinfluenceisalwaysold-fashioned,antiquated,andoutofdate.OnetouchofNaturemaymakethewholeworldkin,buttwotouchesofNaturewilldestroyanyworkofArt.If,ontheotherhand,weregardNatureasthecollectionofphenomenaexternaltoman,peopleonlydiscoverinherwhattheybringtoher.Shehasnosuggestionsofherown.Wordsworthwenttothelakes,buthewasneveralake poet.Hefoundinstonesthesermonshehadalreadyhiddenthere.Hewentmoralisingaboutthedistrict,buthisgoodworkwasproducedwhenhereturned,nottoNaturebuttopoetry.Poetrygavehim'Laodamia,'andthefinesonnets,andthegreatOde,suchasitis.Naturegavehim'MarthaRay'and'PeterBell,'andtheaddresstoMr.Wilkinson'sspade.CYRIL.Ithinkthatviewmightbequestioned.Iamratherinclinedtobelievein'theimpulsefromavernalwood,'thoughofcoursetheartisticvalueofsuchanimpulsedependsentirelyonthekindoftemperamentthatreceivesit,sothatthereturntoNaturewouldcometomeansimplytheadvancetoagreatpersonality.Youwouldagreewiththat,Ifancy.However,proceedwithyourarticle.VIVIAN(READING).'Artbeginswithabstractdecoration,withpurelyimaginativeandpleasurableworkdealingwithwhatisunrealandnon-existent.Thisisthefirststage.ThenLifebecomesfascinatedwiththisnewwonder,andaskstobeadmittedintothecharmedcircle.Arttakeslifeaspartofherroughmaterial,recreatesit,andrefashionsitinfreshforms,isabsolutelyindifferenttofact,invents,imagines,dreams,andkeepsbetweenherselfandrealitytheimpenetrablebarrierofbeautifulstyle,ofdecorativeoridealtreatment.ThethirdstageiswhenLifegetstheupperhand,anddrivesArtoutintothewilderness.Thatisthetruedecadence,anditisfromthisthatwearenowsuffering.'TakethecaseoftheEnglishdrama.AtfirstinthehandsofthemonksDramaticArtwasabstract,decorativeandmythological.ThensheenlistedLifeinherservice,andusingsomeoflife'sexternalforms,shecreatedanentirelynewraceofbeings,whosesorrowsweremoreterriblethananysorrowmanhaseverfelt,whosejoyswerekeenerthanlover'sjoys,whohadtherageoftheTitansand thecalmofthegods,whohadmonstrousandmarvelloussins,monstrousandmarvellousvirtues.Tothemshegavealanguagedifferentfromthatofactualuse,alanguagefullofresonantmusicandsweetrhythm,madestatelybysolemncadence,ormadedelicatebyfancifulrhyme,jewelledwithwonderfulwords,andenrichedwithloftydiction.Sheclothedherchildreninstrangeraimentandgavethemmasks,andatherbiddingtheantiqueworldrosefromitsmarbletomb.AnewCaesarstalkedthroughthestreetsofrisenRome,andwithpurplesailandflute-ledoarsanotherCleopatrapasseduptherivertoAntioch.Oldmythandlegendanddreamtookshapeandsubstance.Historywasentirelyre-written,andtherewashardlyoneofthedramatistswhodidnotrecognisethattheobjectofArtisnotsimpletruthbutcomplexbeauty.Inthistheywereperfectlyright.Artitselfisreallyaformofexaggeration;andselection,whichistheveryspiritofart,isnothingmorethananintensifiedmodeofover-emphasis.'ButLifesoonshatteredtheperfectionoftheform.EveninShakespearewecanseethebeginningoftheend.Itshowsitselfbythegradualbreaking-upoftheblank-verseinthelaterplays,bythepredominancegiventoprose,andbytheover-importanceassignedtocharacterisation.ThepassagesinShakespeare-andtheyaremany-wherethelanguageisuncouth,vulgar,exaggerated,fantastic,obsceneeven,areentirelyduetoLifecallingforanechoofherownvoice,andrejectingtheinterventionofbeautifulstyle,throughwhichaloneshouldlifebesufferedtofindexpression.Shakespeareisnotbyanymeansaflawlessartist.Heistoofondofgoingdirectlytolife,andborrowinglife'snaturalutterance.HeforgetsthatwhenArtsurrendersherimaginativemediumshesurrenderseverything.Goethesays,somewhere-InderBeschrankungzeigtFsicherstderMeister, "Itisinworkingwithinlimitsthatthemasterrevealshimself,"andthelimitation,theveryconditionofanyartisstyle.However,weneednotlingeranylongeroverShakespeare'srealism.THETEMPESTisthemostperfectofpalinodes.Allthatwedesiredtopointoutwas,thatthemagnificentworkoftheElizabethanandJacobeanartistscontainedwithinitselftheseedsofitsowndissolution,andthat,ifitdrewsomeofitsstrengthfromusinglifeasroughmaterial,itdrewallitsweaknessfromusinglifeasanartisticmethod.Astheinevitableresultofthissubstitutionofanimitativeforacreativemedium,thissurrenderofanimaginativeform,wehavethemodernEnglishmelodrama.Thecharactersintheseplaystalkonthestageexactlyastheywouldtalkoffit;theyhaveneitheraspirationsnoraspirates;theyaretakendirectlyfromlifeandreproduceitsvulgaritydowntothesmallestdetail;theypresentthegait,manner,costumeandaccentofrealpeople;theywouldpassunnoticedinathird-classrailwaycarriage.Andyethowwearisometheplaysare!Theydonotsucceedinproducingeventhatimpressionofrealityatwhichtheyaim,andwhichistheironlyreasonforexisting.Asamethod,realismisacompletefailure.'Whatistrueaboutthedramaandthenovelisnolesstrueaboutthoseartsthatwecallthedecorativearts.ThewholehistoryoftheseartsinEuropeistherecordofthestrugglebetweenOrientalism,withitsfrankrejectionofimitation,itsloveofartisticconvention,itsdisliketotheactualrepresentationofanyobjectinNature,andourownimitativespirit.Wherevertheformerhasbeenparamount,asinByzantium,SicilyandSpain,byactualcontact,orintherestofEuropebytheinfluenceoftheCrusades,wehavehadbeautifulandimaginativeworkinwhichthevisiblethingsoflifearetransmutedintoartisticconventions, andthethingsthatLifehasnotareinventedandfashionedforherdelight.ButwhereverwehavereturnedtoLifeandNature,ourworkhasalwaysbecomevulgar,commonanduninteresting.Moderntapestry,withitsaerialeffects,itselaborateperspective,itsbroadexpansesofwastesky,itsfaithfulandlaboriousrealism,hasnobeautywhatsoever.ThepictorialglassofGermanyisabsolutelydetestable.WearebeginningtoweavepossiblecarpetsinEngland,butonlybecausewehavereturnedtothemethodandspiritoftheEast.Ourrugsandcarpetsoftwentyyearsago,withtheirsolemndepressingtruths,theirinaneworshipofNature,theirsordidreproductionsofvisibleobjects,havebecome,eventothePhilistine,asourceoflaughter.AculturedMahomedanonceremarkedtous,"YouChristiansaresooccupiedinmisinterpretingthefourthcommandmentthatyouhaveneverthoughtofmakinganartisticapplicationofthesecond."Hewasperfectlyright,andthewholetruthofthematteristhis:TheproperschooltolearnartinisnotLifebutArt.'Andnowletmereadyouapassagewhichseemstometosettlethequestionverycompletely.'Itwasnotalwaysthus.Weneednotsayanythingaboutthepoets,forthey,withtheunfortunateexceptionofMr.Wordsworth,havebeenreallyfaithfultotheirhighmission,andareuniversallyrecognisedasbeingabsolutelyunreliable.ButintheworksofHerodotus,who,inspiteoftheshallowandungenerousattemptsofmodemscioliststoverifyhishistory,mayjustlybecalledthe"FatherofLies";inthepublishedspeechesofCiceroandthebiographiesofSuetonius;inTacitusathisbest;inPliny'sNATURALHISTORY;inHanno'sPERIPLUS;inalltheearlychronicles;intheLivesoftheSaints;inFroissartandSirThomasMalory;inthetravelsofMarcoPolo;inOlausMagnus,andAldrovandus,andConradLycosthenes,withhismagnificentPRODIGIORUMETOSTENTORUM CHRONICON;intheautobiographyofBenvenutoCellini;inthememoirsofCasanova;inDefoe'sHISTORYOFTHEPLAGUE;inBoswell'sLIFEOFJOHNSON;inNapoleon'sdespatches,andintheworksofourownCarlyle,whoseFRENCHREVOLUTIONisoneofthemostfascinatinghistoricalnovelseverwritten,factsareeitherkeptintheirpropersubordinateposition,orelseentirelyexcludedonthegeneralgroundofdulness.Now,everythingischanged.Factsarenotmerelyfindingafooting-placeinhistory,buttheyareusurpingthedomainofFancy,andhaveinvadedthekingdomofRomance.Theirchillingtouchisovereverything.Theyarevulgarisingmankind.ThecrudecommercialismofAmerica,itsmaterialisingspirit,itsindifferencetothepoeticalsideofthings,anditslackofimaginationandofhighunattainableideals,areentirelyduetothatcountryhavingadoptedforitsnationalheroamanwho,accordingtohisownconfession,wasincapableoftellingalie,anditisnottoomuchtosaythatthestoryofGeorgeWashingtonandthecherry-treehasdonemoreharm,andinashorterspaceoftime,thananyothermoraltaleinthewholeofliterature.'CYRIL.Mydearboy!VIVIAN.Iassureyouitisthecase,andtheamusingpartofthewholethingisthatthestoryofthecherry-treeisanabsolutemyth.However,youmustnotthinkthatIamtoodespondentabouttheartisticfutureeitherofAmericaorofourowncountry.Listentothis:-'Thatsomechangewilltakeplacebeforethiscenturyhasdrawntoitsclosewehavenodoubtwhatsoever.Boredbythetediousandimprovingconversationofthosewhohaveneitherthewittoexaggeratenorthegeniustoromance,tiredoftheintelligentpersonwhosereminiscencesarealwaysbaseduponmemory,whose statementsareinvariablylimitedbyprobability,andwhoisatanytimeliabletobecorroboratedbythemerestPhilistinewhohappenstobepresent,Societysoonerorlatermustreturntoitslostleader,theculturedandfascinatingliar.Whohewaswhofirst,withouteverhavinggoneouttotherudechase,toldthewanderingcavemenatsunsethowhehaddraggedtheMegatheriumfromthepurpledarknessofitsjaspercave,orslaintheMammothinsinglecombatandbroughtbackitsgildedtusks,wecannottell,andnotoneofourmodernanthropologists,foralltheirmuch-boastedscience,hashadtheordinarycouragetotellus.Whateverwashisnameorrace,hecertainlywasthetruefounderofsocialintercourse.Fortheaimoftheliarissimplytocharm,todelight,togivepleasure.Heistheverybasisofcivilisedsociety,andwithouthimadinner-party,evenatthemansionsofthegreat,isasdullasalectureattheRoyalSociety,oradebateattheIncorporatedAuthors,oroneofMr.Burnand'sfarcicalcomedies.'Norwillhebewelcomedbysocietyalone.Art,breakingfromtheprison-houseofrealism,willruntogreethim,andwillkisshisfalse,beautifullips,knowingthathealoneisinpossessionofthegreatsecretofallhermanifestations,thesecretthatTruthisentirelyandabsolutelyamatterofstyle;whileLife-poor,probable,uninterestinghumanlife-tiredofrepeatingherselfforthebenefitofMr.HerbertSpencer,scientifichistorians,andthecompilersofstatisticsingeneral,willfollowmeeklyafterhim,andtrytoreproduce,inherownsimpleanduntutoredway,someofthemarvelsofwhichhetalks.'Nodoubttherewillalwaysbecriticswho,likeacertainwriterintheSATURDAYREVIEW,willgravelycensurethetelleroffairytalesforhisdefectiveknowledgeofnaturalhistory,whowillmeasureimaginativeworkbytheirownlackofanyimaginative faculty,andwillholduptheirink-stainedhandsinhorrorifsomehonestgentleman,whohasneverbeenfartherthantheyew-treesofhisowngarden,pensafascinatingbookoftravelslikeSirJohnMandeville,or,likegreatRaleigh,writesawholehistoryoftheworld,withoutknowinganythingwhatsoeveraboutthepast.ToexcusethemselvestheywilltryandshelterundertheshieldofhimwhomadeProsperothemagician,andgavehimCalibanandArielashisservants,whoheardtheTritonsblowingtheirhornsroundthecoralreefsoftheEnchantedIsle,andthefairiessingingtoeachotherinawoodnearAthens,wholedthephantomkingsindimprocessionacrossthemistyScottishheath,andhidHecateinacavewiththeweirdsisters.TheywillcalluponShakespeare-theyalwaysdo-andwillquotethathackneyedpassageforgettingthatthisunfortunateaphorismaboutArtholdingthemirroruptoNature,isdeliberatelysaidbyHamletinordertoconvincethebystandersofhisabsoluteinsanityinallart-matters.'CYRIL.Ahem!Anothercigarette,please.VIVIAN.Mydearfellow,whateveryoumaysay,itismerelyadramaticutterance,andnomorerepresentsShakespeare'srealviewsuponartthanthespeechesofIagorepresenthisrealviewsuponmorals.Butletmegettotheendofthepassage:'Artfindsherownperfectionwithin,andnotoutsideof,herself.Sheisnottobejudgedbyanyexternalstandardofresemblance.Sheisaveil,ratherthanamirror.Shehasflowersthatnoforestsknowof,birdsthatnowoodlandpossesses.Shemakesandunmakesmanyworlds,andcandrawthemoonfromheavenwithascarletthread.Hersarethe"formsmorerealthanlivingman,"andhersthegreatarchetypesofwhichthingsthathaveexistencearebutunfinishedcopies.Naturehas,inhereyes,nolaws,nouniformity.Shecanworkmiraclesatherwill,andwhenshecalls monstersfromthedeeptheycome.Shecanbidthealmond-treeblossominwinter,andsendthesnowupontheripecornfield.AtherwordthefrostlaysitssilverfingerontheburningmouthofJune,andthewingedlionscreepoutfromthehollowsoftheLydianhills.Thedryadspeerfromthethicketasshepassesby,andthebrownfaunssmilestrangelyatherwhenshecomesnearthem.Shehashawk-facedgodsthatworshipher,andthecentaursgallopatherside.'CYRIL.Ilikethat.Icanseeit.Isthattheend?VIVIAN.No.Thereisonemorepassage,butitispurelypractical.ItsimplysuggestssomemethodsbywhichwecouldrevivethislostartofLying.CYRIL.Well,beforeyoureadittome,Ishouldliketoaskyouaquestion.Whatdoyoumeanbysayingthatlife,'poor,probable,uninterestinghumanlife,'willtrytoreproducethemarvelsofart?Icanquiteunderstandyourobjectiontoartbeingtreatedasamirror.Youthinkitwouldreducegeniustothepositionofacrackedlooking-glass.Butyoudon'tmeantosaythatyouseriouslybelievethatLifeimitatesArt,thatLifeinfactisthemirror,andArtthereality?VIVIAN.CertainlyIdo.Paradoxthoughitmayseem-andparadoxesarealwaysdangerousthings-itisnonethelesstruethatLifeimitatesartfarmorethanArtimitateslife.WehaveallseeninourowndayinEnglandhowacertaincuriousandfascinatingtypeofbeauty,inventedandemphasisedbytwoimaginativepainters,hassoinfluencedLifethatwheneveronegoestoaprivateviewortoanartisticsalononesees,herethemysticeyesofRossetti'sdream,thelongivorythroat,thestrangesquare-cutjaw,theloosenedshadowyhairthathesoardentlyloved,therethesweetmaidenhoodof'TheGoldenStair,'the blossom-likemouthandwearylovelinessofthe'LausAmoris,'thepassion-palefaceofAndromeda,thethinhandsandlithebeautyoftheVivianin'Merlin'sDream.'Andithasalwaysbeenso.Agreatartistinventsatype,andLifetriestocopyit,toreproduceitinapopularform,likeanenterprisingpublisher.NeitherHolbeinnorVandyckfoundinEnglandwhattheyhavegivenus.Theybroughttheirtypeswiththem,andLifewithherkeenimitativefacultysetherselftosupplythemasterwithmodels.TheGreeks,withtheirquickartisticinstinct,understoodthis,andsetinthebride'schamberthestatueofHermesorofApollo,thatshemightbearchildrenaslovelyastheworksofartthatshelookedatinherraptureorherpain.TheyknewthatLifegainsfromartnotmerelyspirituality,depthofthoughtandfeeling,soul-turmoilorsoul-peace,butthatshecanformherselfontheverylinesandcoloursofart,andcanreproducethedignityofPheidiasaswellasthegraceofPraxiteles.Hencecametheirobjectiontorealism.Theydislikeditonpurelysocialgrounds.Theyfeltthatitinevitablymakespeopleugly,andtheywereperfectlyright.Wetrytoimprovetheconditionsoftheracebymeansofgoodair,freesunlight,wholesomewater,andhideousbarebuildingsforthebetterhousingofthelowerorders.Butthesethingsmerelyproducehealth,theydonotproducebeauty.Forthis,Artisrequired,andthetruedisciplesofthegreatartistarenothisstudio-imitators,butthosewhobecomelikehisworksofart,betheyplasticasinGreekdays,orpictorialasinmoderntimes;inaword,LifeisArt'sbest,Art'sonlypupil.Asitiswiththevisiblearts,soitiswithliterature.Themostobviousandthevulgarestforminwhichthisisshownisinthecaseofthesillyboyswho,afterreadingtheadventuresofJackSheppardorDickTurpin,pillagethestallsofunfortunateapple-women,breakintosweet-shopsatnight,andalarmoldgentlemenwhoarereturninghomefromthecitybyleapingoutontheminsuburban lanes,withblackmasksandunloadedrevolvers.Thisinterestingphenomenon,whichalwaysoccursaftertheappearanceofaneweditionofeitherofthebooksIhavealludedto,isusuallyattributedtotheinfluenceofliteratureontheimagination.Butthisisamistake.Theimaginationisessentiallycreative,andalwaysseeksforanewform.Theboy-burglarissimplytheinevitableresultoflife'simitativeinstinct.HeisFact,occupiedasFactusuallyis,withtryingtoreproduceFiction,andwhatweseeinhimisrepeatedonanextendedscalethroughoutthewholeoflife.Schopenhauerhasanalysedthepessimismthatcharacterisesmodernthought,butHamletinventedit.Theworldhasbecomesadbecauseapuppetwasoncemelancholy.TheNihilist,thatstrangemartyrwhohasnofaith,whogoestothestakewithoutenthusiasm,anddiesforwhathedoesnotbelievein,isapurelyliteraryproduct.HewasinventedbyTourgenieff,andcompletedbyDostoieffski.RobespierrecameoutofthepagesofRousseauassurelyasthePeople'sPalaceroseoutoftheDEBRISofanovel.Literaturealwaysanticipateslife.Itdoesnotcopyit,butmouldsittoitspurpose.Thenineteenthcentury,asweknowit,islargelyaninventionofBalzac.OurLuciensdeRubempre,ourRastignacs,andDeMarsaysmadetheirfirstappearanceonthestageoftheCOMEDIEHUMAINE.Wearemerelycarryingout,withfootnotesandunnecessaryadditions,thewhimorfancyorcreativevisionofagreatnovelist.Ionceaskedalady,whoknewThackerayintimately,whetherhehadhadanymodelforBeckySharp.ShetoldmethatBeckywasaninvention,butthattheideaofthecharacterhadbeenpartlysuggestedbyagovernesswholivedintheneighbourhoodofKensingtonSquare,andwasthecompanionofaveryselfishandricholdwoman.Iinquiredwhatbecameofthegoverness,andsherepliedthat,oddlyenough,someyearsaftertheappearanceofVANITYFAIR,sheranawaywiththenephewoftheladywithwhomshewasliving,andforashorttimemadeagreatsplashinsociety,quiteinMrs.RawdonCrawley'sstyle,andentirelyby Mrs.RawdonCrawley'smethods.Ultimatelyshecametogrief,disappearedtotheContinent,andusedtobeoccasionallyseenatMonteCarloandothergamblingplaces.ThenoblegentlemanfromwhomthesamegreatsentimentalistdrewColonelNewcomedied,afewmonthsafterTHENEWCOMERhadreachedafourthedition,withtheword'Adsum'onhislips.ShortlyafterMr.Stevensonpublishedhiscuriouspsychologicalstoryoftransformation,afriendofmine,calledMr.Hyde,wasinthenorthofLondon,andbeinganxioustogettoarailwaystation,tookwhathethoughtwouldbeashortcut,losthisway,andfoundhimselfinanetworkofmean,evil-lookingstreets.Feelingrathernervoushebegantowalkextremelyfast,whensuddenlyoutofanarchwayranachildrightbetweenhislegs.Itfellonthepavement,hetrippedoverit,andtrampleduponit.Beingofcourseverymuchfrightenedandalittlehurt,itbegantoscream,andinafewsecondsthewholestreetwasfullofroughpeoplewhocamepouringoutofthehouseslikeants.Theysurroundedhim,andaskedhimhisname.HewasjustabouttogiveitwhenhesuddenlyrememberedtheopeningincidentinMr.Stevenson'sstory.Hewassofilledwithhorrorathavingrealisedinhisownpersonthatterribleandwell-writtenscene,andathavingdoneaccidentally,thoughinfact,whattheMr.Hydeoffictionhaddonewithdeliberateintent,thatheranawayashardashecouldgo.Hewas,however,verycloselyfollowed,andfinallyhetookrefugeinasurgery,thedoorofwhichhappenedtobeopen,whereheexplainedtoayoungassistant,whohappenedtobethere,exactlywhathadoccurred.Thehumanitariancrowdwereinducedtogoawayonhisgivingthemasmallsumofmoney,andassoonasthecoastwasclearheleft.Ashepassedout,thenameonthebrassdoor-plateofthesurgerycaughthiseye.Itwas'Jekyll.'Atleastitshouldhavebeen.Heretheimitation,asfarasitwent,wasofcourseaccidental.Inthefollowingcasetheimitationwasself-conscious.Inthe year1879,justafterIhadleftOxford,ImetatareceptionatthehouseofoneoftheForeignMinistersawomanofverycuriousexoticbeauty.Webecamegreatfriends,andwereconstantlytogether.Andyetwhatinterestedmemostinherwasnotherbeauty,buthercharacter,herentirevaguenessofcharacter.Sheseemedtohavenopersonalityatall,butsimplythepossibilityofmanytypes.Sometimesshewouldgiveherselfupentirelytoart,turnherdrawing-roomintoastudio,andspendtwoorthreedaysaweekatpicturegalleriesormuseums.Thenshewouldtaketoattendingrace-meetings,wearthemosthorseyclothes,andtalkaboutnothingbutbetting.Sheabandonedreligionformesmerism,mesmerismforpolitics,andpoliticsforthemelodramaticexcitementsofphilanthropy.Infact,shewasakindofProteus,andasmuchafailureinallhertransformationsaswasthatwondroussea-godwhenOdysseuslaidholdofhim.OnedayaserialbeganinoneoftheFrenchmagazines.AtthattimeIusedtoreadserialstories,andIwellremembertheshockofsurpriseIfeltwhenIcametothedescriptionoftheheroine.ShewassolikemyfriendthatIbroughtherthemagazine,andsherecognisedherselfinitimmediately,andseemedfascinatedbytheresemblance.Ishouldtellyou,bytheway,thatthestorywastranslatedfromsomedeadRussianwriter,sothattheauthorhadnottakenhistypefrommyfriend.Well,toputthematterbriefly,somemonthsafterwardsIwasinVenice,andfindingthemagazineinthereading-roomofthehotel,Itookitupcasuallytoseewhathadbecomeoftheheroine.Itwasamostpiteoustale,asthegirlhadendedbyrunningawaywithamanabsolutelyinferiortoher,notmerelyinsocialstation,butincharacterandintellectalso.IwrotetomyfriendthateveningaboutmyviewsonJohnBellini,andtheadmirableicesatFlorian's,andtheartisticvalueofgondolas,butaddedapostscripttotheeffectthatherdoubleinthestoryhadbehavedinaverysillymanner.Idon'tknowwhyIaddedthat,butIrememberIhadasortofdreadovermethatshe mightdothesamething.Beforemyletterhadreachedher,shehadrunawaywithamanwhodesertedherinsixmonths.Isawherin1884inParis,whereshewaslivingwithhermother,andIaskedherwhetherthestoryhadhadanythingtodowithheraction.Shetoldmethatshehadfeltanabsolutelyirresistibleimpulsetofollowtheheroinestepbystepinherstrangeandfatalprogress,andthatitwaswithafeelingofrealterrorthatshehadlookedforwardtothelastfewchaptersofthestory.Whentheyappeared,itseemedtoherthatshewascompelledtoreproducetheminlife,andshedidso.ItwasamostclearexampleofthisimitativeinstinctofwhichIwasspeaking,andanextremelytragicone.However,Idonotwishtodwellanyfurtheruponindividualinstances.Personalexperienceisamostviciousandlimitedcircle.AllthatIdesiretopointoutisthegeneralprinciplethatLifeimitatesArtfarmorethanArtimitatesLife,andIfeelsurethatifyouthinkseriouslyaboutityouwillfindthatitistrue.LifeholdsthemirroruptoArt,andeitherreproducessomestrangetypeimaginedbypainterorsculptor,orrealisesinfactwhathasbeendreamedinfiction.Scientificallyspeaking,thebasisoflife-theenergyoflife,asAristotlewouldcallit-issimplythedesireforexpression,andArtisalwayspresentingvariousformsthroughwhichthisexpressioncanbeattained.Lifeseizesonthemandusesthem,eveniftheybetoherownhurt.YoungmenhavecommittedsuicidebecauseRolladidso,havediedbytheirownhandbecausebyhisownhandWertherdied.ThinkofwhatweowetotheimitationofChrist,ofwhatweowetotheimitationofCaesar.CYRIL.Thetheoryiscertainlyaverycuriousone,buttomakeitcompleteyoumustshowthatNature,nolessthanLife,isanimitationofArt.Areyoupreparedtoprovethat? VIVIAN.Mydearfellow,Iampreparedtoproveanything.CYRIL.Naturefollowsthelandscapepainter,then,andtakeshereffectsfromhim?VIVIAN.Certainly.Where,ifnotfromtheImpressionists,dowegetthosewonderfulbrownfogsthatcomecreepingdownourstreets,blurringthegas-lampsandchangingthehousesintomonstrousshadows?Towhom,ifnottothemandtheirmaster,doweowethelovelysilvermiststhatbroodoverourriver,andturntofaintformsoffadinggracecurvedbridgeandswayingbarge?TheextraordinarychangethathastakenplaceintheclimateofLondonduringthelasttenyearsisentirelyduetoaparticularschoolofArt.Yousmile.Considerthematterfromascientificorametaphysicalpointofview,andyouwillfindthatIamright.ForwhatisNature?Natureisnogreatmotherwhohasborneus.Sheisourcreation.Itisinourbrainthatshequickenstolife.Thingsarebecauseweseethem,andwhatwesee,andhowweseeit,dependsontheArtsthathaveinfluencedus.Tolookatathingisverydifferentfromseeingathing.Onedoesnotseeanythinguntiloneseesitsbeauty.Then,andthenonly,doesitcomeintoexistence.Atpresent,peopleseefogs,notbecausetherearefogs,butbecausepoetsandpaintershavetaughtthemthemysteriouslovelinessofsucheffects.TheremayhavebeenfogsforcenturiesinLondon.Idaresaytherewere.Butnoonesawthem,andsowedonotknowanythingaboutthem.TheydidnotexisttillArthadinventedthem.Now,itmustbeadmitted,fogsarecarriedtoexcess.Theyhavebecomethemeremannerismofaclique,andtheexaggeratedrealismoftheirmethodgivesdullpeoplebronchitis.Wheretheculturedcatchaneffect,theunculturedcatchcold.Andso,letusbehumane,andinviteArttoturnherwonderfuleyeselsewhere.Shehasdonesoalready,indeed.ThatwhitequiveringsunlightthatoneseesnowinFrance, withitsstrangeblotchesofmauve,anditsrestlessvioletshadows,isherlatestfancy,and,onthewhole,Naturereproducesitquiteadmirably.WheresheusedtogiveusCorotsandDaubignys,shegivesusnowexquisiteMonetsandentrancingPissaros.Indeedtherearemoments,rare,itistrue,butstilltobeobservedfromtimetotime,whenNaturebecomesabsolutelymodern.Ofcoursesheisnotalwaystobereliedupon.Thefactisthatsheisinthisunfortunateposition.Artcreatesanincomparableanduniqueeffect,and,havingdoneso,passesontootherthings.Nature,upontheotherhand,forgettingthatimitationcanbemadethesincerestformofinsult,keepsonrepeatingthiseffectuntilweallbecomeabsolutelyweariedofit.Nobodyofanyrealculture,forinstance,evertalksnowadaysaboutthebeautyofasunset.Sunsetsarequiteold-fashioned.TheybelongtothetimewhenTurnerwasthelastnoteinart.Toadmirethemisadistinctsignofprovincialismoftemperament.Upontheotherhandtheygoon.YesterdayeveningMrs.Arundelinsistedonmygoingtothewindow,andlookingattheglorioussky,asshecalledit.OfcourseIhadtolookatit.SheisoneofthoseabsurdlyprettyPhilistinestowhomonecandenynothing.Andwhatwasit?Itwassimplyaverysecond-rateTurner,aTurnerofabadperiod,withallthepainter'sworstfaultsexaggeratedandover-emphasised.Ofcourse,IamquitereadytoadmitthatLifeveryoftencommitsthesameerror.SheproducesherfalseRenesandhershamVautrins,justasNaturegivesus,ononedayadoubtfulCuyp,andonanotheramorethanquestionableRousseau.Still,Natureirritatesonemorewhenshedoesthingsofthatkind.Itseemssostupid,soobvious,sounnecessary.AfalseVautrinmightbedelightful.AdoubtfulCuypisunbearable.However,Idon'twanttobetoohardonNature.IwishtheChannel,especiallyatHastings,didnotlookquitesooftenlikeaHenryMoore,greypearlwithyellowlights,butthen,whenArtismorevaried,Naturewill,nodoubt,bemorevariedalso.ThatsheimitatesArt,I don'tthinkevenherworstenemywoulddenynow.Itistheonethingthatkeepsherintouchwithcivilisedman.ButhaveIprovedmytheorytoyoursatisfaction?CYRIL.Youhaveprovedittomydissatisfaction,whichisbetter.ButevenadmittingthisstrangeimitativeinstinctinLifeandNature,surelyyouwouldacknowledgethatArtexpressesthetemperofitsage,thespiritofitstime,themoralandsocialconditionsthatsurroundit,andunderwhoseinfluenceitisproduced.VIVIAN.Certainlynot!Artneverexpressesanythingbutitself.Thisistheprincipleofmynewaesthetics;anditisthis,morethanthatvitalconnectionbetweenformandsubstance,onwhichMr.Paterdwells,thatmakesmusicthetypeofallthearts.Ofcourse,nationsandindividuals,withthathealthynaturalvanitywhichisthesecretofexistence,arealwaysundertheimpressionthatitisofthemthattheMusesaretalking,alwaystryingtofindinthecalmdignityofimaginativeartsomemirroroftheirownturbidpassions,alwaysforgettingthatthesingeroflifeisnotApollobutMarsyas.Remotefromreality,andwithhereyesturnedawayfromtheshadowsofthecave,Artrevealsherownperfection,andthewonderingcrowdthatwatchestheopeningofthemarvellous,many-petalledrosefanciesthatitisitsownhistorythatisbeingtoldtoit,itsownspiritthatisfindingexpressioninanewform.Butitisnotso.Thehighestartrejectstheburdenofthehumanspirit,andgainsmorefromanewmediumorafreshmaterialthanshedoesfromanyenthusiasmforart,orfromanyloftypassion,orfromanygreatawakeningofthehumanconsciousness.Shedevelopspurelyonherownlines.Sheisnotsymbolicofanyage.Itistheagesthatarehersymbols.EventhosewhoholdthatArtisrepresentativeoftimeandplaceandpeoplecannothelpadmittingthatthemoreimitativeanartis, thelessitrepresentstousthespiritofitsage.TheevilfacesoftheRomanemperorslookoutatusfromthefoulporphyryandspottedjasperinwhichtherealisticartistsofthedaydelightedtowork,andwefancythatinthosecruellipsandheavysensualjawswecanfindthesecretoftheruinoftheEmpire.Butitwasnotso.ThevicesofTiberiuscouldnotdestroythatsupremecivilisation,anymorethanthevirtuesoftheAntoninescouldsaveit.Itfellforother,forlessinterestingreasons.ThesibylsandprophetsoftheSistinemayindeedservetointerpretforsomethatnewbirthoftheemancipatedspiritthatwecalltheRenaissance;butwhatdothedrunkenboorsandbawlingpeasantsofDutcharttellusaboutthegreatsoulofHolland?Themoreabstract,themoreidealanartis,themoreitrevealstousthetemperofitsage.Ifwewishtounderstandanationbymeansofitsart,letuslookatitsarchitectureoritsmusic.CYRIL.Iquiteagreewithyouthere.Thespiritofanagemaybebestexpressedintheabstractidealarts,forthespirititselfisabstractandideal.Upontheotherhand,forthevisibleaspectofanage,foritslook,asthephrasegoes,wemustofcoursegototheartsofimitation.VIVIAN.Idon'tthinkso.Afterall,whattheimitativeartsreallygiveusaremerelythevariousstylesofparticularartists,orofcertainschoolsofartists.Surelyyoudon'timaginethatthepeopleoftheMiddleAgesboreanyresemblanceatalltothefiguresonmediaevalstainedglass,orinmediaevalstoneandwoodcarving,oronmediaevalmetal-work,ortapestries,orilluminatedMSS.Theywereprobablyveryordinary-lookingpeople,withnothinggrotesque,orremarkable,orfantasticintheirappearance.TheMiddleAges,asweknowtheminart,aresimplyadefiniteformofstyle,andthereisnoreasonatallwhyanartistwiththisstyleshouldnotbeproducedinthenineteenthcentury.Nogreatartist everseesthingsastheyreallyare.Ifhedid,hewouldceasetobeanartist.Takeanexamplefromourownday.IknowthatyouarefondofJapanesethings.Now,doyoureallyimaginethattheJapanesepeople,astheyarepresentedtousinart,haveanyexistence?Ifyoudo,youhaveneverunderstoodJapaneseartatall.TheJapanesepeoplearethedeliberateself-consciouscreationofcertainindividualartists.IfyousetapicturebyHokusai,orHokkei,oranyofthegreatnativepainters,besidearealJapanesegentlemanorlady,youwillseethatthereisnottheslightestresemblancebetweenthem.TheactualpeoplewholiveinJapanarenotunlikethegeneralrunofEnglishpeople;thatistosay,theyareextremelycommonplace,andhavenothingcuriousorextraordinaryaboutthem.InfactthewholeofJapanisapureinvention.Thereisnosuchcountry,therearenosuchpeople.OneofourmostcharmingpainterswentrecentlytotheLandoftheChrysanthemuminthefoolishhopeofseeingtheJapanese.Allhesaw,allhehadthechanceofpainting,wereafewlanternsandsomefans.Hewasquiteunabletodiscovertheinhabitants,ashisdelightfulexhibitionatMessrs.Dowdeswell'sGalleryshowedonlytoowell.HedidnotknowthattheJapanesepeopleare,asIhavesaid,simplyamodeofstyle,anexquisitefancyofart.Andso,ifyoudesiretoseeaJapaneseeffect,youwillnotbehavelikeatouristandgotoTokio.Onthecontrary,youwillstayathomeandsteepyourselfintheworkofcertainJapaneseartists,andthen,whenyouhaveabsorbedthespiritoftheirstyle,andcaughttheirimaginativemannerofvision,youwillgosomeafternoonandsitintheParkorstrolldownPiccadilly,andifyoucannotseeanabsolutelyJapaneseeffectthere,youwillnotseeitanywhere.Or,toreturnagaintothepast,takeasanotherinstancetheancientGreeks.DoyouthinkthatGreekartevertellsuswhattheGreekpeoplewerelike?DoyoubelievethattheAthenianwomenwerelikethestatelydignifiedfiguresoftheParthenonfrieze,orlikethosemarvellousgoddesseswhosatinthetriangularpediments ofthesamebuilding?Ifyoujudgefromtheart,theycertainlywereso.Butreadanauthority,likeAristophanes,forinstance.YouwillfindthattheAthenianladieslacedtightly,worehigh-heeledshoes,dyedtheirhairyellow,paintedandrougedtheirfaces,andwereexactlylikeanysillyfashionableorfallencreatureofourownday.Thefactisthatwelookbackontheagesentirelythroughthemediumofart,andart,veryfortunately,hasneveroncetoldusthetruth.CYRIL.ButmodernportraitsbyEnglishpainters,whatofthem?Surelytheyarelikethepeopletheypretendtorepresent?VIVIAN.Quiteso.Theyaresolikethemthatahundredyearsfromnownoonewillbelieveinthem.Theonlyportraitsinwhichonebelievesareportraitswherethereisverylittleofthesitter,andaverygreatdealoftheartist.Holbein'sdrawingsofthemenandwomenofhistimeimpressuswithasenseoftheirabsolutereality.ButthisissimplybecauseHolbeincompelledlifetoaccepthisconditions,torestrainitselfwithinhislimitations,toreproducehistype,andtoappearashewishedittoappear.Itisstylethatmakesusbelieveinathing-nothingbutstyle.Mostofourmodernportraitpaintersaredoomedtoabsoluteoblivion.Theyneverpaintwhattheysee.Theypaintwhatthepublicsees,andthepublicneverseesanything.CYRIL.Well,afterthatIthinkIshouldliketoheartheendofyourarticle.VIVIAN.Withpleasure.WhetheritwilldoanygoodIreallycannotsay.Oursiscertainlythedullestandmostprosaiccenturypossible.Why,evenSleephasplayedusfalse,andhasclosedupthegatesofivory,andopenedthegatesofhorn.Thedreamsofthegreatmiddleclassesofthiscountry,asrecordedinMr. Myers'stwobulkyvolumesonthesubject,andintheTransactionsofthePsychicalSociety,arethemostdepressingthingsthatIhaveeverread.Thereisnotevenafinenightmareamongthem.Theyarecommonplace,sordidandtedious.AsfortheChurch,Icannotconceiveanythingbetterforthecultureofacountrythanthepresenceinitofabodyofmenwhosedutyitistobelieveinthesupernatural,toperformdailymiracles,andtokeepalivethatmythopoeicfacultywhichissoessentialfortheimagination.ButintheEnglishChurchamansucceeds,notthroughhiscapacityforbelief,butthroughhiscapacityfordisbelief.OursistheonlyChurchwherethescepticstandsatthealtar,andwhereSt.Thomasisregardedastheidealapostle.Manyaworthyclergyman,whopasseshislifeinadmirableworksofkindlycharity,livesanddiesunnoticedandunknown;butitissufficientforsomeshallowuneducatedpassmanoutofeitherUniversitytogetupinhispulpitandexpresshisdoubtsaboutNoah'sark,orBalaam'sass,orJonahandthewhale,forhalfofLondontoflocktohearhim,andtositopen-mouthedinraptadmirationathissuperbintellect.ThegrowthofcommonsenseintheEnglishChurchisathingverymuchtoberegretted.Itisreallyadegradingconcessiontoalowformofrealism.Itissilly,too.Itspringsfromanentireignoranceofpsychology.Mancanbelievetheimpossible,butmancanneverbelievetheimprobable.However,Imustreadtheendofmyarticle:-'Whatwehavetodo,whatatanyrateitisourdutytodo,istorevivethisoldartofLying.Muchofcoursemaybedone,inthewayofeducatingthepublic,byamateursinthedomesticcircle,atliterarylunches,andatafternoonteas.Butthisismerelythelightandgracefulsideoflying,suchaswasprobablyheardatCretandinner-parties.Therearemanyotherforms.Lyingforthesakeofgainingsomeimmediatepersonaladvantage,forinstance-lyingwithamoralpurpose,asitisusuallycalled-thoughof lateithasbeenratherlookeddownupon,wasextremelypopularwiththeantiqueworld.AthenalaughswhenOdysseustellsher"hiswordsofslydevising,"asMr.WilliamMorrisphrasesit,andthegloryofmendacityilluminesthepalebrowofthestainlessheroofEuripideantragedy,andsetsamongthenoblewomenofthepasttheyoungbrideofoneofHorace'smostexquisiteodes.Lateron,whatatfirsthadbeenmerelyanaturalinstinctwaselevatedintoaself-consciousscience.Elaborateruleswerelaiddownfortheguidanceofmankind,andanimportantschoolofliteraturegrewuproundthesubject.Indeed,whenonerememberstheexcellentphilosophicaltreatiseofSanchezonthewholequestion,onecannothelpregrettingthatnoonehaseverthoughtofpublishingacheapandcondensededitionoftheworksofthatgreatcasuist.Ashortprimer,"WhentoLieandHow,"ifbroughtoutinanattractiveandnottooexpensiveaform,wouldnodoubtcommandalargesale,andwouldproveofrealpracticalservicetomanyearnestanddeep-thinkingpeople.Lyingforthesakeoftheimprovementoftheyoung,whichisthebasisofhomeeducation,stilllingersamongstus,anditsadvantagesaresoadmirablysetforthintheearlybooksofPlato'sREPUBLICthatitisunnecessarytodwelluponthemhere.Itisamodeoflyingforwhichallgoodmothershavepeculiarcapabilities,butitiscapableofstillfurtherdevelopment,andhasbeensadlyoverlookedbytheSchoolBoard.LyingforthesakeofamonthlysalaryisofcoursewellknowninFleetStreet,andtheprofessionofapoliticalleader-writerisnotwithoutitsadvantages.Butitissaidtobeasomewhatdulloccupation,anditcertainlydoesnotleadtomuchbeyondakindofostentatiousobscurity.Theonlyformoflyingthatisabsolutelybeyondreproachislyingforitsownsake,andthehighestdevelopmentofthisis,aswehavealreadypointedout,LyinginArt.JustasthosewhodonotlovePlatomorethanTruthcannotpassbeyondthethresholdoftheAcademe,sothosewhodonotloveBeautymorethanTruthneverknowtheinmostshrineofArt.The solidstolidBritishintellectliesinthedesertsandsliketheSphinxinFlaubert'smarvelloustale,andfantasy,LACHIMERE,dancesroundit,andcallstoitwithherfalse,flute-tonedvoice.Itmaynothearhernow,butsurelysomeday,whenweareallboredtodeathwiththecommonplacecharacterofmodernfiction,itwillhearkentoherandtrytoborrowherwings.'Andwhenthatdaydawns,orsunsetreddens,howjoyousweshallallbe!Factswillberegardedasdiscreditable,Truthwillbefoundmourningoverherfetters,andRomance,withhertemperofwonder,willreturntotheland.Theveryaspectoftheworldwillchangetoourstartledeyes.OutoftheseawillriseBehemothandLeviathan,andsailroundthehigh-poopedgalleys,astheydoonthedelightfulmapsofthoseageswhenbooksongeographywereactuallyreadable.Dragonswillwanderaboutthewasteplaces,andthephoenixwillsoarfromhernestoffireintotheair.Weshalllayourhandsuponthebasilisk,andseethejewelinthetoad'shead.Champinghisgildedoats,theHippogriffwillstandinourstalls,andoverourheadswillfloattheBlueBirdsingingofbeautifulandimpossiblethings,ofthingsthatarelovelyandthatneverhappen,ofthingsthatarenotandthatshouldbe.ButbeforethiscomestopasswemustcultivatethelostartofLying.'CYRIL.Thenwemustentirelycultivateitatonce.ButinordertoavoidmakinganyerrorIwantyoutotellmebrieflythedoctrinesofthenewaesthetics.VIVIAN.Briefly,then,theyarethese.Artneverexpressesanythingbutitself.Ithasanindependentlife,justasThoughthas,anddevelopspurelyonitsownlines.Itisnotnecessarilyrealisticinanageofrealism,norspiritualinanageoffaith.Sofarfrombeingthecreationofitstime,itisusuallyindirectoppositiontoit,andtheonlyhistorythatitpreservesforusis thehistoryofitsownprogress.Sometimesitreturnsuponitsfootsteps,andrevivessomeantiqueform,ashappenedinthearchaisticmovementoflateGreekArt,andinthepre-Raphaelitemovementofourownday.Atothertimesitentirelyanticipatesitsage,andproducesinonecenturyworkthatittakesanothercenturytounderstand,toappreciateandtoenjoy.Innocasedoesitreproduceitsage.Topassfromtheartofatimetothetimeitselfisthegreatmistakethatallhistorianscommit.Theseconddoctrineisthis.AllbadartcomesfromreturningtoLifeandNature,andelevatingthemintoideals.LifeandNaturemaysometimesbeusedaspartofArt'sroughmaterial,butbeforetheyareofanyrealservicetoarttheymustbetranslatedintoartisticconventions.ThemomentArtsurrendersitsimaginativemediumitsurrenderseverything.AsamethodRealismisacompletefailure,andthetwothingsthateveryartistshouldavoidaremodernityofformandmodernityofsubject-matter.Tous,wholiveinthenineteenthcentury,anycenturyisasuitablesubjectforartexceptourown.Theonlybeautifulthingsarethethingsthatdonotconcernus.Itis,tohavethepleasureofquotingmyself,exactlybecauseHecubaisnothingtousthathersorrowsaresosuitableamotiveforatragedy.Besides,itisonlythemodernthateverbecomesold-fashioned.M.ZolasitsdowntogiveusapictureoftheSecondEmpire.WhocaresfortheSecondEmpirenow?Itisoutofdate.LifegoesfasterthanRealism,butRomanticismisalwaysinfrontofLife.ThethirddoctrineisthatLifeimitatesArtfarmorethanArtimitatesLife.ThisresultsnotmerelyfromLife'simitativeinstinct,butfromthefactthattheself-consciousaimofLifeistofindexpression,andthatArtoffersitcertainbeautifulformsthroughwhichitmayrealisethatenergy.Itisatheorythathasneverbeenputforwardbefore,butitisextremelyfruitful,and throwsanentirelynewlightuponthehistoryofArt.Itfollows,asacorollaryfromthis,thatexternalNaturealsoimitatesArt.Theonlyeffectsthatshecanshowusareeffectsthatwehavealreadyseenthroughpoetry,orinpaintings.ThisisthesecretofNature'scharm,aswellastheexplanationofNature'sweakness.ThefinalrevelationisthatLying,thetellingofbeautifuluntruethings,istheproperaimofArt.ButofthisIthinkIhavespokenatsufficientlength.Andnowletusgooutontheterrace,where'droopsthemilk-whitepeacocklikeaghost,'whiletheeveningstar'washestheduskwithsilver.'Attwilightnaturebecomesawonderfullysuggestiveeffect,andisnotwithoutloveliness,thoughperhapsitschiefuseistoillustratequotationsfromthepoets.Come!Wehavetalkedlongenough.PEN,PENCILANDPOISON-ASTUDYINGREENIthasconstantlybeenmadeasubjectofreproachagainstartistsandmenoflettersthattheyarelackinginwholenessandcompletenessofnature.Asarulethismustnecessarilybeso.Thatveryconcentrationofvisionandintensityofpurposewhichisthecharacteristicoftheartistictemperamentisinitselfamodeoflimitation.Tothosewhoarepreoccupiedwiththebeautyofformnothingelseseemsofmuchimportance.Yettherearemanyexceptionstothisrule.Rubensservedasambassador,andGoetheasstatecouncillor,andMiltonasLatinsecretarytoCromwell.Sophoclesheldcivicofficeinhisowncity;thehumourists,essayists,andnovelistsofmodernAmericaseemtodesirenothing betterthantobecomethediplomaticrepresentativesoftheircountry;andCharlesLamb'sfriend,ThomasGriffithsWainewright,thesubjectofthisbriefmemoir,thoughofanextremelyartistictemperament,followedmanymastersotherthanart,beingnotmerelyapoetandapainter,anart-critic,anantiquarian,andawriterofprose,anamateurofbeautifulthings,andadilettanteofthingsdelightful,butalsoaforgerofnomeanorordinarycapabilities,andasasubtleandsecretpoisoneralmostwithoutrivalinthisoranyage.Thisremarkableman,sopowerfulwith'pen,pencilandpoison,'asagreatpoetofourowndayhasfinelysaidofhim,wasbornatChiswick,in1794.HisfatherwasthesonofadistinguishedsolicitorofGray'sInnandHattonGarden.HismotherwasthedaughterofthecelebratedDr.Griffiths,theeditorandfounderoftheMONTHLYREVIEW,thepartnerinanotherliteraryspeculationofThomasDavis,thatfamousbooksellerofwhomJohnsonsaidthathewasnotabookseller,but'agentlemanwhodealtinbooks,'thefriendofGoldsmithandWedgwood,andoneofthemostwell-knownmenofhisday.Mrs.Wainewrightdied,ingivinghimbirth,attheearlyageoftwenty-one,andanobituarynoticeintheGENTLEMAN'SMAGAZINEtellsusofher'amiabledispositionandnumerousaccomplishments,'andaddssomewhatquaintlythat'sheissupposedtohaveunderstoodthewritingsofMr.Lockeaswellasperhapsanypersonofeithersexnowliving.'Hisfatherdidnotlongsurvivehisyoungwife,andthelittlechildseemstohavebeenbroughtupbyhisgrandfather,and,onthedeathofthelatterin1803,byhisuncleGeorgeEdwardGriffiths,whomhesubsequentlypoisoned.HisboyhoodwaspassedatLindenHouse,TurnhamGreen,oneofthosemanyfineGeorgianmansionsthathaveunfortunatelydisappearedbeforetheinroadsofthesuburbanbuilder,andtoitslovelygardensandwell-timberedparkheowedthatsimpleandimpassionedloveofnaturewhichneverlefthimallthroughhislife,andwhich madehimsopeculiarlysusceptibletothespiritualinfluencesofWordsworth'spoetry.HewenttoschoolatCharlesBurney'sacademyatHammersmith.Mr.Burneywasthesonofthehistorianofmusic,andthenearkinsmanoftheartisticladwhowasdestinedtoturnouthismostremarkablepupil.Heseemstohavebeenamanofagooddealofculture,andinafteryearsMr.Wainewrightoftenspokeofhimwithmuchaffectionasaphilosopher,anarchaeologist,andanadmirableteacherwho,whilehevaluedtheintellectualsideofeducation,didnotforgettheimportanceofearlymoraltraining.ItwasunderMr.Burneythathefirstdevelopedhistalentasanartist,andMr.Hazlitttellsusthatadrawing-bookwhichheusedatschoolisstillextant,anddisplaysgreattalentandnaturalfeeling.Indeed,paintingwasthefirstartthatfascinatedhim.Itwasnottillmuchlaterthathesoughttofindexpressionbypenorpoison.Beforethis,however,heseemstohavebeencarriedawaybyboyishdreamsoftheromanceandchivalryofasoldier'slife,andtohavebecomeayoungguardsman.Buttherecklessdissipatedlifeofhiscompanionsfailedtosatisfytherefinedartistictemperamentofonewhowasmadeforotherthings.Inashorttimeheweariedoftheservice.'Art,'hetellsus,inwordsthatstillmovemanybytheirardentsincerityandstrangefervour,'Arttouchedherrenegade;byherpureandhighinfluencethenoisomemistswerepurged;myfeelings,parched,hot,andtarnished,wererenovatedwithcool,freshbloom,simple,beautifultothesimple-hearted.'ButArtwasnottheonlycauseofthechange.'ThewritingsofWordsworth,'hegoesontosay,'didmuchtowardscalmingtheconfusingwhirlnecessarilyincidenttosuddenmutations.Iweptoverthemtearsofhappinessandgratitude.'Heaccordinglyleftthearmy,withitsroughbarrack-lifeandcoarsemess-roomtittle-tattle,andreturnedtoLindenHouse,fullofthisnew-bornenthusiasmforculture.Asevereillness,inwhich,tousehisown words,hewas'brokenlikeavesselofclay,'prostratedhimforatime.Hisdelicatelystrungorganisation,howeverindifferentitmighthavebeentoinflictingpainonothers,wasitselfmostkeenlysensitivetopain.Heshrankfromsufferingasathingthatmarsandmaimshumanlife,andseemstohavewanderedthroughthatterriblevalleyofmelancholiafromwhichsomanygreat,perhapsgreater,spiritshaveneveremerged.Buthewasyoung-onlytwenty-fiveyearsofage-andhesoonpassedoutofthe'deadblackwaters,'ashecalledthem,intothelargerairofhumanisticculture.Ashewasrecoveringfromtheillnessthathadledhimalmosttothegatesofdeath,heconceivedtheideaoftakingupliteratureasanart.'IsaidwithJohnWoodvil,'hecries,'itwerealifeofgodstodwellinsuchanelement,'toseeandhearandwritebravethings:-'ThesehighandgustyrelishesoflifeHavenoallayingsofmortality.'Itisimpossiblenottofeelthatinthispassagewehavetheutteranceofamanwhohadatruepassionforletters.'Toseeandhearandwritebravethings,'thiswashisaim.Scott,theeditoroftheLONDONMAGAZINE,struckbytheyoungman'sgenius,orundertheinfluenceofthestrangefascinationthatheexercisedoneveryonewhoknewhim,invitedhimtowriteaseriesofarticlesonartisticsubjects,andunderaseriesoffancifulpseudonymhebegantocontributetotheliteratureofhisday.JANUSWEATHERCOCK,EGOMETBONMOT,andVANVINKVOOMS,weresomeofthegrotesquemasksunderwhichhechoosetohidehisseriousnessortorevealhislevity.Amasktellsusmorethanaface.Thesedisguisesintensifiedhispersonality.Inanincrediblyshorttimeheseemstohavemadehismark.CharlesLambspeaksof'kind, light-heartedWainewright,'whoseproseis'capital.'WehearofhimentertainingMacready,JohnForster,Maginn,Talfourd,SirWentworthDilke,thepoetJohnClare,andothers,atAPETIT-DINER.LikeDisraeli,hedeterminedtostartlethetownasadandy,andhisbeautifulrings,hisantiquecameobreast-pin,andhispalelemon-colouredkidgloves,werewellknown,andindeedwereregardedbyHazlittasbeingthesignsofanewmannerinliterature:whilehisrichcurlyhair,fineeyes,andexquisitewhitehandsgavehimthedangerousanddelightfuldistinctionofbeingdifferentfromothers.TherewassomethinginhimofBalzac'sLuciendeRubempre.AttimesheremindsusofJulienSorel.DeQuinceysawhimonce.ItwasatadinneratCharlesLamb's.'Amongstthecompany,allliterarymen,satamurderer,'hetellsus,andhegoesontodescribehowonthatdayhehadbeenill,andhadhatedthefaceofmanandwoman,andyetfoundhimselflookingwithintellectualinterestacrossthetableattheyoungwriterbeneathwhoseaffectationsofmannerthereseemedtohimtoliesomuchunaffectedsensibility,andspeculateson'whatsuddengrowthofanotherinterest'wouldhavechangedhismood,hadheknownofwhatterriblesintheguesttowhomLambpaidsomuchattentionwaseventhenguilty.Hislife-workfallsnaturallyunderthethreeheadssuggestedbyMr.Swinburne,anditmaybepartlyadmittedthat,ifwesetasidehisachievementsinthesphereofpoison,whathehasactuallylefttoushardlyjustifieshisreputation.ButthenitisonlythePhilistinewhoseekstoestimateapersonalitybythevulgartestofproduction.Thisyoungdandysoughttobesomebody,ratherthantodosomething.HerecognisedthatLifeitselfisinart,andhasitsmodesofstylenolessthantheartsthatseektoexpressit.Norishisworkwithoutinterest.WehearofWilliamBlakestoppingintheRoyalAcademy beforeoneofhispicturesandpronouncingittobe'veryfine.'Hisessaysareprefiguringofmuchthathassincebeenrealised.Heseemstohaveanticipatedsomeofthoseaccidentsofmodernculturethatareregardedbymanyastrueessentials.HewritesaboutLaGioconda,andearlyFrenchpoetsandtheItalianRenaissance.HelovesGreekgems,andPersiancarpets,andElizabethantranslationsofCUPIDANDPSYCHE,andtheHYPNEROTOMACHIA,andbook-bindingandearlyeditions,andwide-marginedproofs.Heiskeenlysensitivetothevalueofbeautifulsurroundings,andneverweariesofdescribingtoustheroomsinwhichhelived,orwouldhavelikedtolive.Hehadthatcuriousloveofgreen,whichinindividualsisalwaysthesignofasubtleartistictemperament,andinnationsissaidtodenotealaxity,ifnotadecadenceofmorals.LikeBaudelairehewasextremelyfondofcats,andwithGautier,hewasfascinatedbythat'sweetmarblemonster'ofbothsexesthatwecanstillseeatFlorenceandintheLouvre.Thereisofcoursemuchinhisdescriptions,andhissuggestionsfordecoration,thatshowsthathedidnotentirelyfreehimselffromthefalsetasteofhistime.Butitisclearthathewasoneofthefirsttorecognisewhatis,indeed,theverykeynoteofaestheticeclecticism,Imeanthetrueharmonyofallreallybeautifulthingsirrespectiveofageorplace,ofschoolormanner.Hesawthatindecoratingaroom,whichistobe,notaroomforshow,butaroomtolivein,weshouldneveraimatanyarchaeologicalreconstructionofthepast,norburdenourselveswithanyfancifulnecessityforhistoricalaccuracy.Inthisartisticperceptionhewasperfectlyright.Allbeautifulthingsbelongtothesameage.Andso,inhisownlibrary,ashedescribesit,wefindthedelicatefictilevaseoftheGreek,withitsexquisitelypainted figuresandthefaint[Greektextwhichcannotbereproduced]finelytraceduponitsside,andbehindithangsanengravingofthe'DelphicSibyl'ofMichaelAngelo,orofthe'Pastoral'ofGiorgione.HereisabitofFlorentinemajolica,andherearudelampfromsomeoldRomantomb.OnthetableliesabookofHours,'casedinacoverofsolidsilvergilt,wroughtwithquaintdevicesandstuddedwithsmallbrilliantsandrubies,'andclosebyit'squatsalittleuglymonster,aLar,perhaps,dugupinthesunnyfieldsofcorn-bearingSicily.'SomedarkantiquebronzescontrastwiththepalegleamoftwonobleCHRISTICRUCIFIXI,onecarvedinivory,theothermouldedinwax.'HehashistraysofTassie'sgems,histinyLouis-QuatorzeBONBONNIEREwithaminiaturebyPetitot,hishighlyprized'brown-biscuitteapots,filagree-worked,'hiscitronmoroccoletter-case,andhis'pomona-green'chair.Onecanfancyhimlyingthereinthemidstofhisbooksandcastsandengravings,atruevirtuoso,asubtleconnoisseur,turningoverhisfinecollectionofMareAntonios,andhisTurner's'LiberStudiorum,'ofwhichhewasawarmadmirer,orexaminingwithamagnifiersomeofhisantiquegemsandcameos,'theheadofAlexanderonanonyxoftwostrata,'or'thatsuperbALTISSIMORELIEVOoncornelian,JupiterAEgiochus.'Hewasalwaysagreatamateurofengravings,andgivessomeveryusefulsuggestionsastothebestmeansofformingacollection.Indeed,whilefullyappreciatingmodernart,heneverlostsightoftheimportanceofreproductionsofthegreatmasterpiecesofthepast,andallthathesaysaboutthevalueofplastercastsisquiteadmirable.Asanart-criticheconcernedhimselfprimarilywiththecompleximpressionsproducedbyaworkofart,andcertainlythefirststepinaestheticcriticismistorealiseone'sownimpressions.Hecarednothingforabstractdiscussionsonthenatureofthe Beautiful,andthehistoricalmethod,whichhassinceyieldedsuchrichfruit,didnotbelongtohisday,butheneverlostsightofthegreattruththatArt'sfirstappealisneithertotheintellectnortotheemotions,butpurelytotheartistictemperament,andhemorethanoncepointsoutthatthistemperament,this'taste,'ashecallsit,beingunconsciouslyguidedandmadeperfectbyfrequentcontactwiththebestwork,becomesintheendaformofrightjudgment.Ofcoursetherearefashionsinartjustastherearefashionsindress,andperhapsnoneofuscaneverquitefreeourselvesfromtheinfluenceofcustomandtheinfluenceofnovelty.Hecertainlycouldnot,andhefranklyacknowledgeshowdifficultitistoformanyfairestimateofcontemporarywork.But,onthewhole,histastewasgoodandsound.HeadmiredTurnerandConstableatatimewhentheywerenotsomuchthoughtofastheyarenow,andsawthatforthehighestlandscapeartwerequiremorethan'mereindustryandaccuratetranscription.'OfCrome's'HeathScenenearNorwich'heremarksthatitshows'howmuchasubtleobservationoftheelements,intheirwildmoods,doesforamostuninterestingflat,'andofthepopulartypeoflandscapeofhisdayhesaysthatitis'simplyanenumerationofhillanddale,stumpsoftrees,shrubs,water,meadows,cottagesandhouses;littlemorethantopography,akindofpictorialmap-work;inwhichrainbows,showers,mists,haloes,largebeamsshootingthroughriftedclouds,storms,starlight,allthemostvaluedmaterialsoftherealpainter,arenot.'Hehadathoroughdislikeofwhatisobviousorcommonplaceinart,andwhilehewascharmedtoentertainWilkieatdinner,hecaredaslittleforSirDavid'spicturesashedidforMr.Crabbe'spoems.WiththeimitativeandrealistictendenciesofhisdayhehadnosympathyandhetellsusfranklythathisgreatadmirationforFuseliwaslargelyduetothefactthatthelittleSwissdidnotconsideritnecessarythatanartistshouldpaintonlywhathesees.Thequalitiesthathesoughtforinapicturewerecomposition,beautyanddignityof line,richnessofcolour,andimaginativepower.Upontheotherhand,hewasnotadoctrinaire.'Iholdthatnoworkofartcanbetriedotherwisethanbylawsdeducedfromitself:whetherornotitbeconsistentwithitselfisthequestion.'Thisisoneofhisexcellentaphorisms.AndincriticisingpainterssodifferentasLandseerandMartin,StothardandEtty,heshowsthat,touseaphrasenowclassical,heistrying'toseetheobjectasinitselfitreallyis.'However,asIpointedoutbefore,heneverfeelsquiteathiseaseinhiscriticismsofcontemporarywork.'Thepresent,'hesays,'isaboutasagreeableaconfusiontomeasAriostoonthefirstperusal....Modernthingsdazzleme.ImustlookatthemthroughTime'stelescope.EliacomplainsthattohimthemeritofaMS.poemisuncertain;"print,"asheexcellentlysays,"settlesit."Fiftyyears'toningdoesthesamethingtoapicture.'HeishappierwhenheiswritingaboutWatteauandLancret,aboutRubensandGiorgione,aboutRembrandt,Corregio,andMichaelAngelo;happiestofallwhenheiswritingaboutGreekthings.WhatisGothictouchedhimverylittle,butclassicalartandtheartoftheRenaissancewerealwaysdeartohim.HesawwhatourEnglishschoolcouldgainfromastudyofGreekmodels,andneverweariesofpointingouttotheyoungstudenttheartisticpossibilitiesthatliedormantinHellenicmarblesandHellenicmethodsofwork.InhisjudgmentsonthegreatItalianMasters,saysDeQuincey,'thereseemedatoneofsincerityandofnativesensibility,asinonewhospokeforhimself,andwasnotmerelyacopierfrombooks.'Thehighestpraisethatwecangivetohimisthathetriedtorevivestyleasaconscioustradition.Buthesawthatnoamountofartlecturesorartcongresses,or'plansforadvancingthefinearts,'willeverproducethisresult.Thepeople,hesaysverywisely,andinthetruespiritofToynbeeHall,mustalwayshave'thebestmodelsconstantlybeforetheireyes.' Asistobeexpectedfromonewhowasapainter,heisoftenextremelytechnicalinhisartcriticisms.OfTintoret's'St.GeorgedeliveringtheEgyptianPrincessfromtheDragon,'heremarks:-TherobeofSabra,warmlyglazedwithPrussianblue,isrelievedfromthepalegreenishbackgroundbyavermilionscarf;andthefullhuesofbotharebeautifullyechoed,asitwere,inalowerkeybythepurple-lakecolouredstuffsandbluishironarmourofthesaint,besidesanamplebalancetothevividazuredraperyontheforegroundintheindigoshadesofthewildwoodsurroundingthecastle.Andelsewherehetalkslearnedlyof'adelicateSchiavone,variousasatulip-bed,withrichbrokentints,'of'aglowingportrait,remarkableforMORBIDEZZA,bythescarceMoroni,'andofanotherpicturebeing'pulpyinthecarnations.'But,asarule,hedealswithhisimpressionsoftheworkasanartisticwhole,andtriestotranslatethoseimpressionsintowords,togive,asitwere,theliteraryequivalentfortheimaginativeandmentaleffect.Hewasoneofthefirsttodevelopwhathasbeencalledtheart-literatureofthenineteenthcentury,thatformofliteraturewhichhasfoundinMr.RuskinandMr.Browning,itstwomostperfectexponents.HisdescriptionofLancret'sREPASITALIEN,inwhich'adark-hairedgirl,"amorousofmischief,"liesonthedaisy-powderedgrass,'isinsomerespectsverycharming.Hereishisaccountof'TheCrucifixion,'byRembrandt.Itisextremelycharacteristicofhisstyle:- Darkness-sooty,portentousdarkness-shroudsthewholescene:onlyabovetheaccursedwood,asifthroughahorridriftinthemurkyceiling,arainydeluge-'sleety-flaw,discolouredwater'-streamsdownamain,spreadingagrislyspectrallight,evenmorehorriblethanthatpalpablenight.AlreadytheEarthpantsthickandfast!thedarkenedCrosstrembles!thewindsaredropt-theairisstagnant-amutteringrumblegrowlsunderneaththeirfeet,andsomeofthatmiserablecrowdbegintoflydownthehill.Thehorsessnuffthecomingterror,andbecomeunmanageablethroughfear.Themomentrapidlyapproacheswhen,nearlytornasunderbyHisownweight,faintingwithlossofblood,whichnowrunsinnarrowerrivuletsfromHisslitveins,Histemplesandbreastdrownedinsweat,andHisblacktongueparchedwiththefierydeath-fever,Jesuscries,'Ithirst.'ThedeadlyvinegariselevatedtoHim.Hisheadsinks,andthesacredcorpse'swingssenselessofthecross.'Asheetofvermilionflameshootssheerthroughtheairandvanishes;therocksofCarmelandLebanoncleaveasunder;thesearollsonhighfromthesandsitsblackwelteringwaves.Earthyawns,andthegravesgiveuptheirdwellers.Thedeadandthelivingaremingledtogetherinunnaturalconjunctionandhurrythroughtheholycity.Newprodigiesawaitthemthere.Theveilofthetemple-theunpierceableveil-isrentasunderfromtoptobottom,andthatdreadedrecesscontainingtheHebrewmysteries-thefatalarkwiththetablesandseven-branchedcandelabrum-isdisclosedbythelightofunearthlyflamestotheGod-desertedmultitude.Rembrandtneverpaintedthissketch,andhewasquiteright.Itwouldhavelostnearlyallitscharmsinlosingthatperplexingveilofindistinctnesswhichaffordssuchamplerangewhereinthe doubtingimaginationmayspeculate.Atpresentitislikeathinginanotherworld.Adarkgulfisbetwixtus.Itisnottangiblebythebody.Wecanonlyapproachitinthespirit.Inthispassage,written,theauthortellsus,'inaweandreverence,'thereismuchthatisterrible,andverymuchthatisquitehorrible,butitisnotwithoutacertaincrudeformofpower,or,atanyrate,acertaincrudeviolenceofwords,aqualitywhichthisageshouldhighlyappreciate,asitisitschiefdefect.Itispleasanter,however,topasstothisdescriptionofGiulioRomano's'CephalusandProcris':-WeshouldreadMoschus'slamentforBion,thesweetshepherd,beforelookingatthispicture,orstudythepictureasapreparationforthelament.Wehavenearlythesameimagesinboth.Foreithervictimthehighgrovesandforestdellsmurmur;theflowersexhalesadperfumefromtheirbuds;thenightingalemournsonthecraggylands,andtheswallowinthelong-windingvales;'thesatyrs,too,andfaunsdark-veiledgroan,'andthefountainnymphswithinthewoodmeltintotearfulwaters.Thesheepandgoatsleavetheirpasture;andoreads,'wholovetoscalethemostinaccessibletopsofalluprightestrocks,'hurrydownfromthesongoftheirwind-courtingpines;whilethedryadsbendfromthebranchesofthemeetingtrees,andtheriversmoanforwhiteProcris,'withmany-sobbingstreams,'Fillingthefar-seenoceanwithavoice.ThegoldenbeesaresilentonthethymyHymettus;andtheknellinghornofAurora'slovenomoreshallscatterawaythecoldtwilight onthetopofHymettus.Theforegroundofoursubjectisagrassysunburntbank,brokenintoswellsandhollowslikewaves(asortofland-breakers),renderedmoreunevenbymanyfoot-trippingrootsandstumpsoftreesstockeduntimelybytheaxe,whichareagainthrowingoutlight-greenshoots.Thisbankrisesrathersuddenlyontherighttoaclusteringgrove,penetrabletonostar,attheentranceofwhichsitsthestunnedThessalianking,holdingbetweenhiskneesthativory-brightbodywhichwas,butaninstantagone,partingtheroughboughswithhersmoothforehead,andtreadingalikeonthornsandflowerswithjealousy-stungfoot-nowhelpless,heavy,voidofallmotion,savewhenthebreezeliftsherthickhairinmockery.Frombetweentheclosely-neighbouredbolesastonishednymphspressforwardwithloudcries-Anddeerskin-vestedsatyrs,crownedwithivytwists,advance;Andputstrangepityintheirhornedcountenance.Laelapsliesbeneath,andshowsbyhispantingtherapidpaceofdeath.Ontheothersideofthegroup,VirtuousLovewith'vansdejected'holdsforththearrowtoanapproachingtroopofsylvanpeople,fauns,rams,goats,satyrs,andsatyr-mothers,pressingtheirchildrentighterwiththeirfearfulhands,whohurryalongfromtheleftinasunkenpathbetweentheforegroundandarockywall,onwhoselowestridgeabrook-guardianpoursfromherurnhergrief-tellingwaters.AboveandmoreremotethantheEphidryad,anotherfemale,rendingherlocks,appearsamongthevine-festoonedpillarsofanunshorngrove.Thecentreofthepictureisfilledbyshadymeadows,sinkingdowntoariver-mouth;beyondis'thevaststrengthoftheoceanstream,'fromwhosefloorthe extinguisherofstars,rosyAurora,drivesfuriouslyupherbrine-washedsteedstobeholdthedeath-pangsofherrival.Werethisdescriptioncarefullyre-written,itwouldbequiteadmirable.Theconceptionofmakingaprosepoemoutofpaintisexcellent.Muchofthebestmodernliteraturespringsfromthesameaim.Inaveryuglyandsensibleage,theartsborrow,notfromlife,butfromeachother.Hissympathies,too,werewonderfullyvaried.Ineverythingconnectedwiththestage,forinstance,hewasalwaysextremelyinterested,andstronglyupheldthenecessityforarchaeologicalaccuracyincostumeandscene-painting.'Inart,'hesaysinoneofhisessays,'whateverisworthdoingatallisworthdoingwell';andhepointsoutthatonceweallowtheintrusionofanachronisms,itbecomesdifficulttosaywherethelineistobedrawn.Inliterature,again,likeLordBeaconsfieldonafamousoccasion,hewas'onthesideoftheangels.'HewasoneofthefirsttoadmireKeatsandShelley-'thetremulously-sensitiveandpoeticalShelley,'ashecallshim.HisadmirationforWordsworthwassincereandprofound.HethoroughlyappreciatedWilliamBlake.Oneofthebestcopiesofthe'SongsofInnocenceandExperience'thatisnowinexistencewaswroughtspeciallyforhim.HelovedAlainChartier,andRonsard,andtheElizabethandramatists,andChaucerandChapman,andPetrarch.Andtohimalltheartswereone.'Ourcritics,'heremarkswithmuchwisdom,'seemhardlyawareoftheidentityoftheprimalseedsofpoetryandpainting,northatanytrueadvancementintheseriousstudyofoneartco-generatesaproportionateperfectionintheother';andhesayselsewherethatifamanwhodoesnotadmireMichaelAngelotalksofhisloveforMilton,heisdeceivingeitherhimselforhislisteners.Tohisfellow-contributorsintheLONDONMAGAZINEhe wasalwaysmostgenerous,andpraisesBarryCornwall,AllanCunningham,Hazlitt,Elton,andLeighHuntwithoutanythingofthemaliceofafriend.SomeofhissketchesofCharlesLambareadmirableintheirway,and,withtheartofthetruecomedian,borrowtheirstylefromtheirsubject:-WhatcanIsayoftheemorethanallknow?thatthouhadstthegaietyofaboywiththeknowledgeofaman:asgentleaheartaseversenttearstotheeyes.Howwittilywouldhemistakeyourmeaning,andputinaconceitmostseasonablyoutofseason.Histalkwithoutaffectationwascompressed,likehisbelovedElizabethans,evenuntoobscurity.Likegrainsoffinegold,hissentenceswouldbeatoutintowholesheets.Hehadsmallmercyonspuriousfame,andacausticobservationontheFASHIONFORMENOFGENIUSwasastandingdish.SirThomasBrownewasa'bosomcronie'ofhis;sowasBurton,andoldFuller.InhisamorousveinhedalliedwiththatpeerlessDuchessofmany-folioodour;andwiththeheydaycomediesofBeaumontandFletcherheinducedlightdreams.Hewoulddelivercriticaltouchesonthese,likeoneinspired,butitwasgoodtolethimchoosehisowngame;ifanotherbeganevenontheacknowledgedpetshewasliabletointerrupt,orratherappend,inamodedifficulttodefinewhetherasmisapprehensiveormischievous.OnenightatC-'s,theabovedramaticpartnerswerethetemporarysubjectofchat.Mr.X.commendedthepassionandhaughtystyleofatragedy(Idon'tknowwhichofthem),butwasinstantlytakenupbyElia,whotoldhim'THATwasnothing;thelyricswerethehighthings-thelyrics!'Onesideofhisliterarycareerdeservesespecialnotice.Modernjournalismmaybesaidtoowealmostasmuchtohimastoanyman oftheearlypartofthiscentury.HewasthepioneerofAsiaticprose,anddelightedinpictorialepithetsandpompousexaggerations.TohaveastylesogorgeousthatitconcealsthesubjectisoneofthehighestachievementsofanimportantandmuchadmiredschoolofFleetStreetleader-writers,andthisschoolJANUSWEATHERCOCKmaybesaidtohaveinvented.Healsosawthatitwasquiteeasybycontinuedreiterationtomakethepublicinterestedinhisownpersonality,andinhispurelyjournalisticarticlesthisextraordinaryyoungmantellstheworldwhathehadfordinner,wherehegetshisclothes,whatwineshelikes,andinwhatstateofhealthheis,justasifhewerewritingweeklynotesforsomepopularnewspaperofourowntime.Thisbeingtheleastvaluablesideofhiswork,istheonethathashadthemostobviousinfluence.Apublicist,nowadays,isamanwhoboresthecommunitywiththedetailsoftheillegalitiesofhisprivatelife.Likemostartificialpeople,hehadagreatloveofnature.'Iholdthreethingsinhighestimation,'hesayssomewhere:'tositlazilyonaneminencethatcommandsarichprospect;tobeshadowedbythicktreeswhilethesunshinesaroundme;andtoenjoysolitudewiththeconsciousnessofneighbourhood.Thecountrygivesthemalltome.'HewritesabouthiswanderingoverfragrantfurzeandheathrepeatingCollins's'OdetoEvening,'justtocatchthefinequalityofthemoment;aboutsmotheringhisface'inawaterybedofcowslips,wetwithMaydews';andaboutthepleasureofseeingthesweet-breathedkine'passslowlyhomewardthroughthetwilight,'andhearing'thedistantclankofthesheep-bell.'Onephraseofhis,'thepolyanthusglowedinitscoldbedofearth,likeasolitarypictureofGiorgioneonadarkoakenpanel,'iscuriouslycharacteristicofhistemperament,andthispassageisratherprettyinitsway:- Theshorttendergrasswascoveredwithmarguerites-'suchthatmencalledDAISIESinourtown'-thickasstarsonasummer'snight.Theharshcawofthebusyrookscamepleasantlymellowedfromahighduskygroveofelmsatsomedistanceoff,andatintervalswasheardthevoiceofaboyscaringawaythebirdsfromthenewly-sownseeds.Thebluedepthswerethecolourofthedarkestultramarine;notacloudstreakedthecalmaether;onlyroundthehorizon'sedgestreamedalight,warmfilmofmistyvapour,againstwhichthenearvillagewithitsancientstonechurchshowedsharplyoutwithblindingwhiteness.IthoughtofWordsworth's'LineswritteninMarch.'However,wemustnotforgetthatthecultivatedyoungmanwhopennedtheselines,andwhowassosusceptibletoWordsworthianinfluences,wasalso,asIsaidatthebeginningofthismemoir,oneofthemostsubtleandsecretpoisonersofthisoranyage.Howhefirstbecamefascinatedbythisstrangesinhedoesnottellus,andthediaryinwhichhecarefullynotedtheresultsofhisterribleexperimentsandthemethodsthatheadopted,hasunfortunatelybeenlosttous.Eveninlaterdays,too,hewasalwaysreticentonthematter,andpreferredtospeakabout'TheExcursion,'andthe'PoemsfoundedontheAffections.'Thereisnodoubt,however,thatthepoisonthatheusedwasstrychnine.Inoneofthebeautifulringsofwhichhewassoproud,andwhichservedtoshowoffthefinemodellingofhisdelicateivoryhands,heusedtocarrycrystalsoftheIndianNUXVOMICA,apoison,oneofhisbiographerstellsus,'nearlytasteless,difficultofdiscovery,andcapableofalmostinfinitedilution.'Hismurders,saysDeQuincey,weremorethanwereevermadeknownjudicially.Thisisnodoubtso,andsomeofthemareworthyofmention.Hisfirstvictimwashisuncle,Mr.ThomasGriffiths.Hepoisonedhimin1829togainpossessionofLindenHouse,aplacetowhichhehad alwaysbeenverymuchattached.IntheAugustofthenextyearhepoisonedMrs.Abercrombie,hiswife'smother,andinthefollowingDecemberhepoisonedthelovelyHelenAbercrombie,hissister-in-law.WhyhemurderedMrs.Abercrombieisnotascertained.Itmayhavebeenforacaprice,ortoquickensomehideoussenseofpowerthatwasinhim,orbecauseshesuspectedsomething,orfornoreason.ButthemurderofHelenAbercrombiewascarriedoutbyhimselfandhiswifeforthesakeofasumofabout18,000pounds,forwhichtheyhadinsuredherlifeinvariousoffices.Thecircumstanceswereasfollows.Onthe12thofDecember,heandhiswifeandchildcameuptoLondonfromLindenHouse,andtooklodgingsatNo.12ConduitStreet,RegentStreet.Withthemwerethetwosisters,HelenandMadeleineAbercrombie.Ontheeveningofthe14ththeyallwenttotheplay,andatsupperthatnightHelensickened.Thenextdayshewasextremelyill,andDr.Locock,ofHanoverSquare,wascalledintoattendher.ShelivedtillMonday,the20th,when,afterthedoctor'smorningvisit,Mr.andMrs.Wainewrightbroughthersomepoisonedjelly,andthenwentoutforawalk.WhentheyreturnedHelenAbercrombiewasdead.Shewasabouttwentyyearsofage,atallgracefulgirlwithfairhair.Averycharmingred-chalkdrawingofherbyherbrother-in-lawisstillinexistence,andshowshowmuchhisstyleasanartistwasinfluencedbySirThomasLawrence,apainterforwhoseworkhehadalwaysentertainedagreatadmiration.DeQuinceysaysthatMrs.Wainewrightwasnotreallyprivytothemurder.Letushopethatshewasnot.Sinshouldbesolitary,andhavenoaccomplices.Theinsurancecompanies,suspectingtherealfactsofthecase,declinedtopaythepolicyonthetechnicalgroundofmisrepresentationandwantofinterest,and,withcuriouscourage,thepoisonerenteredanactionintheCourtofChanceryagainsttheImperial,itbeingagreedthatonedecisionshouldgovernallthe cases.Thetrial,however,didnotcomeonforfiveyears,when,afteronedisagreement,averdictwasultimatelygiveninthecompanies'favour.ThejudgeontheoccasionwasLordAbinger.EGOMETBONMOTwasrepresentedbyMr.ErleandSirWilliamFollet,andtheAttorney-GeneralandSirFrederickPollockappearedfortheotherside.Theplaintiff,unfortunately,wasunabletobepresentateitherofthetrials.Therefusalofthecompaniestogivehimthe18,000poundshadplacedhiminapositionofmostpainfulpecuniaryembarrassment.Indeed,afewmonthsafterthemurderofHelenAbercrombie,hehadbeenactuallyarrestedfordebtinthestreetsofLondonwhilehewasserenadingtheprettydaughterofoneofhisfriends.Thisdifficultywasgotoveratthetime,butshortlyafterwardshethoughtitbettertogoabroadtillhecouldcometosomepracticalarrangementwithhiscreditors.HeaccordinglywenttoBoulogneonavisittothefatheroftheyoungladyinquestion,andwhilehewasthereinducedhimtoinsurehislifewiththePelicanCompanyfor3000pounds.Assoonasthenecessaryformalitieshadbeengonethroughandthepolicyexecuted,hedroppedsomecrystalsofstrychnineintohiscoffeeastheysattogetheroneeveningafterdinner.Hehimselfdidnotgainanymonetaryadvantagebydoingthis.Hisaimwassimplytorevengehimselfonthefirstofficethathadrefusedtopayhimthepriceofhissin.Hisfrienddiedthenextdayinhispresence,andheleftBoulogneatonceforasketchingtourthroughthemostpicturesquepartsofBrittany,andwasforsometimetheguestofanoldFrenchgentleman,whohadabeautifulcountryhouseatSt.Omer.FromthishemovedtoParis,whereheremainedforseveralyears,livinginluxury,somesay,whileotherstalkofhis'skulkingwithpoisoninhispocket,andbeingdreadedbyallwhoknewhim.'In1837hereturnedtoEnglandprivately.Somestrangemadfascinationbroughthimback.Hefollowedawomanwhomheloved. ItwasthemonthofJune,andhewasstayingatoneofthehotelsinCoventGarden.Hissitting-roomwasonthegroundfloor,andheprudentlykepttheblindsdownforfearofbeingseen.Thirteenyearsbefore,whenhewasmakinghisfinecollectionofmajolicaandMarcAntonios,hehadforgedthenamesofhistrusteestoapowerofattorney,whichenabledhimtogetpossessionofsomeofthemoneywhichhehadinheritedfromhismother,andhadbroughtintomarriagesettlement.Heknewthatthisforgeryhadbeendiscovered,andthatbyreturningtoEnglandhewasimperillinghislife.Yethereturned.Shouldonewonder?Itwassaidthatthewomanwasverybeautiful.Besides,shedidnotlovehim.Itwasbyamereaccidentthathewasdiscovered.Anoiseinthestreetattractedhisattention,and,inhisartisticinterestinmodernlife,hepushedasidetheblindforamoment.Someoneoutsidecalledout,'That'sWainewright,theBank-forger.'ItwasForrester,theBowStreetrunner.Onthe5thofJulyhewasbroughtupattheOldBailey.ThefollowingreportoftheproceedingsappearedintheTIMES:-BeforeMr.JusticeVaughanandMr.BaronAlderson,ThomasGriffithsWainewright,agedforty-two,amanofgentlemanlyappearance,wearingmustachios,wasindictedforforgingandutteringacertainpowerofattorneyfor2259pounds,withintenttodefraudtheGovernorandCompanyoftheBankofEngland.Therewerefiveindictmentsagainsttheprisoner,toallofwhichhepleadednotguilty,whenhewasarraignedbeforeMr.SerjeantArabininthecourseofthemorning.Onbeingbroughtbeforethejudges,however,hebeggedtobeallowedtowithdrawtheformerplea,andthenpleadedguiltytotwooftheindictmentswhichwere notofacapitalnature.ThecounselfortheBankhavingexplainedthattherewerethreeotherindictments,butthattheBankdidnotdesiretoshedblood,thepleaofguiltyonthetwominorchargeswasrecorded,andtheprisoneratthecloseofthesessionsentencedbytheRecordertotransportationforlife.HewastakenbacktoNewgate,preparatorytohisremovaltothecolonies.Inafancifulpassageinoneofhisearlyessayshehadfanciedhimself'lyinginHorsemongerGaolundersentenceofdeath'forhavingbeenunabletoresistthetemptationofstealingsomeMarcAntoniosfromtheBritishMuseuminordertocompletehiscollection.Thesentencenowpassedonhimwastoamanofhiscultureaformofdeath.Hecomplainedbitterlyofittohisfriends,andpointedout,withagooddealofreason,somepeoplemayfancy,thatthemoneywaspracticallyhisown,havingcometohimfromhismother,andthattheforgery,suchasitwas,hadbeencommittedthirteenyearsbefore,which,tousehisownphrase,wasatleastaCIRCONSTANCEATTENUANTE.Thepermanenceofpersonalityisaverysubtlemetaphysicalproblem,andcertainlytheEnglishlawsolvesthequestioninanextremelyrough-and-readymanner.Thereis,however,somethingdramaticinthefactthatthisheavypunishmentwasinflictedonhimforwhat,ifwerememberhisfatalinfluenceontheproseofmodernjournalism,wascertainlynottheworstofallhissins.Whilehewasingaol,Dickens,Macready,andHablotBrownecameacrosshimbychance.TheyhadbeengoingovertheprisonsofLondon,searchingforartisticeffects,andinNewgatetheysuddenlycaughtsightofWainewright.Hemetthemwithadefiantstare,Forstertellsus,butMacreadywas'horrifiedtorecogniseamanfamiliarlyknowntohiminformeryears,andatwhosetablehe haddined.'Othershadmorecuriosity,andhiscellwasforsometimeakindoffashionablelounge.Manymenofletterswentdowntovisittheiroldliterarycomrade.Buthewasnolongerthekindlight-heartedJanuswhomCharlesLambadmired.Heseemstohavegrownquitecynical.Totheagentofaninsurancecompanywhowasvisitinghimoneafternoon,andthoughthewouldimprovetheoccasionbypointingoutthat,afterall,crimewasabadspeculation,hereplied:'Sir,youCitymenenteronyourspeculations,andtakethechancesofthem.Someofyourspeculationssucceed,somefail.Minehappentohavefailed,yourshappentohavesucceeded.Thatistheonlydifference,sir,betweenmyvisitorandme.But,sir,IwilltellyouonethinginwhichIhavesucceededtothelast.Ihavebeendeterminedthroughlifetoholdthepositionofagentleman.Ihavealwaysdoneso.Idosostill.Itisthecustomofthisplacethateachoftheinmatesofacellshalltakehismorning'sturnofsweepingitout.Ioccupyacellwithabricklayerandasweep,buttheyneveroffermethebroom!'WhenafriendreproachedhimwiththemurderofHelenAbercrombieheshruggedhisshouldersandsaid,'Yes;itwasadreadfulthingtodo,butshehadverythickankles.'FromNewgatehewasbroughttothehulksatPortsmouth,andsentfromthereintheSUSANtoVanDiemen'sLandalongwiththreehundredotherconvicts.Thevoyageseemstohavebeenmostdistastefultohim,andinaletterwrittentoafriendhespokebitterlyabouttheignominyof'thecompanionofpoetsandartists'beingcompelledtoassociatewith'countrybumpkins.'Thephrasethatheappliestohiscompanionsneednotsurpriseus.CrimeinEnglandisrarelytheresultofsin.Itisnearlyalwaysthe resultofstarvation.Therewasprobablynooneonboardinwhomhewouldhavefoundasympatheticlistener,orevenapsychologicallyinterestingnature.Hisloveofart,however,neverdesertedhim.AtHobartTownhestartedastudio,andreturnedtosketchingandportrait-painting,andhisconversationandmannersseemnottohavelosttheircharm.Nordidhegiveuphishabitofpoisoning,andtherearetwocasesonrecordinwhichhetriedtomakeawaywithpeoplewhohadoffendedhim.Buthishandseemstohavelostitscunning.Bothofhisattemptswerecompletefailures,andin1844,beingthoroughlydissatisfiedwithTasmaniansociety,hepresentedamemorialtothegovernorofthesettlement,SirJohnEardleyWilmot,prayingforaticket-of-leave.Inithespeaksofhimselfasbeing'tormentedbyideasstrugglingforoutwardformandrealisation,barredupfromincreaseofknowledge,anddeprivedoftheexerciseofprofitableorevenofdecorousspeech.'Hisrequest,however,wasrefused,andtheassociateofColeridgeconsoledhimselfbymakingthosemarvellousPARADISARTIFICIELSwhosesecretisonlyknowntotheeatersofopium.In1852hediedofapoplexy,hissolelivingcompanionbeingacat,forwhichhehadevincedatextraordinaryaffection.Hiscrimesseemtohavehadanimportanteffectuponhisart.Theygaveastrongpersonalitytohisstyle,aqualitythathisearlyworkcertainlylacked.InanotetotheLIFEOFDICKENS,Forstermentionsthatin1847LadyBlessingtonreceivedfromherbrother,MajorPower,whoheldamilitaryappointmentatHobartTown,anoilportraitofayoungladyfromhiscleverbrush;anditissaidthat'hehadcontrivedtoputtheexpressionofhisownwickednessintotheportraitofanice,kind-heartedgirl.'M.Zola,inoneofhisnovels,tellsusofayoungmanwho,havingcommittedamurder,takestoart,andpaintsgreenishimpressionistportraitsof perfectlyrespectablepeople,allofwhichbearacuriousresemblancetohisvictim.ThedevelopmentofMr.Wainewright'sstyleseemstomefarmoresubtleandsuggestive.Onecanfancyanintensepersonalitybeingcreatedoutofsin.ThisstrangeandfascinatingfigurethatforafewyearsdazzledliteraryLondon,andmadesobrilliantaDEBUTinlifeandletters,isundoubtedlyamostinterestingstudy.Mr.W.CarewHazlitt,hislatestbiographer,towhomIamindebtedformanyofthefactscontainedinthismemoir,andwhoselittlebookis,indeed,quiteinvaluableinitsway,isofopinionthathisloveofartandnaturewasamerepretenceandassumption,andothershavedeniedtohimallliterarypower.Thisseemstomeashallow,oratleastamistaken,view.Thefactofamanbeingapoisonerisnothingagainsthisprose.Thedomesticvirtuesarenotthetruebasisofart,thoughtheymayserveasanexcellentadvertisementforsecond-rateartists.ItispossiblethatDeQuinceyexaggeratedhiscriticalpowers,andIcannothelpsayingagainthatthereismuchinhispublishedworksthatistoofamiliar,toocommon,toojournalistic,inthebadsenseofthatbadword.Hereandthereheisdistinctlyvulgarinexpression,andheisalwayslackingintheself-restraintofthetrueartist.Butforsomeofhisfaultswemustblamethetimeinwhichhelived,and,afterall,prosethatCharlesLambthought'capital'hasnosmallhistoricinterest.Thathehadasincereloveofartandnatureseemstomequitecertain.Thereisnoessentialincongruitybetweencrimeandculture.Wecannotre-writethewholeofhistoryforthepurposeofgratifyingourmoralsenseofwhatshouldbe.Ofcourse,heisfartooclosetoourowntimeforustobeabletoformanypurelyartisticjudgmentabouthim.ItisimpossiblenottofeelastrongprejudiceagainstamanwhomighthavepoisonedLordTennyson,orMr.Gladstone,ortheMasterofBalliol.Buthad themanwornacostumeandspokenalanguagedifferentfromourown,hadhelivedinimperialRome,oratthetimeoftheItalianRenaissance,orinSpainintheseventeenthcentury,orinanylandoranycenturybutthiscenturyandthisland,wewouldbequiteabletoarriveataperfectlyunprejudicedestimateofhispositionandvalue.Iknowthattherearemanyhistorians,oratleastwritersonhistoricalsubjects,whostillthinkitnecessarytoapplymoraljudgmentstohistory,andwhodistributetheirpraiseorblamewiththesolemncomplacencyofasuccessfulschoolmaster.This,however,isafoolishhabit,andmerelyshowsthatthemoralinstinctcanbebroughttosuchapitchofperfectionthatitwillmakeitsappearancewhereveritisnotrequired.NobodywiththetruehistoricalsenseeverdreamsofblamingNero,orscoldingTiberius,orcensuringCaesarBorgia.Thesepersonageshavebecomelikethepuppetsofaplay.Theymayfilluswithterror,orhorror,orwonder,buttheydonotharmus.Theyarenotinimmediaterelationtous.Wehavenothingtofearfromthem.Theyhavepassedintothesphereofartandscience,andneitherartnorscienceknowsanythingofmoralapprovalordisapproval.AndsoitmaybesomedaywithCharlesLamb'sfriend.AtpresentIfeelthatheisjustalittletoomoderntobetreatedinthatfinespiritofdisinterestedcuriositytowhichweowesomanycharmingstudiesofthegreatcriminalsoftheItalianRenaissancefromthepensofMr.JohnAddingtonSymonds,MissA.MaryF.Robinson,MissVernonLee,andotherdistinguishedwriters.However,Arthasnotforgottenhim.HeistheheroofDickens'sHUNTEDDOWN,theVarneyofBulwer'sLUCRETIA;anditisgratifyingtonotethatfictionhaspaidsomehomagetoonewhowassopowerfulwith'pen,pencilandpoison.'Tobesuggestiveforfictionistobeofmoreimportancethanafact. THECRITICASARTIST-WITHSOMEREMARKSUPONTHEIMPORTANCEOFDOINGNOTHINGADIALOGUE.PartI.Persons:GilbertandErnest.Scene:thelibraryofahouseinPiccadilly,overlookingtheGreenPark.GILBERT(atthePiano).MydearErnest,whatareyoulaughingat?ERNEST(lookingup).AtacapitalstorythatIhavejustcomeacrossinthisvolumeofReminiscencesthatIhavefoundonyourtable.GILBERT.Whatisthebook?Ah!Isee.Ihavenotreadityet.Isitgood?ERNEST.Well,whileyouhavebeenplaying,Ihavebeenturningoverthepageswithsomeamusement,though,asarule,Idislikemodernmemoirs.Theyaregenerallywrittenbypeoplewhohaveeitherentirelylosttheirmemories,orhaveneverdoneanythingworthremembering;which,however,is,nodoubt,thetrueexplanationoftheirpopularity,astheEnglishpublicalwaysfeelsperfectlyatitseasewhenamediocrityistalkingtoit.GILBERT.Yes:thepubliciswonderfullytolerant.Itforgiveseverythingexceptgenius.ButImustconfessthatIlikeallmemoirs.Ilikethemfortheirform,justasmuchasfortheirmatter.Inliteraturemereegotismisdelightful.ItiswhatfascinatesusinthelettersofpersonalitiessodifferentasCiceroandBalzac,FlaubertandBerlioz,ByronandMadamedeSevigne.Wheneverwecomeacrossit,and,strangelyenough,itisratherrare,wecannotbutwelcomeit,anddonoteasilyforgetit.HumanitywillalwaysloveRousseauforhavingconfessedhissins, nottoapriest,buttotheworld,andthecouchantnymphsthatCelliniwroughtinbronzeforthecastleofKingFrancis,thegreenandgoldPerseus,even,thatintheopenLoggiaatFlorenceshowsthemoonthedeadterrorthatonceturnedlifetostone,havenotgivenitmorepleasurethanhasthatautobiographyinwhichthesupremescoundreloftheRenaissancerelatesthestoryofhissplendourandhisshame.Theopinions,thecharacter,theachievementsoftheman,matterverylittle.HemaybeascepticlikethegentleSieurdeMontaigne,orasaintlikethebittersonofMonica,butwhenhetellsushisownsecretshecanalwayscharmourearstolisteningandourlipstosilence.ThemodeofthoughtthatCardinalNewmanrepresented-ifthatcanbecalledamodeofthoughtwhichseekstosolveintellectualproblemsbyadenialofthesupremacyoftheintellect-maynot,cannot,Ithink,survive.Buttheworldwillneverwearyofwatchingthattroubledsoulinitsprogressfromdarknesstodarkness.ThelonelychurchatLittlemore,where'thebreathofthemorningisdamp,andworshippersarefew,'willalwaysbedeartoit,andwhenevermenseetheyellowsnapdragonblossomingonthewallofTrinitytheywillthinkofthatgraciousundergraduatewhosawintheflower'ssurerecurrenceaprophecythathewouldabideforeverwiththeBenignMotherofhisdays-aprophecythatFaith,inherwisdomorherfolly,sufferednottobefulfilled.Yes;autobiographyisirresistible.Poor,silly,conceitedMr.SecretaryPepyshaschatteredhiswayintothecircleoftheImmortals,and,consciousthatindiscretionisthebetterpartofvalour,bustlesaboutamongtheminthat'shaggypurplegownwithgoldbuttonsandloopedlace'whichheissofondofdescribingtous,perfectlyathisease,andprattling,tohisownandourinfinitepleasure,oftheIndianbluepetticoatthatheboughtforhiswife,ofthe'goodhog'shars-let,'andthe'pleasantFrenchfricasseeofveal'thathelovedtoeat,ofhisgameofbowlswithWillJoyce,andhis'gaddingafterbeauties,'andhisrecitingofHAMLETonaSunday,andhisplaying oftheviolonweekdays,andotherwickedortrivialthings.Eveninactuallifeegotismisnotwithoutitsattractions.Whenpeopletalktousaboutotherstheyareusuallydull.Whentheytalktousaboutthemselvestheyarenearlyalwaysinteresting,andifonecouldshutthemup,whentheybecomewearisome,aseasilyasonecanshutupabookofwhichonehasgrownwearied,theywouldbeperfectabsolutely.ERNEST.ThereismuchvirtueinthatIf,asTouchstonewouldsay.ButdoyouseriouslyproposethateverymanshouldbecomehisownBoswell?WhatwouldbecomeofourindustriouscompilersofLivesandRecollectionsinthatcase?GILBERT.Whathasbecomeofthem?Theyarethepestoftheage,nothingmoreandnothingless.Everygreatmannowadayshashisdisciples,anditisalwaysJudaswhowritesthebiography.ERNEST.Mydearfellow!GILBERT.Iamafraiditistrue.Formerlyweusedtocanoniseourheroes.Themodernmethodistovulgarisethem.Cheapeditionsofgreatbooksmaybedelightful,butcheapeditionsofgreatmenareabsolutelydetestable.ERNEST.MayIask,Gilbert,towhomyouallude?GILBERT.Oh!toalloursecond-rateLITTERATEURS.Weareoverrunbyasetofpeoplewho,whenpoetorpainterpassesaway,arriveatthehousealongwiththeundertaker,andforgetthattheironedutyistobehaveasmutes.Butwewon'ttalkaboutthem.Theyarethemerebody-snatchersofliterature.Thedustisgiventoone,andtheashestoanother,andthesoulisoutoftheirreach.Andnow,letmeplayChopintoyou,orDvorek?ShallIplayyouafantasy byDvorek?Hewritespassionate,curiously-colouredthings.ERNEST.No;Idon'twantmusicjustatpresent.Itisfartooindefinite.Besides,ItooktheBaronessBernsteindowntodinnerlastnight,and,thoughabsolutelycharmingineveryotherrespect,sheinsistedondiscussingmusicasifitwereactuallywrittenintheGermanlanguage.Now,whatevermusicsoundslikeIamgladtosaythatitdoesnotsoundinthesmallestdegreelikeGerman.Thereareformsofpatriotismthatarereallyquitedegrading.No;Gilbert,don'tplayanymore.Turnroundandtalktome.Talktometillthewhite-horneddaycomesintotheroom.Thereissomethinginyourvoicethatiswonderful.GILBERT(risingfromthepiano).Iamnotinamoodfortalkingto-night.Ireallyamnot.Howhorridofyoutosmile!Wherearethecigarettes?Thanks.Howexquisitethesesingledaffodilsare!Theyseemtobemadeofamberandcoolivory.TheyarelikeGreekthingsofthebestperiod.WhatwasthestoryintheconfessionsoftheremorsefulAcademicianthatmadeyoulaugh?Tellittome.AfterplayingChopin,IfeelasifIhadbeenweepingoversinsthatIhadnevercommitted,andmourningovertragediesthatwerenotmyown.Musicalwaysseemstometoproducethateffect.Itcreatesforoneapastofwhichonehasbeenignorant,andfillsonewithasenseofsorrowsthathavebeenhiddenfromone'stears.Icanfancyamanwhohadledaperfectlycommonplacelife,hearingbychancesomecuriouspieceofmusic,andsuddenlydiscoveringthathissoul,withouthisbeingconsciousofit,hadpassedthroughterribleexperiences,andknownfearfuljoys,orwildromanticloves,orgreatrenunciations.Andsotellmethisstory,Ernest.Iwanttobeamused.ERNEST.Oh!Idon'tknowthatitisofanyimportance.ButIthoughtitareallyadmirableillustrationofthetruevalueof ordinaryart-criticism.ItseemsthataladyoncegravelyaskedtheremorsefulAcademician,asyoucallhim,ifhiscelebratedpictureof'ASpring-DayatWhiteley's,'or,'WaitingfortheLastOmnibus,'orsomesubjectofthatkind,wasallpaintedbyhand?GILBERT.Andwasit?ERNEST.Youarequiteincorrigible.But,seriouslyspeaking,whatistheuseofart-criticism?Whycannottheartistbeleftalone,tocreateanewworldifhewishesit,or,ifnot,toshadowforththeworldwhichwealreadyknow,andofwhich,Ifancy,wewouldeachoneofusbeweariedifArt,withherfinespiritofchoiceanddelicateinstinctofselection,didnot,asitwere,purifyitforus,andgivetoitamomentaryperfection.Itseemstomethattheimaginationspreads,orshouldspread,asolitudearoundit,andworksbestinsilenceandinisolation.Whyshouldtheartistbetroubledbytheshrillclamourofcriticism?Whyshouldthosewhocannotcreatetakeuponthemselvestoestimatethevalueofcreativework?Whatcantheyknowaboutit?Ifaman'sworkiseasytounderstand,anexplanationisunnecessary....GILBERT.Andifhisworkisincomprehensible,anexplanationiswicked.ERNEST.Ididnotsaythat.GILBERT.Ah!butyoushouldhave.Nowadays,wehavesofewmysterieslefttousthatwecannotaffordtopartwithoneofthem.ThemembersoftheBrowningSociety,likethetheologiansoftheBroadChurchParty,ortheauthorsofMr.WalterScott'sGreatWritersSeries,seemtometospendtheirtimeintryingtoexplaintheirdivinityaway.WhereonehadhopedthatBrowningwasamystictheyhavesoughttoshowthathewassimplyinarticulate.Whereonehadfanciedthathehadsomethingtoconceal,theyhave provedthathehadbutlittletoreveal.ButIspeakmerelyofhisincoherentwork.Takenasawholethemanwasgreat.HedidnotbelongtotheOlympians,andhadalltheincompletenessoftheTitan.Hedidnotsurvey,anditwasbutrarelythathecouldsing.Hisworkismarredbystruggle,violenceandeffort,andhepassednotfromemotiontoform,butfromthoughttochaos.Still,hewasgreat.Hehasbeencalledathinker,andwascertainlyamanwhowasalwaysthinking,andalwaysthinkingaloud;butitwasnotthoughtthatfascinatedhim,butrathertheprocessesbywhichthoughtmoves.Itwasthemachineheloved,notwhatthemachinemakes.Themethodbywhichthefoolarrivesathisfollywasasdeartohimastheultimatewisdomofthewise.Somuch,indeed,didthesubtlemechanismofmindfascinatehimthathedespisedlanguage,orlookeduponitasanincompleteinstrumentofexpression.Rhyme,thatexquisiteechowhichintheMuse'shollowhillcreatesandanswersitsownvoice;rhyme,whichinthehandsoftherealartistbecomesnotmerelyamaterialelementofmetricalbeauty,butaspiritualelementofthoughtandpassionalso,wakinganewmood,itmaybe,orstirringafreshtrainofideas,oropeningbymeresweetnessandsuggestionofsoundsomegoldendooratwhichtheImaginationitselfhadknockedinvain;rhyme,whichcanturnman'sutterancetothespeechofgods;rhyme,theonechordwehaveaddedtotheGreeklyre,becameinRobertBrowning'shandsagrotesque,misshapenthing,whichattimesmadehimmasqueradeinpoetryasalowcomedian,andridePegasustoooftenwithhistongueinhischeek.Therearemomentswhenhewoundsusbymonstrousmusic.Nay,ifhecanonlygethismusicbybreakingthestringsofhislute,hebreaksthem,andtheysnapindiscord,andnoAtheniantettix,makingmelodyfromtremulouswings,lightsontheivoryhorntomakethemovementperfect,ortheintervallessharsh.Yet,hewasgreat:andthoughheturnedlanguageintoignobleclay,hemadefromitmenandwomenthatlive.HeisthemostShakespeariancreaturesinceShakespeare.If Shakespearecouldsingwithmyriadlips,Browningcouldstammerthroughathousandmouths.Evennow,asIamspeaking,andspeakingnotagainsthimbutforhim,thereglidesthroughtheroomthepageantofhispersons.There,creepsFraLippoLippiwithhischeeksstillburningfromsomegirl'shotkiss.There,standsdreadSaulwiththelordlymale-sapphiresgleaminginhisturban.MildredTreshamisthere,andtheSpanishmonk,yellowwithhatred,andBlougram,andBenEzra,andtheBishopofSt.Praxed's.ThespawnofSetebosgibbersinthecorner,andSebald,hearingPippapassby,looksonOttima'shaggardface,andloathesherandhisownsin,andhimself.Paleasthewhitesatinofhisdoublet,themelancholykingwatcheswithdreamytreacherouseyestooloyalStraffordpassforthtohisdoom,andAndreashuddersashehearsthecousinswhistleinthegarden,andbidshisperfectwifegodown.Yes,Browningwasgreat.Andaswhatwillheberemembered?Asapoet?Ah,notasapoet!Hewillberememberedasawriteroffiction,asthemostsupremewriteroffiction,itmaybe,thatwehaveeverhad.Hissenseofdramaticsituationwasunrivalled,and,ifhecouldnotanswerhisownproblems,hecouldatleastputproblemsforth,andwhatmoreshouldanartistdo?ConsideredfromthepointofviewofacreatorofcharacterheranksnexttohimwhomadeHamlet.Hadhebeenarticulate,hemighthavesatbesidehim.TheonlymanwhocantouchthehemofhisgarmentisGeorgeMeredith.MeredithisaproseBrowning,andsoisBrowning.Heusedpoetryasamediumforwritinginprose.ERNEST.Thereissomethinginwhatyousay,butthereisnoteverythinginwhatyousay.Inmanypointsyouareunjust.GILBERT.Itisdifficultnottobeunjusttowhatoneloves.Butletusreturntotheparticularpointatissue.Whatwasitthatyousaid? ERNEST.Simplythis:thatinthebestdaysofarttherewerenoart-critics.GILBERT.Iseemtohaveheardthatobservationbefore,Ernest.Ithasallthevitalityoferrorandallthetediousnessofanoldfriend.ERNEST.Itistrue.Yes:thereisnouseyourtossingyourheadinthatpetulantmanner.Itisquitetrue.Inthebestdaysofarttherewerenoart-critics.Thesculptorhewedfromthemarbleblockthegreatwhite-limbedHermesthatsleptwithinit.Thewaxersandgildersofimagesgavetoneandtexturetothestatue,andtheworld,whenitsawit,worshippedandwasdumb.Hepouredtheglowingbronzeintothemouldofsand,andtheriverofredmetalcooledintonoblecurvesandtooktheimpressofthebodyofagod.Withenamelorpolishedjewelshegavesighttothesightlesseyes.Thehyacinth-likecurlsgrewcrispbeneathhisgraver.Andwhen,insomedimfrescoedfane,orpillaredsunlitportico,thechildofLetostooduponhispedestal,thosewhopassedby,[Greektextwhichcannotbereproduced],becameconsciousofanewinfluencethathadcomeacrosstheirlives,anddreamily,orwithasenseofstrangeandquickeningjoy,wenttotheirhomesordailylabour,orwandered,itmaybe,throughthecitygatestothatnymph-hauntedmeadowwhereyoungPhaedrusbathedhisfeet,and,lyingthereonthesoftgrass,beneaththetallwind-whisperingplanesandfloweringAGNUSCASTUS,begantothinkofthewonderofbeauty,andgrewsilentwithunaccustomedawe.Inthosedaystheartistwasfree.Fromtherivervalleyhetookthefineclayinhisfingers,andwithalittletoolofwoodorbone,fashioneditintoformssoexquisitethatthepeoplegavethemtothedeadastheirplaythings,andwefindthemstillinthedustytombsontheyellowhillsidebyTanagra,withthefaintgoldandthefadingcrimsonstilllingeringabouthairandlipsandraiment. Onawalloffreshplaster,stainedwithbrightsandyxormixedwithmilkandsaffron,hepicturedonewhotrodwithtiredfeetthepurplewhite-starredfieldsofasphodel,one'inwhoseeyelidslaythewholeoftheTrojanWar,'Polyxena,thedaughterofPriam;orfiguredOdysseus,thewiseandcunning,boundbytightcordstothemast-step,thathemightlistenwithouthurttothesingingoftheSirens,orwanderingbytheclearriverofAcheron,wheretheghostsoffishesflittedoverthepebblybed;orshowedthePersianintrewsandmitreflyingbeforetheGreekatMarathon,orthegalleysclashingtheirbeaksofbrassinthelittleSalaminianbay.Hedrewwithsilver-pointandcharcoaluponparchmentandpreparedcedar.Uponivoryandrose-colouredterracottahepaintedwithwax,makingthewaxfluidwithjuiceofolives,andwithheatedironsmakingitfirm.Panelandmarbleandlinencanvasbecamewonderfulashisbrushsweptacrossthem;andlifeseeingherownimage,wasstill,anddarednotspeak.Alllife,indeed,washis,fromthemerchantsseatedinthemarket-placetothecloakedshepherdlyingonthehill;fromthenymphhiddeninthelaurelsandthefaunthatpipesatnoon,tothekingwhom,inlonggreen-curtainedlitter,slavesboreuponoil-brightshoulders,andfannedwithpeacockfans.Menandwomen,withpleasureorsorrowintheirfaces,passedbeforehim.Hewatchedthem,andtheirsecretbecamehis.Throughformandcolourhere-createdaworld.Allsubtleartsbelongedtohimalso.Heheldthegemagainsttherevolvingdisk,andtheamethystbecamethepurplecouchforAdonis,andacrosstheveinedsardonyxspedArtemiswithherhounds.Hebeatoutthegoldintoroses,andstrungthemtogetherfornecklaceorarmlet.Hebeatoutthegoldintowreathsfortheconqueror'shelmet,orintopalmatesfortheTyrianrobe,orintomasksfortheroyaldead.OnthebackofthesilvermirrorhegravedThetisbornebyherNereids,orlove-sickPhaedrawithhernurse,orPersephone,wearyofmemory,puttingpoppiesinherhair. Thepottersatinhisshed,and,flower-likefromthesilentwheel,thevaseroseupbeneathhishands.Hedecoratedthebaseandstemandearswithpatternofdaintyolive-leaf,orfoliatedacanthus,orcurvedandcrestedwave.Theninblackorredhepaintedladswrestling,orintherace:knightsinfullarmour,withstrangeheraldicshieldsandcuriousvisors,leaningfromshell-shapedchariotoverrearingsteeds:thegodsseatedatthefeastorworkingtheirmiracles:theheroesintheirvictoryorintheirpain.Sometimeshewouldetchinthinvermilionlinesuponagroundofwhitethelanguidbridegroomandhisbride,withEroshoveringroundthem-anEroslikeoneofDonatello'sangels,alittlelaughingthingwithgildedorwithazurewings.Onthecurvedsidehewouldwritethenameofhisfriend.[Greektextwhichcannotbereproduced]tellsusthestoryofhisdays.Again,ontherimofthewideflatcuphewoulddrawthestagbrowsing,orthelionatrest,ashisfancywilledit.Fromthetinyperfume-bottlelaughedAphroditeathertoilet,and,withbare-limbedMaenadsinhistrain,Dionysusdancedroundthewine-jaronnakedmust-stainedfeet,while,satyr-like,theoldSilenussprawleduponthebloatedskins,orshookthatmagicspearwhichwastippedwithafrettedfir-cone,andwreathedwithdarkivy.Andnoonecametotroubletheartistathiswork.Noirresponsiblechatterdisturbedhim.Hewasnotworriedbyopinions.BytheIlyssus,saysArnoldsomewhere,therewasnoHigginbotham.BytheIlyssus,mydearGilbert,therewerenosillyartcongressesbringingprovincialismtotheprovincesandteachingthemediocrityhowtomouth.BytheIlyssustherewerenotediousmagazinesaboutart,inwhichtheindustriousprattleofwhattheydonotunderstand.Onthereed-grownbanksofthatlittlestreamstruttednoridiculousjournalismmonopolisingtheseatofjudgmentwhenitshouldbeapologisinginthedock.TheGreekshadnoart-critics.GILBERT.Ernest,youarequitedelightful,butyourviewsare terriblyunsound.Iamafraidthatyouhavebeenlisteningtotheconversationofsomeoneolderthanyourself.Thatisalwaysadangerousthingtodo,andifyouallowittodegenerateintoahabityouwillfinditabsolutelyfataltoanyintellectualdevelopment.Asformodernjournalism,itisnotmybusinesstodefendit.ItjustifiesitsownexistencebythegreatDarwinianprincipleofthesurvivalofthevulgarest.Ihavemerelytodowithliterature.ERNEST.Butwhatisthedifferencebetweenliteratureandjournalism?GILBERT.Oh!journalismisunreadable,andliteratureisnotread.Thatisall.ButwithregardtoyourstatementthattheGreekshadnoart-critics,Iassureyouthatisquiteabsurd.ItwouldbemorejusttosaythattheGreekswereanationofart-critics.ERNEST.Really?GILBERT.Yes,anationofart-critics.ButIdon'twishtodestroythedelightfullyunrealpicturethatyouhavedrawnoftherelationoftheHellenicartisttotheintellectualspiritofhisage.Togiveanaccuratedescriptionofwhathasneveroccurredisnotmerelytheproperoccupationofthehistorian,buttheinalienableprivilegeofanymanofpartsandculture.StilllessdoIdesiretotalklearnedly.Learnedconversationiseithertheaffectationoftheignorantortheprofessionofthementallyunemployed.And,asforwhatiscalledimprovingconversation,thatismerelythefoolishmethodbywhichthestillmorefoolishphilanthropistfeeblytriestodisarmthejustrancourofthecriminalclasses.No:letmeplaytoyousomemadscarletthingbyDvorek.Thepallidfiguresonthetapestryaresmilingatus,andtheheavyeyelidsofmybronzeNarcissusarefoldedinsleep. Don'tletusdiscussanythingsolemnly.Iambuttooconsciousofthefactthatweareborninanagewhenonlythedullaretreatedseriously,andIliveinterrorofnotbeingmisunderstood.Don'tdegrademeintothepositionofgivingyouusefulinformation.Educationisanadmirablething,butitiswelltorememberfromtimetotimethatnothingthatisworthknowingcanbetaught.ThroughthepartedcurtainsofthewindowIseethemoonlikeaclippedpieceofsilver.Likegildedbeesthestarsclusterroundher.Theskyisahardhollowsapphire.Letusgooutintothenight.Thoughtiswonderful,butadventureismorewonderfulstill.WhoknowsbutwemaymeetPrinceFlorizelofBohemia,andhearthefairCubantellusthatsheisnotwhatsheseems?ERNEST.Youarehorriblywilful.Iinsistonyourdiscussingthismatterwithme.YouhavesaidthattheGreekswereanationofart-critics.Whatart-criticismhavetheyleftus?GILBERT.MydearErnest,evenifnotasinglefragmentofart-criticismhadcomedowntousfromHellenicorHellenisticdays,itwouldbenonethelesstruethattheGreekswereanationofart-critics,andthattheyinventedthecriticismofartjustastheyinventedthecriticismofeverythingelse.For,afterall,whatisourprimarydebttotheGreeks?Simplythecriticalspirit.And,thisspirit,whichtheyexercisedonquestionsofreligionandscience,ofethicsandmetaphysics,ofpoliticsandeducation,theyexercisedonquestionsofartalso,and,indeed,ofthetwosupremeandhighestarts,theyhaveleftusthemostflawlesssystemofcriticismthattheworldhaseverseen.ERNEST.Butwhatarethetwosupremeandhighestarts?GILBERT.LifeandLiterature,lifeandtheperfectexpressionoflife.Theprinciplesoftheformer,aslaiddownbytheGreeks,wemaynotrealiseinanagesomarredbyfalseidealsasourown. Theprinciplesofthelatter,astheylaidthemdown,are,inmanycases,sosubtlethatwecanhardlyunderstandthem.Recognisingthatthemostperfectartisthatwhichmostfullymirrorsmaninallhisinfinitevariety,theyelaboratedthecriticismoflanguage,consideredinthelightofthemerematerialofthatart,toapointtowhichwe,withouraccentualsystemofreasonableoremotionalemphasis,canbarelyifatallattain;studying,forinstance,themetricalmovementsofaproseasscientificallyasamodernmusicianstudiesharmonyandcounterpoint,and,Ineedhardlysay,withmuchkeeneraestheticinstinct.Inthistheywereright,astheywererightinallthings.Sincetheintroductionofprinting,andthefataldevelopmentofthehabitofreadingamongstthemiddleandlowerclassesofthiscountry,therehasbeenatendencyinliteraturetoappealmoreandmoretotheeye,andlessandlesstotheearwhichisreallythesensewhich,fromthestandpointofpureart,itshouldseektoplease,andbywhosecanonsofpleasureitshouldabidealways.EventheworkofMr.Pater,whois,onthewhole,themostperfectmasterofEnglishprosenowcreatingamongstus,isoftenfarmorelikeapieceofmosaicthanapassageinmusic,andseems,hereandthere,tolackthetruerhythmicallifeofwordsandthefinefreedomandrichnessofeffectthatsuchrhythmicallifeproduces.We,infact,havemadewritingadefinitemodeofcomposition,andhavetreateditasaformofelaboratedesign.TheGreeks,upontheotherhand,regardedwritingsimplyasamethodofchronicling.Theirtestwasalwaysthespokenwordinitsmusicalandmetricalrelations.Thevoicewasthemedium,andtheearthecritic.IhavesometimesthoughtthatthestoryofHomer'sblindnessmightbereallyanartisticmyth,createdincriticaldays,andservingtoremindus,notmerelythatthegreatpoetisalwaysaseer,seeinglesswiththeeyesofthebodythanhedoeswiththeeyesofthesoul,butthatheisatruesingeralso,buildinghissongoutofmusic,repeatingeachlineoverandoveragaintohimselftillhehas caughtthesecretofitsmelody,chauntingindarknessthewordsthatarewingedwithlight.Certainly,whetherthisbesoornot,itwastohisblindness,asanoccasion,ifnotasacause,thatEngland'sgreatpoetowedmuchofthemajesticmovementandsonoroussplendourofhislaterverse.WhenMiltoncouldnolongerwritehebegantosing.WhowouldmatchthemeasuresofCOMUSwiththemeasuresofSAMSONAGONISTES,orofPARADISELOSTorREGAINED?WhenMiltonbecameblindhecomposed,aseveryoneshouldcompose,withthevoicepurely,andsothepipeorreedofearlierdaysbecamethatmightymany-stoppedorganwhoserichreverberantmusichasallthestatelinessofHomericverse,ifitseeksnottohaveitsswiftness,andistheoneimperishableinheritanceofEnglishliteraturesweepingthroughalltheages,becauseabovethem,andabidingwithusever,beingimmortalinitsform.Yes:writinghasdonemuchharmtowriters.Wemustreturntothevoice.Thatmustbeourtest,andperhapsthenweshallbeabletoappreciatesomeofthesubtletiesofGreekart-criticism.Asitnowis,wecannotdoso.Sometimes,whenIhavewrittenapieceofprosethatIhavebeenmodestenoughtoconsiderabsolutelyfreefromfault,adreadfulthoughtcomesovermethatImayhavebeenguiltyoftheimmoraleffeminacyofusingtrochaicandtribrachicmovements,acrimeforwhichalearnedcriticoftheAugustanagecensureswithmostjustseveritythebrilliantifsomewhatparadoxicalHegesias.IgrowcoldwhenIthinkofit,andwondertomyselfiftheadmirableethicaleffectoftheproseofthatcharmingwriter,whoonceinaspiritofrecklessgenerositytowardstheuncultivatedportionofourcommunityproclaimedthemonstrousdoctrinethatconductisthree-fourthsoflife,willnotsomedaybeentirelyannihilatedbythediscoverythatthepaeonshavebeenwronglyplaced.ERNEST.Ah!nowyouareflippant. GILBERT.WhowouldnotbeflippantwhenheisgravelytoldthattheGreekshadnoart-critics?IcanunderstanditbeingsaidthattheconstructivegeniusoftheGreekslostitselfincriticism,butnotthattheracetowhomweowethecriticalspiritdidnotcriticise.YouwillnotaskmetogiveyouasurveyofGreekartcriticismfromPlatotoPlotinus.Thenightistoolovelyforthat,andthemoon,ifsheheardus,wouldputmoreashesonherfacethanaretherealready.Butthinkmerelyofoneperfectlittleworkofaestheticcriticism,Aristotle'sTREATISEONPOETRY.Itisnotperfectinform,foritisbadlywritten,consistingperhapsofnotesdotteddownforanartlecture,orofisolatedfragmentsdestinedforsomelargerbook,butintemperandtreatmentitisperfect,absolutely.Theethicaleffectofart,itsimportancetoculture,anditsplaceintheformationofcharacter,hadbeendoneonceforallbyPlato;butherewehavearttreated,notfromthemoral,butfromthepurelyaestheticpointofview.Platohad,ofcourse,dealtwithmanydefinitelyartisticsubjects,suchastheimportanceofunityinaworkofart,thenecessityfortoneandharmony,theaestheticvalueofappearances,therelationofthevisibleartstotheexternalworld,andtherelationoffictiontofact.Hefirstperhapsstirredinthesoulofmanthatdesirethatwehavenotyetsatisfied,thedesiretoknowtheconnectionbetweenBeautyandTruth,andtheplaceofBeautyinthemoralandintellectualorderoftheKosmos.Theproblemsofidealismandrealism,ashesetsthemforth,mayseemtomanytobesomewhatbarrenofresultinthemetaphysicalsphereofabstractbeinginwhichheplacesthem,buttransferthemtothesphereofart,andyouwillfindthattheyarestillvitalandfullofmeaning.ItmaybethatitisasacriticofBeautythatPlatoisdestinedtolive,andthatbyalteringthenameofthesphereofhisspeculationweshallfindanewphilosophy.ButAristotle,likeGoethe,dealswithartprimarily initsconcretemanifestations,takingTragedy,forinstance,andinvestigatingthematerialituses,whichislanguage,itssubject-matter,whichislife,themethodbywhichitworks,whichisaction,theconditionsunderwhichitrevealsitself,whicharethoseoftheatricpresentation,itslogicalstructure,whichisplot,anditsfinalaestheticappeal,whichistothesenseofbeautyrealisedthroughthepassionsofpityandawe.Thatpurificationandspiritualisingofthenaturewhichhecalls[Greektextwhichcannotbereproduced]is,asGoethesaw,essentiallyaesthetic,andisnotmoral,asLessingfancied.Concerninghimselfprimarilywiththeimpressionthattheworkofartproduces,Aristotlesetshimselftoanalysethatimpression,toinvestigateitssource,toseehowitisengendered.Asaphysiologistandpsychologist,heknowsthatthehealthofafunctionresidesinenergy.Tohaveacapacityforapassionandnottorealiseit,istomakeoneselfincompleteandlimited.ThemimicspectacleoflifethatTragedyaffordscleansesthebosomofmuch'perilousstuff,'andbypresentinghighandworthyobjectsfortheexerciseoftheemotionspurifiesandspiritualisestheman;nay,notmerelydoesitspiritualisehim,butitinitiateshimalsointonoblefeelingsofwhichhemightelsehaveknownnothing,theword[Greektextwhichcannotbereproduced]having,ithassometimesseemedtome,adefiniteallusiontotheriteofinitiation,ifindeedthatbenot,asIamoccasionallytemptedtofancy,itstrueandonlymeaninghere.Thisisofcourseamereoutlineofthebook.Butyouseewhataperfectpieceofaestheticcriticismitis.WhoindeedbutaGreekcouldhaveanalysedartsowell?Afterreadingit,onedoesnotwonderanylongerthatAlexandriadevoteditselfsolargelytoart-criticism,andthatwefindtheartistictemperamentsofthedayinvestigatingeveryquestionofstyleandmanner,discussingthegreatAcademicschoolsofpainting,forinstance,suchastheschoolofSicyon,thatsoughttopreservethedignifiedtraditionsoftheantiquemode,or therealisticandimpressionistschools,thataimedatreproducingactuallife,ortheelementsofidealityinportraiture,ortheartisticvalueoftheepicforminanagesomodernastheirs,orthepropersubject-matterfortheartist.Indeed,Ifearthattheinartistictemperamentsofthedaybusiedthemselvesalsoinmattersofliteratureandart,fortheaccusationsofplagiarismwereendless,andsuchaccusationsproceedeitherfromthethincolourlesslipsofimpotence,orfromthegrotesquemouthsofthosewho,possessingnothingoftheirown,fancythattheycangainareputationforwealthbycryingoutthattheyhavebeenrobbed.AndIassureyou,mydearErnest,thattheGreekschatteredaboutpaintersquiteasmuchaspeopledonowadays,andhadtheirprivateviews,andshillingexhibitions,andArtsandCraftsguilds,andPre-Raphaelitemovements,andmovementstowardsrealism,andlecturedaboutart,andwroteessaysonart,andproducedtheirart-historians,andtheirarchaeologists,andalltherestofit.Why,eventhetheatricalmanagersoftravellingcompaniesbroughttheirdramaticcriticswiththemwhentheywentontour,andpaidthemveryhandsomesalariesforwritinglaudatorynotices.Whatever,infact,ismoderninourlifeweowetotheGreeks.Whateverisananachronismisduetomediaevalism.ItistheGreekswhohavegivenusthewholesystemofart-criticism,andhowfinetheircriticalinstinctwas,maybeseenfromthefactthatthematerialtheycriticisedwithmostcarewas,asIhavealreadysaid,language.Forthematerialthatpainterorsculptorusesismeagreincomparisonwiththatofwords.Wordshavenotmerelymusicassweetasthatofviolandlute,colourasrichandvividasanythatmakeslovelyforusthecanvasoftheVenetianortheSpaniard,andplasticformnolesssureandcertainthanthatwhichrevealsitselfinmarbleorinbronze,butthoughtandpassionandspiritualityaretheirsalso,aretheirsindeedalone.IftheGreekshadcriticisednothingbutlanguage,theywouldstillhavebeenthegreatart-criticsoftheworld.Toknowtheprinciplesof thehighestartistoknowtheprinciplesofallthearts.ButIseethatthemoonishidingbehindasulphur-colouredcloud.Outofatawnymaneofdriftshegleamslikealion'seye.SheisafraidthatIwilltalktoyouofLucianandLonginus,ofQuinctilianandDionysius,ofPlinyandFrontoandPausanias,ofallthosewhointheantiqueworldwroteorlectureduponartmatters.Sheneednotbeafraid.Iamtiredofmyexpeditionintothedim,dullabyssoffacts.Thereisnothingleftformenowbutthedivine[Greektextwhichcannotbereproduced]ofanothercigarette.Cigaretteshaveatleastthecharmofleavingoneunsatisfied.ERNEST.Tryoneofmine.Theyarerathergood.IgetthemdirectfromCairo.TheonlyuseofourATTACHESisthattheysupplytheirfriendswithexcellenttobacco.Andasthemoonhashiddenherself,letustalkalittlelonger.IamquitereadytoadmitthatIwaswronginwhatIsaidabouttheGreeks.Theywere,asyouhavepointedout,anationofart-critics.Iacknowledgeit,andIfeelalittlesorryforthem.Forthecreativefacultyishigherthanthecritical.Thereisreallynocomparisonbetweenthem.GILBERT.Theantithesisbetweenthemisentirelyarbitrary.Withoutthecriticalfaculty,thereisnoartisticcreationatall,worthyofthename.Youspokealittlewhileagoofthatfinespiritofchoiceanddelicateinstinctofselectionbywhichtheartistrealiseslifeforus,andgivestoitamomentaryperfection.Well,thatspiritofchoice,thatsubtletactofomission,isreallythecriticalfacultyinoneofitsmostcharacteristicmoods,andnoonewhodoesnotpossessthiscriticalfacultycancreateanythingatallinart.Arnold'sdefinitionofliteratureasacriticismoflifewasnotveryfelicitousinform, butitshowedhowkeenlyherecognisedtheimportanceofthecriticalelementinallcreativework.ERNEST.Ishouldhavesaidthatgreatartistsworkunconsciously,thattheywere'wiserthantheyknew,'as,Ithink,Emersonremarkssomewhere.GILBERT.Itisreallynotso,Ernest.Allfineimaginativeworkisself-consciousanddeliberate.Nopoetsingsbecausehemustsing.Atleast,nogreatpoetdoes.Agreatpoetsingsbecausehechoosestosing.Itissonow,andithasalwaysbeenso.Wearesometimesapttothinkthatthevoicesthatsoundedatthedawnofpoetryweresimpler,fresher,andmorenaturalthanours,andthattheworldwhichtheearlypoetslookedat,andthroughwhichtheywalked,hadakindofpoeticalqualityofitsown,andalmostwithoutchangingcouldpassintosong.ThesnowliesthicknowuponOlympus,anditssteepscarpedsidesarebleakandbarren,butonce,wefancy,thewhitefeetoftheMusesbrushedthedewfromtheanemonesinthemorning,andateveningcameApollotosingtotheshepherdsinthevale.Butinthiswearemerelylendingtootherageswhatwedesire,orthinkwedesire,forourown.Ourhistoricalsenseisatfault.Everycenturythatproducespoetryis,sofar,anartificialcentury,andtheworkthatseemstoustobethemostnaturalandsimpleproductofitstimeisalwaystheresultofthemostself-consciouseffort.Believeme,Ernest,thereisnofineartwithoutself-consciousness,andself-consciousnessandthecriticalspiritareone.ERNEST.Iseewhatyoumean,andthereismuchinit.Butsurelyyouwouldadmitthatthegreatpoemsoftheearlyworld,theprimitive,anonymouscollectivepoems,weretheresultoftheimaginationofraces,ratherthanoftheimaginationofindividuals? GILBERT.Notwhentheybecamepoetry.Notwhentheyreceivedabeautifulform.Forthereisnoartwherethereisnostyle,andnostylewherethereisnounity,andunityisoftheindividual.NodoubtHomerhadoldballadsandstoriestodealwith,asShakespearehadchroniclesandplaysandnovelsfromwhichtowork,buttheyweremerelyhisroughmaterial.Hetookthem,andshapedthemintosong.Theybecomehis,becausehemadethemlovely.Theywerebuiltoutofmusic,Andsonotbuiltatall,Andthereforebuiltforever.Thelongeronestudieslifeandliterature,themorestronglyonefeelsthatbehindeverythingthatiswonderfulstandstheindividual,andthatitisnotthemomentthatmakestheman,butthemanwhocreatestheage.Indeed,Iaminclinedtothinkthateachmythandlegendthatseemstoustospringoutofthewonder,orterror,orfancyoftribeandnation,wasinitsorigintheinventionofonesinglemind.Thecuriouslylimitednumberofthemythsseemstometopointtothisconclusion.Butwemustnotgooffintoquestionsofcomparativemythology.Wemustkeeptocriticism.AndwhatIwanttopointoutisthis.Anagethathasnocriticismiseitheranageinwhichartisimmobile,hieratic,andconfinedtothereproductionofformaltypes,oranagethatpossessesnoartatall.Therehavebeencriticalagesthathavenotbeencreative,intheordinarysenseoftheword,agesinwhichthespiritofmanhassoughttosetinorderthetreasuresofhistreasure-house,toseparatethegoldfromthesilver,andthesilverfromthelead,tocountoverthejewels,andtogivenamestothepearls.Buttherehasneverbeenacreativeagethathas notbeencriticalalso.Foritisthecriticalfacultythatinventsfreshforms.Thetendencyofcreationistorepeatitself.Itistothecriticalinstinctthatweoweeachnewschoolthatspringsup,eachnewmouldthatartfindsreadytoitshand.ThereisreallynotasingleformthatartnowusesthatdoesnotcometousfromthecriticalspiritofAlexandria,wheretheseformswereeitherstereotypedorinventedormadeperfect.IsayAlexandria,notmerelybecauseitwastherethattheGreekspiritbecamemostself-conscious,andindeedultimatelyexpiredinscepticismandtheology,butbecauseitwastothatcity,andnottoAthens,thatRometurnedforhermodels,anditwasthroughthesurvival,suchasitwas,oftheLatinlanguagethatculturelivedatall.When,attheRenaissance,GreekliteraturedawneduponEurope,thesoilhadbeeninsomemeasurepreparedforit.But,togetridofthedetailsofhistory,whicharealwayswearisomeandusuallyinaccurate,letussaygenerally,thattheformsofarthavebeenduetotheGreekcriticalspirit.Toitweowetheepic,thelyric,theentiredramaineveryoneofitsdevelopments,includingburlesque,theidyll,theromanticnovel,thenovelofadventure,theessay,thedialogue,theoration,thelecture,forwhichperhapsweshouldnotforgivethem,andtheepigram,inallthewidemeaningofthatword.Infact,weoweiteverything,exceptthesonnet,towhich,however,somecuriousparallelsofthought-movementmaybetracedintheAnthology,Americanjournalism,towhichnoparallelcanbefoundanywhere,andtheballadinshamScotchdialect,whichoneofourmostindustriouswritershasrecentlyproposedshouldbemadethebasisforafinalandunanimouseffortonthepartofoursecond-ratepoetstomakethemselvesreallyromantic.Eachnewschool,asitappears,criesoutagainstcriticism,butitistothecriticalfacultyinmanthatitowesitsorigin.Themerecreativeinstinctdoesnotinnovate,butreproduces. ERNEST.Youhavebeentalkingofcriticismasanessentialpartofthecreativespirit,andInowfullyacceptyourtheory.Butwhatofcriticismoutsidecreation?Ihaveafoolishhabitofreadingperiodicals,anditseemstomethatmostmoderncriticismisperfectlyvalueless.GILBERT.Soismostmoderncreativeworkalso.Mediocrityweighingmediocrityinthebalance,andincompetenceapplaudingitsbrother-thatisthespectaclewhichtheartisticactivityofEnglandaffordsusfromtimetotime.Andyet,IfeelIamalittleunfairinthismatter.Asarule,thecritics-Ispeak,ofcourse,ofthehigherclass,ofthoseinfactwhowriteforthesixpennypapers-arefarmoreculturedthanthepeoplewhoseworktheyarecalledupontoreview.Thisis,indeed,onlywhatonewouldexpect,forcriticismdemandsinfinitelymorecultivationthancreationdoes.ERNEST.Really?GILBERT.Certainly.Anybodycanwriteathree-volumednovel.Itmerelyrequiresacompleteignoranceofbothlifeandliterature.ThedifficultythatIshouldfancythereviewerfeelsisthedifficultyofsustaininganystandard.Wherethereisnostyleastandardmustbeimpossible.Thepoorreviewersareapparentlyreducedtobethereportersofthepolice-courtofliterature,thechroniclersofthedoingsofthehabitualcriminalsofart.Itissometimessaidofthemthattheydonotreadallthroughtheworkstheyarecalledupontocriticise.Theydonot.Oratleasttheyshouldnot.Iftheydidso,theywouldbecomeconfirmedmisanthropes,orifImayborrowaphrasefromoneoftheprettyNewnhamgraduates,confirmedwomanthropesfortherestoftheirlives.Norisitnecessary.Toknowthevintageandqualityofawineoneneednotdrinkthewholecask.Itmustbeperfectlyeasy inhalfanhourtosaywhetherabookisworthanythingorworthnothing.Tenminutesarereallysufficient,ifonehastheinstinctforform.Whowantstowadethroughadullvolume?Onetastesit,andthatisquiteenough-morethanenough,Ishouldimagine.Iamawarethattherearemanyhonestworkersinpaintingaswellasinliteraturewhoobjecttocriticismentirely.Theyarequiteright.Theirworkstandsinnointellectualrelationtotheirage.Itbringsusnonewelementofpleasure.Itsuggestsnofreshdepartureofthought,orpassion,orbeauty.Itshouldnotbespokenof.Itshouldbelefttotheoblivionthatitdeserves.ERNEST.But,mydearfellow-excusemeforinterruptingyou-youseemtometobeallowingyourpassionforcriticismtoleadyouagreatdealtoofar.For,afterall,evenyoumustadmitthatitismuchmoredifficulttodoathingthantotalkaboutit.GILBERT.Moredifficulttodoathingthantotalkaboutit?Notatall.Thatisagrosspopularerror.Itisverymuchmoredifficulttotalkaboutathingthantodoit.Inthesphereofactuallifethatisofcourseobvious.Anybodycanmakehistory.Onlyagreatmancanwriteit.Thereisnomodeofaction,noformofemotion,thatwedonotsharewiththeloweranimals.Itisonlybylanguagethatweriseabovethem,oraboveeachother-bylanguage,whichistheparent,andnotthechild,ofthought.Action,indeed,isalwayseasy,andwhenpresentedtousinitsmostaggravated,becausemostcontinuousform,whichItaketobethatofrealindustry,becomessimplytherefugeofpeoplewhohavenothingwhatsoevertodo.No,Ernest,don'ttalkaboutaction.Itisablindthingdependentonexternalinfluences,andmovedbyanimpulseofwhosenatureitisunconscious.Itisathingincompleteinitsessence,becauselimitedbyaccident,andignorantofitsdirection,beingalwaysatvariancewithitsaim. Itsbasisisthelackofimagination.Itisthelastresourceofthosewhoknownothowtodream.ERNEST.Gilbert,youtreattheworldasifitwereacrystalball.Youholditinyourhand,andreverseittopleaseawilfulfancy.Youdonothingbutre-writehistory.GILBERT.Theonedutyweowetohistoryistore-writeit.Thatisnottheleastofthetasksinstoreforthecriticalspirit.Whenwehavefullydiscoveredthescientificlawsthatgovernlife,weshallrealisethattheonepersonwhohasmoreillusionsthanthedreameristhemanofaction.He,indeed,knowsneithertheoriginofhisdeedsnortheirresults.Fromthefieldinwhichhethoughtthathehadsownthorns,wehavegatheredourvintage,andthefig-treethatheplantedforourpleasureisasbarrenasthethistle,andmorebitter.ItisbecauseHumanityhasneverknownwhereitwasgoingthatithasbeenabletofinditsway.ERNEST.Youthink,then,thatinthesphereofactionaconsciousaimisadelusion?GILBERT.Itisworsethanadelusion.Ifwelivedlongenoughtoseetheresultsofouractionsitmaybethatthosewhocallthemselvesgoodwouldbesickenedwithadullremorse,andthosewhomtheworldcallsevilstirredbyanoblejoy.Eachlittlethingthatwedopassesintothegreatmachineoflifewhichmaygrindourvirtuestopowderandmakethemworthless,ortransformoursinsintoelementsofanewcivilisation,moremarvellousandmoresplendidthananythathasgonebefore.Butmenaretheslavesofwords.TheyrageagainstMaterialism,astheycallit,forgettingthattherehasbeennomaterialimprovementthathasnotspiritualisedtheworld,andthattherehavebeenfew,ifany,spiritualawakeningsthathavenotwastedtheworld'sfacultiesinbarrenhopes,andfruitlessaspirations,andemptyortrammelling creeds.WhatistermedSinisanessentialelementofprogress.Withoutittheworldwouldstagnate,orgrowold,orbecomecolourless.ByitscuriositySinincreasestheexperienceoftherace.Throughitsintensifiedassertionofindividualism,itsavesusfrommonotonyoftype.Initsrejectionofthecurrentnotionsaboutmorality,itisonewiththehigherethics.Andasforthevirtues!Whatarethevirtues?Nature,M.Renantellsus,careslittleaboutchastity,anditmaybethatitistotheshameoftheMagdalen,andnottotheirownpurity,thattheLucretiasofmodernlifeowetheirfreedomfromstain.Charity,aseventhoseofwhosereligionitmakesaformalparthavebeencompelledtoacknowledge,createsamultitudeofevils.Themereexistenceofconscience,thatfacultyofwhichpeoplepratesomuchnowadays,andaresoignorantlyproud,isasignofourimperfectdevelopment.Itmustbemergedininstinctbeforewebecomefine.Self-denialissimplyamethodbywhichmanarrestshisprogress,andself-sacrificeasurvivalofthemutilationofthesavage,partofthatoldworshipofpainwhichissoterribleafactorinthehistoryoftheworld,andwhichevennowmakesitsvictimsdaybyday,andhasitsaltarsintheland.Virtues!Whoknowswhatthevirtuesare?Notyou.NotI.Notanyone.Itiswellforourvanitythatweslaythecriminal,forifwesufferedhimtolivehemightshowuswhatwehadgainedbyhiscrime.Itiswellforhispeacethatthesaintgoestohismartyrdom.Heissparedthesightofthehorrorofhisharvest.ERNEST.Gilbert,yousoundtooharshanote.Letusgobacktothemoregraciousfieldsofliterature.Whatwasityousaid?Thatitwasmoredifficulttotalkaboutathingthantodoit?GILBERT(afterapause).Yes:IbelieveIventureduponthatsimpletruth.SurelyyouseenowthatIamright?Whenmanactsheisapuppet.Whenhedescribesheisapoet.Thewholesecret liesinthat.ItwaseasyenoughonthesandyplainsbywindyIliontosendthenotchedarrowfromthepaintedbow,ortohurlagainsttheshieldofhideandflamelikebrassthelongash-handledspear.ItwaseasyfortheadulterousqueentospreadtheTyriancarpetsforherlord,andthen,ashelaycouchedinthemarblebath,tothrowoverhisheadthepurplenet,andcalltohersmooth-facedlovertostabthroughthemeshesattheheartthatshouldhavebrokenatAulis.ForAntigoneeven,withDeathwaitingforherasherbridegroom,itwaseasytopassthroughthetaintedairatnoon,andclimbthehill,andstrewwithkindlyearththewretchednakedcorsethathadnotomb.Butwhatofthosewhowroteaboutthesethings?Whatofthosewhogavethemreality,andmadethemliveforever?Aretheynotgreaterthanthemenandwomentheysingof?'Hectorthatsweetknightisdead,'andLuciantellsushowinthedimunder-worldMenippussawthebleachingskullofHelen,andmarvelledthatitwasforsogrimafavourthatallthosehornedshipswerelaunched,thosebeautifulmailedmenlaidlow,thosetoweredcitiesbroughttodust.Yet,everydaytheswanlikedaughterofLedacomesoutonthebattlements,andlooksdownatthetideofwar.Thegreybeardswonderatherloveliness,andshestandsbythesideoftheking.Inhischamberofstainedivoryliesherleman.Heispolishinghisdaintyarmour,andcombingthescarletplume.Withsquireandpage,herhusbandpassesfromtenttotent.Shecanseehisbrighthair,andhears,orfanciesthatshehears,thatclearcoldvoice.Inthecourtyardbelow,thesonofPriamisbucklingonhisbrazencuirass.ThewhitearmsofAndromachearearoundhisneck.Hesetshishelmetontheground,lesttheirbabeshouldbefrightened.BehindtheembroideredcurtainsofhispavilionsitsAchilles,inperfumedraiment,whileinharnessofgiltandsilverthefriendofhissoularrayshimselftogoforthtothefight.FromacuriouslycarvenchestthathismotherThetishadbroughttohisship-side,theLordoftheMyrmidonstakesoutthatmysticchalicethatthelipofman hadnevertouched,andcleansesitwithbrimstone,andwithfreshwatercoolsit,and,havingwashedhishands,fillswithblackwineitsburnishedhollow,andspillsthethickgrape-blooduponthegroundinhonourofHimwhomatDodonabarefootedprophetsworshipped,andpraystoHim,andknowsnotthathepraysinvain,andthatbythehandsoftwoknightsfromTroy,Panthous'son,Euphorbus,whoselove-lockswereloopedwithgold,andthePriamid,thelion-hearted,Patroklus,thecomradeofcomrades,mustmeethisdoom.Phantoms,arethey?Heroesofmistandmountain?Shadowsinasong?No:theyarereal.Action!Whatisaction?Itdiesatthemomentofitsenergy.Itisabaseconcessiontofact.Theworldismadebythesingerforthedreamer.ERNEST.Whileyoutalkitseemstometobeso.GILBERT.Itissointruth.OnthemoulderingcitadelofTroyliesthelizardlikeathingofgreenbronze.TheowlhasbuilthernestinthepalaceofPriam.Overtheemptyplainwandershepherdandgoatherdwiththeirflocks,andwhere,onthewine-surfaced,oilysea,[Greektextwhichcannotbereproduced],asHomercallsit,copper-prowedandstreakedwithvermilion,thegreatgalleysoftheDanaoicameintheirgleamingcrescent,thelonelytunny-fishersitsinhislittleboatandwatchesthebobbingcorksofhisnet.Yet,everymorningthedoorsofthecityarethrownopen,andonfoot,orinhorse-drawnchariot,thewarriorsgoforthtobattle,andmocktheirenemiesfrombehindtheirironmasks.Alldaylongthefightrages,andwhennightcomesthetorchesgleambythetents,andthecressetburnsinthehall.Thosewholiveinmarbleoronpaintedpanel,knowoflifebutasingleexquisiteinstant,eternalindeedinitsbeauty,butlimitedtoonenoteofpassionoronemoodofcalm.Thosewhomthepoetmakeslivehavetheirmyriademotionsofjoyandterror,ofcourageanddespair,ofpleasureandofsuffering.Theseasonscomeandgo ingladorsaddeningpageant,andwithwingedorleadenfeettheyearspassbybeforethem.Theyhavetheiryouthandtheirmanhood,theyarechildren,andtheygrowold.ItisalwaysdawnforSt.Helena,asVeronesesawheratthewindow.ThroughthestillmorningairtheangelsbringherthesymbolofGod'spain.Thecoolbreezesofthemorningliftthegiltthreadsfromherbrow.OnthatlittlehillbythecityofFlorence,wheretheloversofGiorgionearelying,itisalwaysthesolsticeofnoon,ofnoonmadesolanguorousbysummersunsthathardlycantheslimnakedgirldipintothemarbletanktheroundbubbleofclearglass,andthelongfingersofthelute-playerrestidlyuponthechords.ItistwilightalwaysforthedancingnymphswhomCorotsetfreeamongthesilverpoplarsofFrance.Ineternaltwilighttheymove,thosefraildiaphanousfigures,whosetremulouswhitefeetseemnottotouchthedew-drenchedgrasstheytreadon.Butthosewhowalkinepos,drama,orromance,seethroughthelabouringmonthstheyoungmoonswaxandwane,andwatchthenightfromeveninguntomorningstar,andfromsunriseuntosunsettingcannotetheshiftingdaywithallitsgoldandshadow.Forthem,asforus,theflowersbloomandwither,andtheEarth,thatGreen-tressedGoddessasColeridgecallsher,altersherraimentfortheirpleasure.Thestatueisconcentratedtoonemomentofperfection.Theimagestaineduponthecanvaspossessesnospiritualelementofgrowthorchange.Iftheyknownothingofdeath,itisbecausetheyknowlittleoflife,forthesecretsoflifeanddeathbelongtothose,andthoseonly,whomthesequenceoftimeaffects,andwhopossessnotmerelythepresentbutthefuture,andcanriseorfallfromapastofgloryorofshame.Movement,thatproblemofthevisiblearts,canbetrulyrealisedbyLiteraturealone.ItisLiteraturethatshowsusthebodyinitsswiftnessandthesoulinitsunrest.ERNEST.Yes;Iseenowwhatyoumean.But,surely,thehigheryou placethecreativeartist,thelowermustthecriticrank.GILBERT.Whyso?ERNEST.Becausethebestthathecangiveuswillbebutanechoofrichmusic,adimshadowofclear-outlinedform.Itmay,indeed,bethatlifeischaos,asyoutellmethatitis;thatitsmartyrdomsaremeananditsheroismsignoble;andthatitisthefunctionofLiteraturetocreate,fromtheroughmaterialofactualexistence,anewworldthatwillbemoremarvellous,moreenduring,andmoretruethantheworldthatcommoneyeslookupon,andthroughwhichcommonnaturesseektorealisetheirperfection.Butsurely,ifthisnewworldhasbeenmadebythespiritandtouchofagreatartist,itwillbeathingsocompleteandperfectthattherewillbenothingleftforthecritictodo.Iquiteunderstandnow,andindeedadmitmostreadily,thatitisfarmoredifficulttotalkaboutathingthantodoit.Butitseemstomethatthissoundandsensiblemaxim,whichisreallyextremelysoothingtoone'sfeelings,andshouldbeadoptedasitsmottobyeveryAcademyofLiteratureallovertheworld,appliesonlytotherelationsthatexistbetweenArtandLife,andnottoanyrelationsthattheremaybebetweenArtandCriticism.GILBERT.But,surely,Criticismisitselfanart.Andjustasartisticcreationimpliestheworkingofthecriticalfaculty,and,indeed,withoutitcannotbesaidtoexistatall,soCriticismisreallycreativeinthehighestsenseoftheword.Criticismis,infact,bothcreativeandindependent.ERNEST.Independent?GILBERT.Yes;independent.Criticismisnomoretobejudgedbyanylowstandardofimitationorresemblancethanistheworkof poetorsculptor.Thecriticoccupiesthesamerelationtotheworkofartthathecriticisesastheartistdoestothevisibleworldofformandcolour,ortheunseenworldofpassionandofthought.Hedoesnotevenrequirefortheperfectionofhisartthefinestmaterials.Anythingwillservehispurpose.AndjustasoutofthesordidandsentimentalamoursofthesillywifeofasmallcountrydoctorinthesqualidvillageofYonville-l'Abbaye,nearRouen,GustaveFlaubertwasabletocreateaclassic,andmakeamasterpieceofstyle,so,fromsubjectsoflittleorofnoimportance,suchasthepicturesinthisyear'sRoyalAcademy,orinanyyear'sRoyalAcademyforthatmatter,Mr.LewisMorris'spoems,M.Ohnet'snovels,ortheplaysofMr.HenryArthurJones,thetruecriticcan,ifitbehispleasuresotodirectorwastehisfacultyofcontemplation,produceworkthatwillbeflawlessinbeautyandinstinctwithintellectualsubtlety.Whynot?Dulnessisalwaysanirresistibletemptationforbrilliancy,andstupidityisthepermanentBESTIATRIONFANSthatcallswisdomfromitscave.Toanartistsocreativeasthecritic,whatdoessubject-mattersignify?Nomoreandnolessthanitdoestothenovelistandthepainter.Likethem,hecanfindhismotiveseverywhere.Treatmentisthetest.Thereisnothingthathasnotinitsuggestionorchallenge.ERNEST.ButisCriticismreallyacreativeart?GILBERT.Whyshoulditnotbe?Itworkswithmaterials,andputsthemintoaformthatisatoncenewanddelightful.Whatmorecanonesayofpoetry?Indeed,Iwouldcallcriticismacreationwithinacreation.Forjustasthegreatartists,fromHomerandAEschylus,downtoShakespeareandKeats,didnotgodirectlytolifefortheirsubject-matter,butsoughtforitinmyth,andlegend,andancienttale,sothecriticdealswithmaterialsthatothershave,asitwere,purifiedforhim,andtowhichimaginative formandcolourhavebeenalreadyadded.Nay,more,IwouldsaythatthehighestCriticism,beingthepurestformofpersonalimpression,isinitswaymorecreativethancreation,asithasleastreferencetoanystandardexternaltoitself,andis,infact,itsownreasonforexisting,and,astheGreekswouldputit,initself,andtoitself,anend.Certainly,itisnevertrammelledbyanyshacklesofverisimilitude.Noignobleconsiderationsofprobability,thatcowardlyconcessiontothetediousrepetitionsofdomesticorpubliclife,affectitever.Onemayappealfromfictionuntofact.Butfromthesoulthereisnoappeal.ERNEST.Fromthesoul?GILBERT.Yes,fromthesoul.Thatiswhatthehighestcriticismreallyis,therecordofone'sownsoul.Itismorefascinatingthanhistory,asitisconcernedsimplywithoneself.Itismoredelightfulthanphilosophy,asitssubjectisconcreteandnotabstract,realandnotvague.Itistheonlycivilisedformofautobiography,asitdealsnotwiththeevents,butwiththethoughtsofone'slife;notwithlife'sphysicalaccidentsofdeedorcircumstance,butwiththespiritualmoodsandimaginativepassionsofthemind.Iamalwaysamusedbythesillyvanityofthosewritersandartistsofourdaywhoseemtoimaginethattheprimaryfunctionofthecriticistochatterabouttheirsecond-ratework.Thebestthatonecansayofmostmoderncreativeartisthatitisjustalittlelessvulgarthanreality,andsothecritic,withhisfinesenseofdistinctionandsureinstinctofdelicaterefinement,willprefertolookintothesilvermirrororthroughthewovenveil,andwillturnhiseyesawayfromthechaosandclamourofactualexistence,thoughthemirrorbetarnishedandtheveilbetorn.Hissoleaimistochroniclehisownimpressions.Itisforhimthatpicturesarepainted,books written,andmarblehewnintoform.ERNEST.IseemtohaveheardanothertheoryofCriticism.GILBERT.Yes:ithasbeensaidbyonewhosegraciousmemoryweallrevere,andthemusicofwhosepipeonceluredProserpinafromherSicilianfields,andmadethosewhitefeetstir,andnotinvain,theCumnorcowslips,thattheproperaimofCriticismistoseetheobjectasinitselfitreallyis.Butthisisaveryseriouserror,andtakesnocognisanceofCriticism'smostperfectform,whichisinitsessencepurelysubjective,andseekstorevealitsownsecretandnotthesecretofanother.ForthehighestCriticismdealswithartnotasexpressivebutasimpressivepurely.ERNEST.Butisthatreallyso?GILBERT.Ofcourseitis.WhocareswhetherMr.Ruskin'sviewsonTurneraresoundornot?Whatdoesitmatter?Thatmightyandmajesticproseofhis,sofervidandsofiery-colouredinitsnobleeloquence,sorichinitselaboratesymphonicmusic,sosureandcertain,atitsbest,insubtlechoiceofwordandepithet,isatleastasgreataworkofartasanyofthosewonderfulsunsetsthatbleachorrotontheircorruptedcanvasesinEngland'sGallery;greaterindeed,oneisapttothinkattimes,notmerelybecauseitsequalbeautyismoreenduring,butonaccountofthefullervarietyofitsappeal,soulspeakingtosoulinthoselong-cadencedlines,notthroughformandcolouralone,thoughthroughthese,indeed,completelyandwithoutloss,butwithintellectualandemotionalutterance,withloftypassionandwithloftierthought,withimaginativeinsight,andwithpoeticaim;greater,Ialwaysthink,evenasLiteratureisthegreaterart.Who,again,careswhetherMr.PaterhasputintotheportraitofMonnaLisasomething thatLionardoneverdreamedof?Thepaintermayhavebeenmerelytheslaveofanarchaicsmile,assomehavefancied,butwheneverIpassintothecoolgalleriesofthePalaceoftheLouvre,andstandbeforethatstrangefigure'setinitsmarblechairinthatcirqueoffantasticrocks,asinsomefaintlightundersea,'Imurmurtomyself,'Sheisolderthantherocksamongwhichshesits;likethevampire,shehasbeendeadmanytimes,andlearnedthesecretsofthegrave;andhasbeenadiverindeepseas,andkeepstheirfallendayabouther:andtraffickedforstrangewebswithEasternmerchants;and,asLeda,wasthemotherofHelenofTroy,and,asSt.Anne,themotherofMary;andallthishasbeentoherbutasthesoundoflyresandflutes,andlivesonlyinthedelicacywithwhichithasmouldedthechanginglineaments,andtingedtheeyelidsandthehands.'AndIsaytomyfriend,'Thepresencethatthussostrangelyrosebesidethewatersisexpressiveofwhatinthewaysofathousandyearsmanhadcometodesire';andheanswersme,'Hersistheheaduponwhichall"theendsoftheworldarecome,"andtheeyelidsarealittleweary.'Andsothepicturebecomesmorewonderfultousthanitreallyis,andrevealstousasecretofwhich,intruth,itknowsnothing,andthemusicofthemysticalproseisassweetinourearsaswasthatflute-player'smusicthatlenttothelipsofLaGiocondathosesubtleandpoisonouscurves.DoyouaskmewhatLionardowouldhavesaidhadanyonetoldhimofthispicturethat'allthethoughtsandexperienceoftheworldhadetchedandmouldedthereinthatwhichtheyhadofpowertorefineandmakeexpressivetheoutwardform,theanimalismofGreece,thelustofRome,thereverieoftheMiddleAgewithitsspiritualambitionandimaginativeloves,thereturnofthePaganworld,thesinsoftheBorgias?'Hewouldprobablyhaveansweredthathehadcontemplatednoneofthesethings,buthadconcernedhimselfsimplywithcertainarrangementsoflinesandmasses,andwithnewandcuriouscolour- harmoniesofblueandgreen.AnditisforthisveryreasonthatthecriticismwhichIhavequotediscriticismofthehighestkind.Ittreatstheworkofartsimplyasastarting-pointforanewcreation.Itdoesnotconfineitself-letusatleastsupposesoforthemoment-todiscoveringtherealintentionoftheartistandacceptingthatasfinal.Andinthisitisright,forthemeaningofanybeautifulcreatedthingis,atleast,asmuchinthesoulofhimwholooksatit,asitwasinhissoulwhowroughtit.Nay,itisratherthebeholderwholendstothebeautifulthingitsmyriadmeanings,andmakesitmarvellousforus,andsetsitinsomenewrelationtotheage,sothatitbecomesavitalportionofourlives,andasymbolofwhatweprayfor,orperhapsofwhat,havingprayedfor,wefearthatwemayreceive.ThelongerIstudy,Ernest,themoreclearlyIseethatthebeautyofthevisibleartsis,asthebeautyofmusic,impressiveprimarily,andthatitmaybemarred,andindeedoftenisso,byanyexcessofintellectualintentiononthepartoftheartist.Forwhentheworkisfinishedithas,asitwere,anindependentlifeofitsown,andmaydeliveramessagefarotherthanthatwhichwasputintoitslipstosay.Sometimes,whenIlistentotheoverturetoTANNHAUSER,Iseemindeedtoseethatcomelyknighttreadingdelicatelyontheflower-strewngrass,andtohearthevoiceofVenuscallingtohimfromthecavernedhill.Butatothertimesitspeakstomeofathousanddifferentthings,ofmyself,itmaybe,andmyownlife,orofthelivesofotherswhomonehaslovedandgrownwearyofloving,orofthepassionsthatmanhasknown,orofthepassionsthatmanhasnotknown,andsohassoughtfor.To-nightitmayfillonewiththat[Greektextwhichcannotbereproduced],thatAMOURDEL'IMPOSSIBLE,whichfallslikeamadnessonmanywhothinktheylivesecurelyandoutofreachofharm,sothattheysickensuddenlywiththepoisonofunlimiteddesire,and,intheinfinitepursuitofwhattheymaynotobtain,growfaintandswoonorstumble.To-morrow,likethemusicofwhichAristotleand Platotellus,thenobleDorianmusicoftheGreek,itmayperformtheofficeofaphysician,andgiveusananodyneagainstpain,andhealthespiritthatiswounded,and'bringthesoulintoharmonywithallrightthings.'Andwhatistrueaboutmusicistrueaboutallthearts.Beautyhasasmanymeaningsasmanhasmoods.Beautyisthesymbolofsymbols.Beautyrevealseverything,becauseitexpressesnothing.Whenitshowsusitself,itshowsusthewholefiery-colouredworld.ERNEST.Butissuchworkasyouhavetalkedaboutreallycriticism?GILBERT.ItisthehighestCriticism,foritcriticisesnotmerelytheindividualworkofart,butBeautyitself,andfillswithwonderaformwhichtheartistmayhaveleftvoid,ornotunderstood,orunderstoodincompletely.ERNEST.ThehighestCriticism,then,ismorecreativethancreation,andtheprimaryaimofthecriticistoseetheobjectasinitselfitreallyisnot;thatisyourtheory,Ibelieve?GILBERT.Yes,thatismytheory.Tothecritictheworkofartissimplyasuggestionforanewworkofhisown,thatneednotnecessarilybearanyobviousresemblancetothethingitcriticises.Theonecharacteristicofabeautifulformisthatonecanputintoitwhateveronewishes,andseeinitwhateveronechoosestosee;andtheBeauty,thatgivestocreationitsuniversalandaestheticelement,makesthecriticacreatorinhisturn,andwhispersofathousanddifferentthingswhichwerenotpresentinthemindofhimwhocarvedthestatueorpaintedthepanelorgravedthegem.ItissometimessaidbythosewhounderstandneitherthenatureofthehighestCriticismnorthecharmofthehighestArt,thatthe picturesthatthecriticlovesmosttowriteaboutarethosethatbelongtotheanecdotageofpainting,andthatdealwithscenestakenoutofliteratureorhistory.Butthisisnotso.Indeed,picturesofthiskindarefartoointelligible.Asaclass,theyrankwithillustrations,and,evenconsideredfromthispointofviewarefailures,astheydonotstirtheimagination,butsetdefiniteboundstoit.Forthedomainofthepainteris,asIsuggestedbefore,widelydifferentfromthatofthepoet.Tothelatterbelongslifeinitsfullandabsoluteentirety;notmerelythebeautythatmenlookat,butthebeautythatmenlistentoalso;notmerelythemomentarygraceofformorthetransientgladnessofcolour,butthewholesphereoffeeling,theperfectcycleofthought.Thepainterissofarlimitedthatitisonlythroughthemaskofthebodythathecanshowusthemysteryofthesoul;onlythroughconventionalimagesthathecanhandleideas;onlythroughitsphysicalequivalentsthathecandealwithpsychology.Andhowinadequatelydoeshedoitthen,askingustoacceptthetornturbanoftheMoorforthenoblerageofOthello,oradotardinastormforthewildmadnessofLear!Yetitseemsasifnothingcouldstophim.MostofourelderlyEnglishpaintersspendtheirwickedandwastedlivesinpoachinguponthedomainofthepoets,marringtheirmotivesbyclumsytreatment,andstrivingtorender,byvisibleformorcolour,themarvelofwhatisinvisible,thesplendourofwhatisnotseen.Theirpicturesare,asanaturalconsequence,insufferablytedious.Theyhavedegradedtheinvisibleartsintotheobviousarts,andtheonethingnotworthlookingatistheobvious.Idonotsaythatpoetandpaintermaynottreatofthesamesubject.Theyhavealwaysdonesoandwillalwaysdoso.Butwhilethepoetcanbepictorialornot,ashechooses,thepaintermustbepictorialalways.Forapainterislimited,nottowhatheseesinnature,buttowhatuponcanvasmaybeseen. Andso,mydearErnest,picturesofthiskindwillnotreallyfascinatethecritic.Hewillturnfromthemtosuchworksasmakehimbroodanddreamandfancy,toworksthatpossessthesubtlequalityofsuggestion,andseemtotellonethatevenfromthemthereisanescapeintoawiderworld.Itissometimessaidthatthetragedyofanartist'slifeisthathecannotrealisehisideal.Butthetruetragedythatdogsthestepsofmostartistsisthattheyrealisetheiridealtooabsolutely.For,whentheidealisrealised,itisrobbedofitswonderanditsmystery,andbecomessimplyanewstarting-pointforanidealthatisotherthanitself.Thisisthereasonwhymusicistheperfecttypeofart.Musiccanneverrevealitsultimatesecret.This,also,istheexplanationofthevalueoflimitationsinart.Thesculptorgladlysurrendersimitativecolour,andthepaintertheactualdimensionsofform,becausebysuchrenunciationstheyareabletoavoidtoodefiniteapresentationoftheReal,whichwouldbemereimitation,andtoodefinitearealisationoftheIdeal,whichwouldbetoopurelyintellectual.Itisthroughitsveryincompletenessthatartbecomescompleteinbeauty,andsoaddressesitself,nottothefacultyofrecognitionnortothefacultyofreason,buttotheaestheticsensealone,which,whileacceptingbothreasonandrecognitionasstagesofapprehension,subordinatesthembothtoapuresyntheticimpressionoftheworkofartasawhole,and,takingwhateveralienemotionalelementstheworkmaypossess,usestheirverycomplexityasameansbywhicharicherunitymaybeaddedtotheultimateimpressionitself.Yousee,then,howitisthattheaestheticcriticrejectstheseobviousmodesofartthathavebutonemessagetodeliver,andhavingdelivereditbecomedumbandsterile,andseeksratherforsuchmodesassuggestreverieandmood,andbytheirimaginativebeautymakeallinterpretationstrue,andnointerpretationfinal.Someresemblance,nodoubt,thecreativeworkofthecriticwillhavetotheworkthathasstirredhimtocreation,butitwillbesuch resemblanceasexists,notbetweenNatureandthemirrorthatthepainteroflandscapeorfiguremaybesupposedtoholduptoher,butbetweenNatureandtheworkofthedecorativeartist.JustasontheflowerlesscarpetsofPersia,tulipandroseblossomindeedandarelovelytolookon,thoughtheyarenotreproducedinvisibleshapeorline;justasthepearlandpurpleofthesea-shellisechoedinthechurchofSt.MarkatVenice;justasthevaultedceilingofthewondrouschapelatRavennaismadegorgeousbythegoldandgreenandsapphireofthepeacock'stail,thoughthebirdsofJunoflynotacrossit;sothecriticreproducestheworkthathecriticisesinamodethatisneverimitative,andpartofwhosecharmmayreallyconsistintherejectionofresemblance,andshowsusinthiswaynotmerelythemeaningbutalsothemysteryofBeauty,and,bytransformingeachartintoliterature,solvesonceforalltheproblemofArt'sunity.ButIseeitistimeforsupper.AfterwehavediscussedsomeChambertinandafewortolans,wewillpassontothequestionofthecriticconsideredinthelightoftheinterpreter.ERNEST.Ah!youadmit,then,thatthecriticmayoccasionallybeallowedtoseetheobjectasinitselfitreallyis.GILBERT.Iamnotquitesure.PerhapsImayadmititaftersupper.Thereisasubtleinfluenceinsupper.THECRITICASARTIST-WITHSOMEREMARKSUPONTHEIMPORTANCEOFDISCUSSINGEVERYTHINGADIALOGUE:PartII.Persons:thesame.Scene:thesame. ERNEST.Theortolansweredelightful,andtheChambertinperfect,andnowletusreturntothepointatissue.GILBERT.Ah!don'tletusdothat.Conversationshouldtoucheverything,butshouldconcentrateitselfonnothing.LetustalkaboutMORALINDIGNATION,ITSCAUSEANDCURE,asubjectonwhichIthinkofwriting:oraboutTHESURVIVALOFTHERSITES,asshownbytheEnglishcomicpapers;oraboutanytopicthatmayturnup.ERNEST.No;Iwanttodiscussthecriticandcriticism.Youhavetoldmethatthehighestcriticismdealswithart,notasexpressive,butasimpressivepurely,andisconsequentlybothcreativeandindependent,isinfactanartbyitself,occupyingthesamerelationtocreativeworkthatcreativeworkdoestothevisibleworldofformandcolour,ortheunseenworldofpassionandofthought.Well,now,tellme,willnotthecriticbesometimesarealinterpreter?GILBERT.Yes;thecriticwillbeaninterpreter,ifhechooses.Hecanpassfromhissyntheticimpressionoftheworkofartasawhole,toananalysisorexpositionoftheworkitself,andinthislowersphere,asIholdittobe,therearemanydelightfulthingstobesaidanddone.Yethisobjectwillnotalwaysbetoexplaintheworkofart.Hemayseekrathertodeepenitsmystery,toraiseroundit,androunditsmaker,thatmistofwonderwhichisdeartobothgodsandworshippersalike.Ordinarypeopleare'terriblyateaseinZion.'Theyproposetowalkarminarmwiththepoets,andhaveaglibignorantwayofsaying,'WhyshouldwereadwhatiswrittenaboutShakespeareandMilton?Wecanreadtheplaysandthepoems.Thatisenough.'ButanappreciationofMiltonis,asthelateRectorofLincolnremarkedonce,therewardofconsummatescholarship.Andhewhodesirestounderstand ShakespearetrulymustunderstandtherelationsinwhichShakespearestoodtotheRenaissanceandtheReformation,totheageofElizabethandtheageofJames;hemustbefamiliarwiththehistoryofthestruggleforsupremacybetweentheoldclassicalformsandthenewspiritofromance,betweentheschoolofSidney,andDaniel,andJohnson,andtheschoolofMarloweandMarlowe'sgreaterson;hemustknowthematerialsthatwereatShakespeare'sdisposal,andthemethodinwhichheusedthem,andtheconditionsoftheatricpresentationinthesixteenthandseventeenthcentury,theirlimitationsandtheiropportunitiesforfreedom,andtheliterarycriticismofShakespeare'sday,itsaimsandmodesandcanons;hemuststudytheEnglishlanguageinitsprogress,andblankorrhymedverseinitsvariousdevelopments;hemuststudytheGreekdrama,andtheconnectionbetweentheartofthecreatoroftheAgamemnonandtheartofthecreatorofMacbeth;inaword,hemustbeabletobindElizabethanLondontotheAthensofPericles,andtolearnShakespeare'struepositioninthehistoryofEuropeandramaandthedramaoftheworld.Thecriticwillcertainlybeaninterpreter,buthewillnottreatArtasariddlingSphinx,whoseshallowsecretmaybeguessedandrevealedbyonewhosefeetarewoundedandwhoknowsnothisname.Rather,hewilllookuponArtasagoddesswhosemysteryitishisprovincetointensify,andwhosemajestyhisprivilegetomakemoremarvellousintheeyesofmen.Andhere,Ernest,thisstrangethinghappens.Thecriticwillindeedbeaninterpreter,buthewillnotbeaninterpreterinthesenseofonewhosimplyrepeatsinanotherformamessagethathasbeenputintohislipstosay.For,justasitisonlybycontactwiththeartofforeignnationsthattheartofacountrygainsthatindividualandseparatelifethatwecallnationality,so,bycuriousinversion,itisonlybyintensifyinghisownpersonalitythatthecriticcaninterpretthepersonalityandworkofothers, andthemorestronglythispersonalityentersintotheinterpretationthemorerealtheinterpretationbecomes,themoresatisfying,themoreconvincing,andthemoretrue.ERNEST.Iwouldhavesaidthatpersonalitywouldhavebeenadisturbingelement.GILBERT.No;itisanelementofrevelation.Ifyouwishtounderstandothersyoumustintensifyyourownindividualism.ERNEST.What,then,istheresult?GILBERT.Iwilltellyou,andperhapsIcantellyoubestbydefiniteexample.Itseemstomethat,whiletheliterarycriticstandsofcoursefirst,ashavingthewiderrange,andlargervision,andnoblermaterial,eachoftheartshasacritic,asitwere,assignedtoit.Theactorisacriticofthedrama.Heshowsthepoet'sworkundernewconditions,andbyamethodspecialtohimself.Hetakesthewrittenword,andaction,gestureandvoicebecomethemediaofrevelation.Thesingerortheplayeronluteandviolisthecriticofmusic.Theetcherofapicturerobsthepaintingofitsfaircolours,butshowsusbytheuseofanewmaterialitstruecolour-quality,itstonesandvalues,andtherelationsofitsmasses,andsois,inhisway,acriticofit,forthecriticishewhoexhibitstousaworkofartinaformdifferentfromthatoftheworkitself,andtheemploymentofanewmaterialisacriticalaswellasacreativeelement.Sculpture,too,hasitscritic,whomaybeeitherthecarverofagem,ashewasinGreekdays,orsomepainterlikeMantegna,whosoughttoreproduceoncanvasthebeautyofplasticlineandthesymphonicdignityofprocessionalbas-relief.Andinthecaseofallthesecreativecriticsofartitisevidentthatpersonalityisanabsoluteessentialforanyrealinterpretation.WhenRubinstein playstoustheSONATAAPPASSIONATAofBeethoven,hegivesusnotmerelyBeethoven,butalsohimself,andsogivesusBeethovenabsolutely-Beethovenre-interpretedthrougharichartisticnature,andmadevividandwonderfultousbyanewandintensepersonality.WhenagreatactorplaysShakespearewehavethesameexperience.Hisownindividualitybecomesavitalpartoftheinterpretation.PeoplesometimessaythatactorsgiveustheirownHamlets,andnotShakespeare's;andthisfallacy-foritisafallacy-is,Iregrettosay,repeatedbythatcharmingandgracefulwriterwhohaslatelydesertedtheturmoilofliteratureforthepeaceoftheHouseofCommons,ImeantheauthorofOBITERDICTA.Inpointoffact,thereisnosuchthingasShakespeare'sHamlet.IfHamlethassomethingofthedefinitenessofaworkofart,hehasalsoalltheobscuritythatbelongstolife.ThereareasmanyHamletsastherearemelancholies.ERNEST.AsmanyHamletsastherearemelancholies?GILBERT.Yes:andasartspringsfrompersonality,soitisonlytopersonalitythatitcanberevealed,andfromthemeetingofthetwocomesrightinterpretativecriticism.ERNEST.Thecritic,then,consideredastheinterpreter,willgivenolessthanhereceives,andlendasmuchasheborrows?GILBERT.Hewillbealwaysshowingustheworkofartinsomenewrelationtoourage.Hewillalwaysberemindingusthatgreatworksofartarelivingthings-are,infact,theonlythingsthatlive.Somuch,indeed,willhefeelthis,thatIamcertainthat,ascivilisationprogressesandwebecomemorehighlyorganised,theelectspiritsofeachage,thecriticalandculturedspirits,willgrowlessandlessinterestedinactuallife,andWILLSEEKTOGAINTHEIRIMPRESSIONSALMOSTENTIRELYFROMWHATARTHASTOUCHED.Forlifeisterriblydeficientinform.Itscatastropheshappeninthe wrongwayandtothewrongpeople.Thereisagrotesquehorroraboutitscomedies,anditstragediesseemtoculminateinfarce.Oneisalwayswoundedwhenoneapproachesit.Thingslasteithertoolong,ornotlongenough.ERNEST.Poorlife!Poorhumanlife!AreyounoteventouchedbythetearsthattheRomanpoettellsusarepartofitsessence.GILBERT.Tooquicklytouchedbythem,Ifear.Forwhenonelooksbackuponthelifethatwassovividinitsemotionalintensity,andfilledwithsuchferventmomentsofecstasyorofjoy,itallseemstobeadreamandanillusion.Whataretheunrealthings,butthepassionsthatonceburnedonelikefire?Whataretheincrediblethings,butthethingsthatonehasfaithfullybelieved?Whataretheimprobablethings?Thethingsthatonehasdoneoneself.No,Ernest;lifecheatsuswithshadows,likeapuppet-master.Weaskitforpleasure.Itgivesittous,withbitternessanddisappointmentinitstrain.Wecomeacrosssomenoblegriefthatwethinkwilllendthepurpledignityoftragedytoourdays,butitpassesawayfromus,andthingslessnobletakeitsplace,andonsomegreywindydawn,orodorouseveofsilenceandofsilver,wefindourselveslookingwithcallouswonder,ordullheartofstone,atthetressofgold-fleckedhairthatwehadoncesowildlyworshippedandsomadlykissed.ERNEST.Lifethenisafailure?GILBERT.Fromtheartisticpointofview,certainly.Andthechiefthingthatmakeslifeafailurefromthisartisticpointofviewisthethingthatlendstolifeitssordidsecurity,thefactthatonecanneverrepeatexactlythesameemotion.HowdifferentitisintheworldofArt!OnashelfofthebookcasebehindyoustandstheDIVINECOMEDY,andIknowthat,ifIopenitata certainplace,Ishallbefilledwithafiercehatredofsomeonewhohasneverwrongedme,orstirredbyagreatloveforsomeonewhomIshallneversee.ThereisnomoodorpassionthatArtcannotgiveus,andthoseofuswhohavediscoveredhersecretcansettlebeforehandwhatourexperiencesaregoingtobe.Wecanchooseourdayandselectourhour.Wecansaytoourselves,'To-morrow,atdawn,weshallwalkwithgraveVirgilthroughthevalleyoftheshadowofdeath,'andlo!thedawnfindsusintheobscurewood,andtheMantuanstandsbyourside.Wepassthroughthegateofthelegendfataltohope,andwithpityorwithjoybeholdthehorrorofanotherworld.Thehypocritesgoby,withtheirpaintedfacesandtheircowlsofgildedlead.Outoftheceaselesswindsthatdrivethem,thecarnallookatus,andwewatchthehereticrendinghisflesh,andthegluttonlashedbytherain.WebreakthewitheredbranchesfromthetreeinthegroveoftheHarpies,andeachdull-huedpoisonoustwigbleedswithredbloodbeforeus,andcriesaloudwithbittercries.OutofahornoffireOdysseusspeakstous,andwhenfromhissepulchreofflamethegreatGhibellinerises,thepridethattriumphsoverthetortureofthatbedbecomesoursforamoment.Throughthedimpurpleairflythosewhohavestainedtheworldwiththebeautyoftheirsin,andinthepitofloathsomedisease,dropsy-strickenandswollenofbodyintothesemblanceofamonstrouslute,liesAdamodiBrescia,thecoineroffalsecoin.Hebidsuslistentohismisery;westop,andwithdryandgapinglipshetellsushowhedreamsdayandnightofthebrooksofclearwaterthatincooldewychannelsgushdownthegreenCasentinehills.Sinon,thefalseGreekofTroy,mocksathim.Hesmiteshimintheface,andtheywrangle.Wearefascinatedbytheirshame,andloiter,tillVirgilchidesusandleadsusawaytothatcityturretedbygiantswheregreatNimrodblowshishorn.Terriblethingsareinstoreforus,andwegotomeettheminDante'sraimentandwithDante'sheart.WetraversethemarshesoftheStyx,andArgentiswimstotheboat throughtheslimywaves.Hecallstous,andwerejecthim.Whenwehearthevoiceofhisagonyweareglad,andVirgilpraisesusforthebitternessofourscorn.WetreaduponthecoldcrystalofCocytus,inwhichtraitorssticklikestrawsinglass.OurfootstrikesagainsttheheadofBocca.Hewillnottellushisname,andwetearthehairinhandfulsfromthescreamingskull.Alberigopraysustobreaktheiceuponhisfacethathemayweepalittle.Wepledgeourwordtohim,andwhenhehasutteredhisdoloroustalewedenythewordthatwehavespoken,andpassfromhim;suchcrueltybeingcourtesyindeed,forwhomorebasethanhewhohasmercyforthecondemnedofGod?InthejawsofLuciferweseethemanwhosoldChrist,andinthejawsofLuciferthemenwhoslewCaesar.Wetremble,andcomeforthtore-beholdthestars.InthelandofPurgationtheairisfreer,andtheholymountainrisesintothepurelightofday.Thereispeaceforus,andforthosewhoforaseasonabideinitthereissomepeacealso,though,palefromthepoisonoftheMaremma,MadonnaPiapassesbeforeus,andIsmene,withthesorrowofearthstilllingeringabouther,isthere.Soulaftersoulmakesusshareinsomerepentanceorsomejoy.Hewhomthemourningofhiswidowtaughttodrinkthesweetwormwoodofpain,tellsusofNellaprayinginherlonelybed,andwelearnfromthemouthofBuoncontehowasingletearmaysaveadyingsinnerfromthefiend.Sordello,thatnobleanddisdainfulLombard,eyesusfromafarlikeacouchantlion.WhenhelearnsthatVirgilisoneofMantua'scitizens,hefallsuponhisneck,andwhenhelearnsthatheisthesingerofRomehefallsbeforehisfeet.InthatvalleywhosegrassandflowersarefairerthancleftemeraldandIndianwood,andbrighterthanscarletandsilver,theyaresingingwhointheworldwerekings;butthelipsofRudolphofHapsburgdonotmovetothemusicoftheothers,andPhilipofFrancebeatshisbreastandHenryofEnglandsitsalone.Onandonwego,climbingthemarvellous stair,andthestarsbecomelargerthantheirwont,andthesongofthekingsgrowsfaint,andatlengthwereachtheseventreesofgoldandthegardenoftheEarthlyParadise.Inagriffin-drawnchariotappearsonewhosebrowsareboundwitholive,whoisveiledinwhite,andmantledingreen,androbedinavesturethatiscolouredlikelivefire.Theancientflamewakeswithinus.Ourbloodquickensthroughterriblepulses.Werecogniseher.ItisBeatrice,thewomanwehaveworshipped.Theicecongealedaboutourheartmelts.Wildtearsofanguishbreakfromus,andwebowourforeheadtotheground,forweknowthatwehavesinned.Whenwehavedonepenance,andarepurified,andhavedrunkofthefountainofLetheandbathedinthefountainofEunoe,themistressofoursoulraisesustotheParadiseofHeaven.Outofthateternalpearl,themoon,thefaceofPiccardaDonatileanstous.Herbeautytroublesusforamoment,andwhen,likeathingthatfallsthroughwater,shepassesaway,wegazeafterherwithwistfuleyes.ThesweetplanetofVenusisfulloflovers.Cunizza,thesisterofEzzelin,theladyofSordello'sheart,isthere,andFolco,thepassionatesingerofProvence,whoinsorrowforAzalaisforsooktheworld,andtheCanaanitishharlotwhosesoulwasthefirstthatChristredeemed.JoachimofFlorastandsinthesun,and,inthesun,AquinasrecountsthestoryofSt.FrancisandBonaventurethestoryofSt.Dominic.ThroughtheburningrubiesofMars,Cacciaguidaapproaches.Hetellsusofthearrowthatisshotfromthebowofexile,andhowsalttastesthebreadofanother,andhowsteeparethestairsinthehouseofastranger.InSaturnthesoulsingsnot,andevenshewhoguidesusdarenotsmile.Onaladderofgoldtheflamesriseandfall.Atlast,weseethepageantoftheMysticalRose.BeatricefixeshereyesuponthefaceofGodtoturnthemnotagain.Thebeatificvisionisgrantedtous;weknowtheLovethatmovesthesunandallthestars. Yes,wecanputtheearthbacksixhundredcoursesandmakeourselvesonewiththegreatFlorentine,kneelatthesamealtarwithhim,andsharehisraptureandhisscorn.Andifwegrowtiredofanantiquetime,anddesiretorealiseourownageinallitswearinessandsin,aretherenotbooksthatcanmakeuslivemoreinonesinglehourthanlifecanmakeusliveinascoreofshamefulyears?Closetoyourhandliesalittlevolume,boundinsomeNile-greenskinthathasbeenpowderedwithgildednenupharsandsmoothedwithhardivory.ItisthebookthatGautierloved,itisBaudelaire'smasterpiece.OpenitatthatsadmadrigalthatbeginsQuem'importequetusoissage?Soisbelle!etsoistriste!andyouwillfindyourselfworshippingsorrowasyouhaveneverworshippedjoy.Passontothepoemonthemanwhotortureshimself,letitssubtlemusicstealintoyourbrainandcolouryourthoughts,andyouwillbecomeforamomentwhathewaswhowroteit;nay,notforamomentonly,butformanybarrenmoonlitnightsandsunlesssteriledayswilladespairthatisnotyourownmakeitsdwellingwithinyou,andthemiseryofanothergnawyourheartaway.Readthewholebook,sufferittotellevenoneofitssecretstoyoursoul,andyoursoulwillgroweagertoknowmore,andwillfeeduponpoisonoushoney,andseektorepentofstrangecrimesofwhichitisguiltless,andtomakeatonementforterriblepleasuresthatithasneverknown.Andthen,whenyouaretiredoftheseflowersofevil,turntotheflowersthatgrowinthegardenofPerdita,andintheirdew-drenchedchalicescoolyourfeveredbrow,andlettheirlovelinesshealandrestoreyoursoul;orwakefromhisforgottentombthesweetSyrian,Meleager,andbidthe loverofHeliodoremakeyoumusic,forhetoohasflowersinhissong,redpomegranateblossoms,andirisesthatsmellofmyrrh,ringeddaffodilsanddarkbluehyacinths,andmarjoramandcrinkledox-eyes.Deartohimwastheperfumeofthebean-fieldatevening,anddeartohimtheodorouseared-spikenardthatgrewontheSyrianhills,andthefreshgreenthyme,thewine-cup'scharm.Thefeetofhisloveasshewalkedinthegardenwerelikeliliessetuponlilies.Softerthansleep-ladenpoppypetalswereherlips,softerthanvioletsandasscented.Theflame-likecrocussprangfromthegrasstolookather.Forhertheslimnarcissusstoredthecoolrain;andforhertheanemonesforgottheSicilianwindsthatwooedthem.Andneithercrocus,noranemone,nornarcissuswasasfairasshewas.Itisastrangething,thistransferenceofemotion.Wesickenwiththesamemaladiesasthepoets,andthesingerlendsushispain.Deadlipshavetheirmessageforus,andheartsthathavefallentodustcancommunicatetheirjoy.WeruntokissthebleedingmouthofFantine,andwefollowManonLescautoverthewholeworld.Oursisthelove-madnessoftheTyrian,andtheterrorofOrestesisoursalso.Thereisnopassionthatwecannotfeel,nopleasurethatwemaynotgratify,andwecanchoosethetimeofourinitiationandthetimeofourfreedomalso.Life!Life!Don'tletusgotolifeforourfulfilmentorourexperience.Itisathingnarrowedbycircumstances,incoherentinitsutterance,andwithoutthatfinecorrespondenceofformandspiritwhichistheonlythingthatcansatisfytheartisticandcriticaltemperament.Itmakesuspaytoohighapriceforitswares,andwepurchasethemeanestofitssecretsatacostthatismonstrousandinfinite.ERNEST.Mustwego,then,toArtforeverything? GILBERT.Foreverything.BecauseArtdoesnothurtus.ThetearsthatweshedataplayareatypeoftheexquisitesterileemotionsthatitisthefunctionofArttoawaken.Weweep,butwearenotwounded.Wegrieve,butourgriefisnotbitter.Intheactuallifeofman,sorrow,asSpinozasayssomewhere,isapassagetoalesserperfection.ButthesorrowwithwhichArtfillsusbothpurifiesandinitiates,ifImayquoteoncemorefromthegreatartcriticoftheGreeks.ItisthroughArt,andthroughArtonly,thatwecanrealiseourperfection;throughArt,andthroughArtonly,thatwecanshieldourselvesfromthesordidperilsofactualexistence.Thisresultsnotmerelyfromthefactthatnothingthatonecanimagineisworthdoing,andthatonecanimagineeverything,butfromthesubtlelawthatemotionalforces,liketheforcesofthephysicalsphere,arelimitedinextentandenergy.Onecanfeelsomuch,andnomore.Andhowcanitmatterwithwhatpleasurelifetriestotemptone,orwithwhatpainitseekstomaimandmarone'ssoul,ifinthespectacleofthelivesofthosewhohaveneverexistedonehasfoundthetruesecretofjoy,andweptawayone'stearsovertheirdeathswho,likeCordeliaandthedaughterofBrabantio,canneverdie?ERNEST.Stopamoment.Itseemstomethatineverythingthatyouhavesaidthereissomethingradicallyimmoral.GILBERT.Allartisimmoral.ERNEST.Allart?GILBERT.Yes.Foremotionforthesakeofemotionistheaimofart,andemotionforthesakeofactionistheaimoflife,andofthatpracticalorganisationoflifethatwecallsociety.Society,whichisthebeginningandbasisofmorals,existssimplyfortheconcentrationofhumanenergy,andinordertoensureitsowncontinuanceandhealthystabilityitdemands,andnodoubtrightly demands,ofeachofitscitizensthatheshouldcontributesomeformofproductivelabourtothecommonweal,andtoilandtravailthattheday'sworkmaybedone.Societyoftenforgivesthecriminal;itneverforgivesthedreamer.Thebeautifulsterileemotionsthatartexcitesinusarehatefulinitseyes,andsocompletelyarepeopledominatedbythetyrannyofthisdreadfulsocialidealthattheyarealwayscomingshamelesslyuptooneatPrivateViewsandotherplacesthatareopentothegeneralpublic,andsayinginaloudstentorianvoice,'Whatareyoudoing?'whereas'Whatareyouthinking?'istheonlyquestionthatanysinglecivilisedbeingshouldeverbeallowedtowhispertoanother.Theymeanwell,nodoubt,thesehonestbeamingfolk.Perhapsthatisthereasonwhytheyaresoexcessivelytedious.Butsomeoneshouldteachthemthatwhile,intheopinionofsociety,Contemplationisthegravestsinofwhichanycitizencanbeguilty,intheopinionofthehighestcultureitistheproperoccupationofman.ERNEST.Contemplation?GILBERT.Contemplation.Isaidtoyousometimeagothatitwasfarmoredifficulttotalkaboutathingthantodoit.Letmesaytoyounowthattodonothingatallisthemostdifficultthingintheworld,themostdifficultandthemostintellectual.ToPlato,withhispassionforwisdom,thiswasthenoblestformofenergy.ToAristotle,withhispassionforknowledge,thiswasthenoblestformofenergyalso.Itwastothisthatthepassionforholinessledthesaintandthemysticofmediaevaldays.ERNEST.Weexist,then,todonothing?GILBERT.Itistodonothingthattheelectexist.Actionislimitedandrelative.Unlimitedandabsoluteisthevisionofhim whositsateaseandwatches,whowalksinlonelinessanddreams.Butwewhoarebornatthecloseofthiswonderfulageareatoncetooculturedandtoocritical,toointellectuallysubtleandtoocuriousofexquisitepleasures,toacceptanyspeculationsaboutlifeinexchangeforlifeitself.ToustheCITTEDIVINAiscolourless,andtheFRUITIODEIwithoutmeaning.Metaphysicsdonotsatisfyourtemperaments,andreligiousecstasyisoutofdate.TheworldthroughwhichtheAcademicphilosopherbecomes'thespectatorofalltimeandofallexistence'isnotreallyanidealworld,butsimplyaworldofabstractideas.Whenweenterit,westarveamidstthechillmathematicsofthought.ThecourtsofthecityofGodarenotopentousnow.ItsgatesareguardedbyIgnorance,andtopassthemwehavetosurrenderallthatinournatureismostdivine.Itisenoughthatourfathersbelieved.Theyhaveexhaustedthefaith-facultyofthespecies.Theirlegacytousisthescepticismofwhichtheywereafraid.Hadtheyputitintowords,itmightnotlivewithinusasthought.No,Ernest,no.Wecannotgobacktothesaint.Thereisfarmoretobelearnedfromthesinner.Wecannotgobacktothephilosopher,andthemysticleadsusastray.Who,asMr.Patersuggestssomewhere,wouldexchangethecurveofasinglerose-leafforthatformlessintangibleBeingwhichPlatoratessohigh?WhattousistheIlluminationofPhilo,theAbyssofEckhart,theVisionofBohme,themonstrousHeavenitselfthatwasrevealedtoSwedenborg'sblindedeyes?Suchthingsarelessthantheyellowtrumpetofonedaffodilofthefield,farlessthanthemeanestofthevisiblearts,for,justasNatureismatterstrugglingintomind,soArtismindexpressingitselfundertheconditionsofmatter,andthus,eveninthelowliestofhermanifestations,shespeakstobothsenseandsoulalike.Totheaesthetictemperamentthevagueisalwaysrepellent.TheGreekswereanationofartists,becausetheyweresparedthesenseoftheinfinite.LikeAristotle,likeGoetheafterhehadreadKant,wedesiretheconcrete,andnothing buttheconcretecansatisfyus.ERNEST.Whatthendoyoupropose?GILBERT.Itseemstomethatwiththedevelopmentofthecriticalspiritweshallbeabletorealise,notmerelyourownlives,butthecollectivelifeoftherace,andsotomakeourselvesabsolutelymodern,inthetruemeaningofthewordmodernity.Forhetowhomthepresentistheonlythingthatispresent,knowsnothingoftheageinwhichhelives.Torealisethenineteenthcentury,onemustrealiseeverycenturythathasprecededitandthathascontributedtoitsmaking.Toknowanythingaboutoneselfonemustknowallaboutothers.Theremustbenomoodwithwhichonecannotsympathise,nodeadmodeoflifethatonecannotmakealive.Isthisimpossible?Ithinknot.Byrevealingtoustheabsolutemechanismofallaction,andsofreeingusfromtheself-imposedandtrammellingburdenofmoralresponsibility,thescientificprincipleofHeredityhasbecome,asitwere,thewarrantforthecontemplativelife.Ithasshownusthatweareneverlessfreethanwhenwetrytoact.Ithashemmedusroundwiththenetsofthehunter,andwrittenuponthewalltheprophecyofourdoom.Wemaynotwatchit,foritiswithinus.Wemaynotseeit,saveinamirrorthatmirrorsthesoul.ItisNemesiswithouthermask.ItisthelastoftheFates,andthemostterrible.ItistheonlyoneoftheGodswhoserealnameweknow.Andyet,whileinthesphereofpracticalandexternallifeithasrobbedenergyofitsfreedomandactivityofitschoice,inthesubjectivesphere,wherethesoulisatwork,itcomestous,thisterribleshadow,withmanygiftsinitshands,giftsofstrangetemperamentsandsubtlesusceptibilities,giftsofwildardoursandchillmoodsofindifference,complexmultiformgiftsofthoughtsthatareatvariancewitheachother,andpassionsthatwaragainst themselves.Andso,itisnotourownlifethatwelive,butthelivesofthedead,andthesoulthatdwellswithinusisnosinglespiritualentity,makinguspersonalandindividual,createdforourservice,andenteringintousforourjoy.Itissomethingthathasdweltinfearfulplaces,andinancientsepulchreshasmadeitsabode.Itissickwithmanymaladies,andhasmemoriesofcurioussins.Itiswiserthanweare,anditswisdomisbitter.Itfillsuswithimpossibledesires,andmakesusfollowwhatweknowwecannotgain.Onething,however,Ernest,itcandoforus.Itcanleadusawayfromsurroundingswhosebeautyisdimmedtousbythemistoffamiliarity,orwhoseignobleuglinessandsordidclaimsaremarringtheperfectionofourdevelopment.Itcanhelpustoleavetheageinwhichwewereborn,andtopassintootherages,andfindourselvesnotexiledfromtheirair.Itcanteachushowtoescapefromourexperience,andtorealisetheexperiencesofthosewhoaregreaterthanweare.ThepainofLeopardicryingoutagainstlifebecomesourpain.Theocritusblowsonhispipe,andwelaughwiththelipsofnymphandshepherd.InthewolfskinofPierreVidalwefleebeforethehounds,andinthearmourofLancelotweridefromtheboweroftheQueen.WehavewhisperedthesecretofourlovebeneaththecowlofAbelard,andinthestainedraimentofVillonhaveputourshameintosong.WecanseethedawnthroughShelley'seyes,andwhenwewanderwithEndymiontheMoongrowsamorousofouryouth.OursistheanguishofAtys,andourstheweakrageandnoblesorrowsoftheDane.Doyouthinkthatitistheimaginationthatenablesustolivethesecountlesslives?Yes:itistheimagination;andtheimaginationistheresultofheredity.Itissimplyconcentratedrace-experience.ERNEST.Butwhereinthisisthefunctionofthecriticalspirit?GILBERT.Theculturethatthistransmissionofracialexperiences makespossiblecanbemadeperfectbythecriticalspiritalone,andindeedmaybesaidtobeonewithit.Forwhoisthetruecriticbuthewhobearswithinhimselfthedreams,andideas,andfeelingsofmyriadgenerations,andtowhomnoformofthoughtisalien,noemotionalimpulseobscure?Andwhothetruemanofculture,ifnothewhobyfinescholarshipandfastidiousrejectionhasmadeinstinctself-consciousandintelligent,andcanseparatetheworkthathasdistinctionfromtheworkthathasitnot,andsobycontactandcomparisonmakeshimselfmasterofthesecretsofstyleandschool,andunderstandstheirmeanings,andlistenstotheirvoices,anddevelopsthatspiritofdisinterestedcuriositywhichistherealroot,asitistherealflower,oftheintellectuallife,andthusattainstointellectualclarity,and,havinglearned'thebestthatisknownandthoughtintheworld,'lives-itisnotfancifultosayso-withthosewhoaretheImmortals.Yes,Ernest:thecontemplativelife,thelifethathasforitsaimnotDOINGbutBEING,andnotBEINGmerely,butBECOMING-thatiswhatthecriticalspiritcangiveus.Thegodslivethus:eitherbroodingovertheirownperfection,asAristotletellsus,or,asEpicurusfancied,watchingwiththecalmeyesofthespectatorthetragicomedyoftheworldthattheyhavemade.We,too,mightlivelikethem,andsetourselvestowitnesswithappropriateemotionsthevariedscenesthatmanandnatureafford.Wemightmakeourselvesspiritualbydetachingourselvesfromaction,andbecomeperfectbytherejectionofenergy.IthasoftenseemedtomethatBrowningfeltsomethingofthis.ShakespearehurlsHamletintoactivelife,andmakeshimrealisehismissionbyeffort.BrowningmighthavegivenusaHamletwhowouldhaverealisedhismissionbythought.Incidentandeventweretohimunrealorunmeaning.Hemadethesoultheprotagonistoflife'stragedy,andlookedonactionastheoneundramaticelementofaplay.Tous,atany rate,the[Greektextwhichcannotbereproduced]isthetrueideal.FromthehightowerofThoughtwecanlookoutattheworld.Calm,andself-centred,andcomplete,theaestheticcriticcontemplateslife,andnoarrowdrawnataventurecanpiercebetweenthejointsofhisharness.Heatleastissafe.Hehasdiscoveredhowtolive.Issuchamodeoflifeimmoral?Yes:alltheartsareimmoral,exceptthosebaserformsofsensualordidacticartthatseektoexcitetoactionofevilorofgood.Foractionofeverykindbelongstothesphereofethics.Theaimofartissimplytocreateamood.Issuchamodeoflifeunpractical?Ah!itisnotsoeasytobeunpracticalastheignorantPhilistineimagines.ItwerewellforEnglandifitwereso.Thereisnocountryintheworldsomuchinneedofunpracticalpeopleasthiscountryofours.Withus,Thoughtisdegradedbyitsconstantassociationwithpractice.Whothatmovesinthestressandturmoilofactualexistence,noisypolitician,orbrawlingsocialreformer,orpoornarrow-mindedpriestblindedbythesufferingsofthatunimportantsectionofthecommunityamongwhomhehascasthislot,canseriouslyclaimtobeabletoformadisinterestedintellectualjudgmentaboutanyonething?Eachoftheprofessionsmeansaprejudice.Thenecessityforacareerforceseveryonetotakesides.Weliveintheageoftheoverworked,andtheunder-educated;theageinwhichpeoplearesoindustriousthattheybecomeabsolutelystupid.And,harshthoughitmaysound,Icannothelpsayingthatsuchpeopledeservetheirdoom.Thesurewayofknowingnothingaboutlifeistotrytomakeoneselfuseful.ERNEST.Acharmingdoctrine,Gilbert.GILBERT.Iamnotsureaboutthat,butithasatleasttheminormeritofbeingtrue.Thatthedesiretodogoodtoothersproduces aplentifulcropofprigsistheleastoftheevilsofwhichitisthecause.Theprigisaveryinterestingpsychologicalstudy,andthoughofallposesamoralposeisthemostoffensive,stilltohaveaposeatallissomething.Itisaformalrecognitionoftheimportanceoftreatinglifefromadefiniteandreasonedstandpoint.ThatHumanitarianSympathywarsagainstNature,bysecuringthesurvivalofthefailure,maymakethemanofscienceloatheitsfacilevirtues.Thepoliticaleconomistmaycryoutagainstitforputtingtheimprovidentonthesamelevelastheprovident,andsorobbinglifeofthestrongest,becausemostsordid,incentivetoindustry.But,intheeyesofthethinker,therealharmthatemotionalsympathydoesisthatitlimitsknowledge,andsopreventsusfromsolvinganysinglesocialproblem.Wearetryingatpresenttostaveoffthecomingcrisis,thecomingrevolutionasmyfriendstheFabianistscallit,bymeansofdolesandalms.Well,whentherevolutionorcrisisarrives,weshallbepowerless,becauseweshallknownothing.Andso,Ernest,letusnotbedeceived.EnglandwillneverbecivilisedtillshehasaddedUtopiatoherdominions.Thereismorethanoneofhercoloniesthatshemightwithadvantagesurrenderforsofairaland.Whatwewantareunpracticalpeoplewhoseebeyondthemoment,andthinkbeyondtheday.Thosewhotrytoleadthepeoplecanonlydosobyfollowingthemob.Itisthroughthevoiceofonecryinginthewildernessthatthewaysofthegodsmustbeprepared.Butperhapsyouthinkthatinbeholdingforthemerejoyofbeholding,andcontemplatingforthesakeofcontemplation,thereissomethingthatisegotistic.Ifyouthinkso,donotsayso.Ittakesathoroughlyselfishage,likeourown,todeifyself-sacrifice.Ittakesathoroughlygraspingage,suchasthatinwhichwelive,tosetabovethefineintellectualvirtues,thoseshallowandemotionalvirtuesthatareanimmediatepractical benefittoitself.Theymisstheiraim,too,thesephilanthropistsandsentimentalistsofourday,whoarealwayschatteringtooneaboutone'sdutytoone'sneighbour.Forthedevelopmentoftheracedependsonthedevelopmentoftheindividual,andwhereself-culturehasceasedtobetheideal,theintellectualstandardisinstantlylowered,and,often,ultimatelylost.Ifyoumeetatdinneramanwhohasspenthislifeineducatinghimself-araretypeinourtime,Iadmit,butstilloneoccasionallytobemetwith-yourisefromtablericher,andconsciousthatahighidealhasforamomenttouchedandsanctifiedyourdays.Butoh!mydearErnest,tositnexttoamanwhohasspenthislifeintryingtoeducateothers!Whatadreadfulexperiencethatis!Howappallingisthatignorancewhichistheinevitableresultofthefatalhabitofimpartingopinions!Howlimitedinrangethecreature'smindprovestobe!Howitweariesus,andmustwearyhimself,withitsendlessrepetitionsandsicklyreiteration!Howlackingitisinanyelementofintellectualgrowth!Inwhataviciouscircleitalwaysmoves!ERNEST.Youspeakwithstrangefeeling,Gilbert.Haveyouhadthisdreadfulexperience,asyoucallit,lately?GILBERT.Fewofusescapeit.Peoplesaythattheschoolmasterisabroad.Iwishtogoodnesshewere.Butthetypeofwhich,afterall,heisonlyone,andcertainlytheleastimportant,oftherepresentatives,seemstometobereallydominatingourlives;andjustasthephilanthropististhenuisanceoftheethicalsphere,sothenuisanceoftheintellectualsphereisthemanwhoissooccupiedintryingtoeducateothers,thathehasneverhadanytimetoeducatehimself.No,Ernest,self-cultureisthetrueidealofman.Goethesawit,andtheimmediatedebtthatweowetoGoetheisgreaterthanthedebtweowetoanymansinceGreekdays.TheGreekssawit,andhaveleftus,astheirlegacytomodern thought,theconceptionofthecontemplativelifeaswellasthecriticalmethodbywhichalonecanthatlifebetrulyrealised.ItwastheonethingthatmadetheRenaissancegreat,andgaveusHumanism.Itistheonethingthatcouldmakeourownagegreatalso;fortherealweaknessofEnglandlies,notinincompletearmamentsorunfortifiedcoasts,notinthepovertythatcreepsthroughsunlesslanes,orthedrunkennessthatbrawlsinloathsomecourts,butsimplyinthefactthatheridealsareemotionalandnotintellectual.Idonotdenythattheintellectualidealisdifficultofattainment,stilllessthatitis,andperhapswillbeforyearstocome,unpopularwiththecrowd.Itissoeasyforpeopletohavesympathywithsuffering.Itissodifficultforthemtohavesympathywiththought.Indeed,solittledoordinarypeopleunderstandwhatthoughtreallyis,thattheyseemtoimaginethat,whentheyhavesaidthatatheoryisdangerous,theyhavepronounceditscondemnation,whereasitisonlysuchtheoriesthathaveanytrueintellectualvalue.Anideathatisnotdangerousisunworthyofbeingcalledanideaatall.ERNEST.Gilbert,youbewilderme.Youhavetoldmethatallartis,initsessence,immoral.Areyougoingtotellmenowthatallthoughtis,initsessence,dangerous?GILBERT.Yes,inthepracticalsphereitisso.Thesecurityofsocietyliesincustomandunconsciousinstinct,andthebasisofthestabilityofsociety,asahealthyorganism,isthecompleteabsenceofanyintelligenceamongstitsmembers.Thegreatmajorityofpeoplebeingfullyawareofthis,rankthemselvesnaturallyonthesideofthatsplendidsystemthatelevatesthemtothedignityofmachines,andragesowildlyagainsttheintrusionoftheintellectualfacultyintoanyquestionthatconcernslife, thatoneistemptedtodefinemanasarationalanimalwhoalwaysloseshistemperwhenheiscalledupontoactinaccordancewiththedictatesofreason.Butletusturnfromthepracticalsphere,andsaynomoreaboutthewickedphilanthropists,who,indeed,maywellbelefttothemercyofthealmond-eyedsageoftheYellowRiverChuangTsuthewise,whohasprovedthatsuchwell-meaningandoffensivebusybodieshavedestroyedthesimpleandspontaneousvirtuethatthereisinman.Theyareawearisometopic,andIamanxioustogetbacktothesphereinwhichcriticismisfree.ERNEST.Thesphereoftheintellect?GILBERT.Yes.YourememberthatIspokeofthecriticasbeinginhisownwayascreativeastheartist,whosework,indeed,maybemerelyofvalueinsofarasitgivestothecriticasuggestionforsomenewmoodofthoughtandfeelingwhichhecanrealisewithequal,orperhapsgreater,distinctionofform,and,throughtheuseofafreshmediumofexpression,makedifferentlybeautifulandmoreperfect.Well,youseemedtobealittlescepticalaboutthetheory.ButperhapsIwrongedyou?ERNEST.Iamnotreallyscepticalaboutit,butImustadmitthatIfeelverystronglythatsuchworkasyoudescribethecriticproducing-andcreativesuchworkmustundoubtedlybeadmittedtobe-is,ofnecessity,purelysubjective,whereasthegreatestworkisobjectivealways,objectiveandimpersonal.GILBERT.Thedifferencebetweenobjectiveandsubjectiveworkisoneofexternalformmerely.Itisaccidental,notessential.Allartisticcreationisabsolutelysubjective.TheverylandscapethatCorotlookedatwas,ashesaidhimself,butamoodofhisownmind;andthosegreatfiguresofGreekorEnglishdramathatseemtoustopossessanactualexistenceoftheirown,apartfromthe poetswhoshapedandfashionedthem,are,intheirultimateanalysis,simplythepoetsthemselves,notastheythoughttheywere,butastheythoughttheywerenot;andbysuchthinkingcameinstrangemanner,thoughbutforamoment,reallysotobe.Foroutofourselveswecanneverpass,norcantherebeincreationwhatinthecreatorwasnot.Nay,Iwouldsaythatthemoreobjectiveacreationappearstobe,themoresubjectiveitreallyis.ShakespearemighthavemetRosencrantzandGuildensterninthewhitestreetsofLondon,orseentheserving-menofrivalhousesbitetheirthumbsateachotherintheopensquare;butHamletcameoutofhissoul,andRomeooutofhispassion.Theywereelementsofhisnaturetowhichhegavevisibleform,impulsesthatstirredsostronglywithinhimthathehad,asitwereperforce,tosufferthemtorealisetheirenergy,notonthelowerplaneofactuallife,wheretheywouldhavebeentrammelledandconstrainedandsomadeimperfect,butonthatimaginativeplaneofartwhereLovecanindeedfindinDeathitsrichfulfilment,whereonecanstabtheeavesdropperbehindthearras,andwrestleinanew-madegrave,andmakeaguiltykingdrinkhisownhurt,andseeone'sfather'sspirit,beneaththeglimpsesofthemoon,stalkingincompletesteelfrommistywalltowall.ActionbeinglimitedwouldhaveleftShakespeareunsatisfiedandunexpressed;and,justasitisbecausehedidnothingthathehasbeenabletoachieveeverything,soitisbecauseheneverspeakstousofhimselfinhisplaysthathisplaysrevealhimtousabsolutely,andshowushistruenatureandtemperamentfarmorecompletelythandothosestrangeandexquisitesonnets,even,inwhichhebarestocrystaleyesthesecretclosetofhisheart.Yes,theobjectiveformisthemostsubjectiveinmatter.Manisleasthimselfwhenhetalksinhisownperson.Givehimamask,andhewilltellyouthetruth.ERNEST.Thecritic,then,beinglimitedtothesubjectiveform,willnecessarilybelessablefullytoexpresshimselfthanthe artist,whohasalwaysathisdisposaltheformsthatareimpersonalandobjective.GILBERT.Notnecessarily,andcertainlynotatallifherecognisesthateachmodeofcriticismis,initshighestdevelopment,simplyamood,andthatwearenevermoretruetoourselvesthanwhenweareinconsistent.Theaestheticcritic,constantonlytotheprincipleofbeautyinallthings,willeverbelookingforfreshimpressions,winningfromthevariousschoolsthesecretoftheircharm,bowing,itmaybe,beforeforeignaltars,orsmiling,ifitbehisfancy,atstrangenewgods.Whatotherpeoplecallone'spasthas,nodoubt,everythingtodowiththem,buthasabsolutelynothingtodowithoneself.Themanwhoregardshispastisamanwhodeservestohavenofuturetolookforwardto.Whenonehasfoundexpressionforamood,onehasdonewithit.Youlaugh;butbelievemeitisso.YesterdayitwasRealismthatcharmedone.OnegainedfromitthatNOUVEAUFRISSONwhichitwasitsaimtoproduce.Oneanalysedit,explainedit,andweariedofit.AtsunsetcametheLUMINISTEinpainting,andtheSYMBOLISTEinpoetry,andthespiritofmediaevalism,thatspiritwhichbelongsnottotimebuttotemperament,wokesuddenlyinwoundedRussia,andstirredusforamomentbytheterriblefascinationofpain.To-daythecryisforRomance,andalreadytheleavesaretremulousinthevalley,andonthepurplehill-topswalksBeautywithslimgildedfeet.Theoldmodesofcreationlinger,ofcourse.Theartistsreproduceeitherthemselvesoreachother,withwearisomeiteration.ButCriticismisalwaysmovingon,andthecriticisalwaysdeveloping.Nor,again,isthecriticreallylimitedtothesubjectiveformofexpression.Themethodofthedramaishis,aswellasthemethodoftheepos.Hemayusedialogue,ashedidwhosetMiltontalkingtoMarvelonthenatureofcomedyandtragedy,andmadeSidneyand LordBrookediscourseonlettersbeneaththePenshurstoaks;oradoptnarration,asMr.Paterisfondofdoing,eachofwhoseImaginaryPortraits-isnotthatthetitleofthebook?-presentstous,underthefancifulguiseoffiction,somefineandexquisitepieceofcriticism,oneonthepainterWatteau,anotheronthephilosophyofSpinoza,athirdonthePaganelementsoftheearlyRenaissance,andthelast,andinsomerespectsthemostsuggestive,onthesourceofthatAufklarung,thatenlighteningwhichdawnedonGermanyinthelastcentury,andtowhichourowncultureowessogreatadebt.Dialogue,certainly,thatwonderfulliteraryformwhich,fromPlatotoLucian,andfromLuciantoGiordanoBruno,andfromBrunotothatgrandoldPaganinwhomCarlyletooksuchdelight,thecreativecriticsoftheworldhavealwaysemployed,canneverloseforthethinkeritsattractionasamodeofexpression.Byitsmeanshecanbothrevealandconcealhimself,andgiveformtoeveryfancy,andrealitytoeverymood.Byitsmeanshecanexhibittheobjectfromeachpointofview,andshowittousintheround,asasculptorshowsusthings,gaininginthismanneralltherichnessandrealityofeffectthatcomesfromthosesideissuesthataresuddenlysuggestedbythecentralideainitsprogress,andreallyilluminetheideamorecompletely,orfromthosefelicitousafter-thoughtsthatgiveafullercompletenesstothecentralscheme,andyetconveysomethingofthedelicatecharmofchance.ERNEST.Byitsmeans,too,hecaninventanimaginaryantagonist,andconverthimwhenhechoosesbysomeabsurdlysophisticalargument.GILBERT.Ah!itissoeasytoconvertothers.Itissodifficulttoconvertoneself.Toarriveatwhatonereallybelieves,onemustspeakthroughlipsdifferentfromone'sown.Toknowthetruthonemustimaginemyriadsoffalsehoods.ForwhatisTruth? Inmattersofreligion,itissimplytheopinionthathassurvived.Inmattersofscience,itistheultimatesensation.Inmattersofart,itisone'slastmood.Andyouseenow,Ernest,thatthecritichasathisdisposalasmanyobjectiveformsofexpressionastheartisthas.Ruskinputhiscriticismintoimaginativeprose,andissuperbinhischangesandcontradictions;andBrowningputhisintoblankverseandmadepainterandpoetyieldustheirsecret;andM.Renanusesdialogue,andMr.Paterfiction,andRossettitranslatedintosonnet-musicthecolourofGiorgioneandthedesignofIngres,andhisowndesignandcolouralso,feeling,withtheinstinctofonewhohadmanymodesofutterance;thattheultimateartisliterature,andthefinestandfullestmediumthatofwords.ERNEST.Well,nowthatyouhavesettledthatthecritichasathisdisposalallobjectiveforms,Iwishyouwouldtellmewhatarethequalitiesthatshouldcharacterisethetruecritic.GILBERT.Whatwouldyousaytheywere?ERNEST.Well,Ishouldsaythatacriticshouldaboveallthingsbefair.GILBERT.Ah!notfair.Acriticcannotbefairintheordinarysenseoftheword.Itisonlyaboutthingsthatdonotinterestonethatonecangiveareallyunbiassedopinion,whichisnodoubtthereasonwhyanunbiassedopinionisalwaysabsolutelyvalueless.Themanwhoseesbothsidesofaquestion,isamanwhoseesabsolutelynothingatall.Artisapassion,and,inmattersofart,Thoughtisinevitablycolouredbyemotion,andsoisfluidratherthanfixed,and,dependinguponfinemoodsandexquisitemoments,cannotbenarrowedintotherigidityofascientificformulaoratheologicaldogma.ItistothesoulthatArtspeaks,andthesoulmaybemadetheprisonerofthemindaswellasofthe body.Oneshould,ofcourse,havenoprejudices;but,asagreatFrenchmanremarkedahundredyearsago,itisone'sbusinessinsuchmatterstohavepreferences,andwhenonehaspreferencesoneceasestobefair.ItisonlyanauctioneerwhocanequallyandimpartiallyadmireallschoolsofArt.No;fairnessisnotoneofthequalitiesofthetruecritic.Itisnotevenaconditionofcriticism.EachformofArtwithwhichwecomeincontactdominatesusforthemomenttotheexclusionofeveryotherform.Wemustsurrenderourselvesabsolutelytotheworkinquestion,whateveritmaybe,ifwewishtogainitssecret.Forthetime,wemustthinkofnothingelse,canthinkofnothingelse,indeed.ERNEST.Thetruecriticwillberational,atanyrate,willhenot?GILBERT.Rational?Therearetwowaysofdislikingart,Ernest.Oneistodislikeit.Theother,tolikeitrationally.ForArt,asPlatosaw,andnotwithoutregret,createsinlistenerandspectatoraformofdivinemadness.Itdoesnotspringfrominspiration,butitmakesothersinspired.Reasonisnotthefacultytowhichitappeals.IfonelovesArtatall,onemustloveitbeyondallotherthingsintheworld,andagainstsuchlove,thereason,ifonelistenedtoit,wouldcryout.Thereisnothingsaneabouttheworshipofbeauty.Itistoosplendidtobesane.Thoseofwhoselivesitformsthedominantnotewillalwaysseemtotheworldtobepurevisionaries.ERNEST.Well,atleast,thecriticwillbesincere.GILBERT.Alittlesincerityisadangerousthing,andagreatdealofitisabsolutelyfatal.Thetruecriticwill,indeed,alwaysbesincereinhisdevotiontotheprincipleofbeauty,buthewillseekforbeautyineveryageandineachschool,andwillnever sufferhimselftobelimitedtoanysettledcustomofthoughtorstereotypedmodeoflookingatthings.Hewillrealisehimselfinmanyforms,andbyathousanddifferentways,andwilleverbecuriousofnewsensationsandfreshpointsofview.Throughconstantchange,andthroughconstantchangealone,hewillfindhistrueunity.Hewillnotconsenttobetheslaveofhisownopinions.Forwhatismindbutmotionintheintellectualsphere?Theessenceofthought,astheessenceoflife,isgrowth.Youmustnotbefrightenedbyword,Ernest.Whatpeoplecallinsincerityissimplyamethodbywhichwecanmultiplyourpersonalities.ERNEST.IamafraidIhavenotbeenfortunateinmysuggestions.GILBERT.Ofthethreequalificationsyoumentioned,two,sincerityandfairness,were,ifnotactuallymoral,atleastontheborderlandofmorals,andthefirstconditionofcriticismisthatthecriticshouldbeabletorecognisethatthesphereofArtandthesphereofEthicsareabsolutelydistinctandseparate.Whentheyareconfused,Chaoshascomeagain.TheyaretoooftenconfusedinEnglandnow,andthoughourmodernPuritanscannotdestroyabeautifulthing,yet,bymeansoftheirextraordinaryprurience,theycanalmosttaintbeautyforamoment.Itischiefly,Iregrettosay,throughjournalismthatsuchpeoplefindexpression.Iregretitbecausethereismuchtobesaidinfavourofmodernjournalism.Bygivingustheopinionsoftheuneducated,itkeepsusintouchwiththeignoranceofthecommunity.Bycarefullychroniclingthecurrenteventsofcontemporarylife,itshowsusofwhatverylittleimportancesucheventsreallyare.Byinvariablydiscussingtheunnecessaryitmakesusunderstandwhatthingsarerequisiteforculture,andwhatarenot.ButitshouldnotallowpoorTartuffetowritearticlesuponmodernart.Whenitdoesthisitstultifiesitself.AndyetTartuffe'sarticlesand Chadband'snotesdothisgood,atleast.Theyservetoshowhowextremelylimitedistheareaoverwhichethics,andethicalconsiderations,canclaimtoexerciseinfluence.Scienceisoutofthereachofmorals,forhereyesarefixeduponeternaltruths.Artisoutofthereachofmorals,forhereyesarefixeduponthingsbeautifulandimmortalandever-changing.Tomoralsbelongthelowerandlessintellectualspheres.However,letthesemouthingPuritanspass;theyhavetheircomicside.Whocanhelplaughingwhenanordinaryjournalistseriouslyproposestolimitthesubject-matteratthedisposaloftheartist?Somelimitationmightwell,andwillsoon,Ihope,beplaceduponsomeofournewspapersandnewspaperwriters.Fortheygiveusthebald,sordid,disgustingfactsoflife.Theychronicle,withdegradingavidity,thesinsofthesecond-rate,andwiththeconscientiousnessoftheilliterategiveusaccurateandprosaicdetailsofthedoingsofpeopleofabsolutelynointerestwhatsoever.Buttheartist,whoacceptsthefactsoflife,andyettransformsthemintoshapesofbeauty,andmakesthemvehiclesofpityorofawe,andshowstheircolour-element,andtheirwonder,andtheirtrueethicalimportalso,andbuildsoutofthemaworldmorerealthanrealityitself,andofloftierandmorenobleimport-whoshallsetlimitstohim?NottheapostlesofthatnewJournalismwhichisbuttheoldvulgarity'writlarge.'NottheapostlesofthatnewPuritanism,whichisbutthewhineofthehypocrite,andisbothwritandspokenbadly.Themeresuggestionisridiculous.Letusleavethesewickedpeople,andproceedtothediscussionoftheartisticqualificationsnecessaryforthetruecritic.ERNEST.Andwhatarethey?Tellmeyourself.GILBERT.Temperamentistheprimaryrequisiteforthecritic-atemperamentexquisitelysusceptibletobeauty,andtothevarious impressionsthatbeautygivesus.Underwhatconditions,andbywhatmeans,thistemperamentisengenderedinraceorindividual,wewillnotdiscussatpresent.Itissufficienttonotethatitexists,andthatthereisinusabeauty-sense,separatefromtheothersensesandabovethem,separatefromthereasonandofnoblerimport,separatefromthesoulandofequalvalue-asensethatleadssometocreate,andothers,thefinerspiritsasIthink,tocontemplatemerely.Buttobepurifiedandmadeperfect,thissenserequiressomeformofexquisiteenvironment.Withoutthisitstarves,orisdulled.YourememberthatlovelypassageinwhichPlatodescribeshowayoungGreekshouldbeeducated,andwithwhatinsistencehedwellsupontheimportanceofsurroundings,tellingushowtheladistobebroughtupinthemidstoffairsightsandsounds,sothatthebeautyofmaterialthingsmaypreparehissoulforthereceptionofthebeautythatisspiritual.Insensibly,andwithoutknowingthereasonwhy,heistodevelopthatrealloveofbeautywhich,asPlatoisneverwearyofremindingus,isthetrueaimofeducation.Byslowdegreesthereistobeengenderedinhimsuchatemperamentaswillleadhimnaturallyandsimplytochoosethegoodinpreferencetothebad,and,rejectingwhatisvulgaranddiscordant,tofollowbyfineinstinctivetasteallthatpossessesgraceandcharmandloveliness.Ultimately,initsduecourse,thistasteistobecomecriticalandself-conscious,butatfirstitistoexistpurelyasacultivatedinstinct,and'hewhohasreceivedthistruecultureoftheinnermanwillwithclearandcertainvisionperceivetheomissionsandfaultsinartornature,andwithatastethatcannoterr,whilehepraises,andfindshispleasureinwhatisgood,andreceivesitintohissoul,andsobecomesgoodandnoble,hewillrightlyblameandhatethebad,nowinthedaysofhisyouth,evenbeforeheisabletoknowthereasonwhy':andso,when,lateron,thecriticalandself-consciousspiritdevelopsinhim,he'willrecogniseandsaluteitasafriendwithwhomhiseducationhasmadehimlongfamiliar.'Ineed hardlysay,Ernest,howfarweinEnglandhavefallenshortofthisideal,andIcanimaginethesmilethatwouldilluminatetheglossyfaceofthePhilistineifoneventuredtosuggesttohimthatthetrueaimofeducationwastheloveofbeauty,andthatthemethodsbywhicheducationshouldworkwerethedevelopmentoftemperament,thecultivationoftaste,andthecreationofthecriticalspirit.Yet,evenforus,thereisleftsomelovelinessofenvironment,andthedulnessoftutorsandprofessorsmattersverylittlewhenonecanloiterinthegreycloistersatMagdalen,andlistentosomeflute-likevoicesinginginWaynfleete'schapel,orlieinthegreenmeadow,amongthestrangesnake-spottedfritillaries,andwatchthesunburntnoonsmitetoafinergoldthetower'sgildedvanes,orwanderuptheChristChurchstaircasebeneaththevaultedceiling'sshadowyfans,orpassthroughthesculpturedgatewayofLaud'sbuildingintheCollegeofSt.John.NorisitmerelyatOxford,orCambridge,thatthesenseofbeautycanbeformedandtrainedandperfected.AlloverEnglandthereisaRenaissanceofthedecorativeArts.Uglinesshashaditsday.Eveninthehousesoftherichthereistaste,andthehousesofthosewhoarenotrichhavebeenmadegraciousandcomelyandsweettolivein.Caliban,poornoisyCaliban,thinksthatwhenhehasceasedtomakemowsatathing,thethingceasestoexist.Butifhemocksnolonger,itisbecausehehasbeenmetwithmockery,swifterandkeenerthanhisown,andforamomenthasbeenbitterlyschooledintothatsilencewhichshouldsealforeverhisuncouthdistortedlips.Whathasbeendoneuptonow,hasbeenchieflyintheclearingoftheway.Itisalwaysmoredifficulttodestroythanitistocreate,andwhenwhatonehastodestroyisvulgarityandstupidity,thetaskofdestructionneedsnotmerelycouragebutalsocontempt.Yetitseemstometohavebeen,inameasure,done.Wehavegotridofwhatwasbad.Wehavenowtomakewhatisbeautiful.Andthoughthemissionoftheaestheticmovementis tolurepeopletocontemplate,nottoleadthemtocreate,yet,asthecreativeinstinctisstrongintheCelt,anditistheCeltwholeadsinart,thereisnoreasonwhyinfutureyearsthisstrangeRenaissanceshouldnotbecomealmostasmightyinitswayaswasthatnewbirthofArtthatwokemanycenturiesagointhecitiesofItaly.Certainly,forthecultivationoftemperament,wemustturntothedecorativearts:totheartsthattouchus,nottotheartsthatteachus.Modernpicturesare,nodoubt,delightfultolookat.Atleast,someofthemare.Buttheyarequiteimpossibletolivewith;theyaretooclever,tooassertive,toointellectual.Theirmeaningistooobvious,andtheirmethodtooclearlydefined.Oneexhaustswhattheyhavetosayinaveryshorttime,andthentheybecomeastediousasone'srelations.IamveryfondoftheworkofmanyoftheImpressionistpaintersofParisandLondon.Subtletyanddistinctionhavenotyetlefttheschool.SomeoftheirarrangementsandharmoniesservetoremindoneoftheunapproachablebeautyofGautier'simmortalSYMPHONIEENBLANCMAJEUR,thatflawlessmasterpieceofcolourandmusicwhichmayhavesuggestedthetypeaswellasthetitlesofmanyoftheirbestpictures.Foraclassthatwelcomestheincompetentwithsympatheticeagerness,andthatconfusesthebizarrewiththebeautiful,andvulgaritywithtruth,theyareextremelyaccomplished.Theycandoetchingsthathavethebrilliancyofepigrams,pastelsthatareasfascinatingasparadoxes,andasfortheirportraits,whateverthecommonplacemaysayagainstthem,noonecandenythattheypossessthatuniqueandwonderfulcharmwhichbelongstoworksofpurefiction.ButeventheImpressionists,earnestandindustriousastheyare,willnotdo.Ilikethem.Theirwhitekeynote,withitsvariationsinlilac,wasaneraincolour.Thoughthemomentdoesnotmaketheman,themomentcertainlymakestheImpressionist,andforthemomentin art,andthe'moment'smonument,'asRossettiphrasedit,whatmaynotbesaid?Theyaresuggestivealso.Iftheyhavenotopenedtheeyesoftheblind,theyhaveatleastgivengreatencouragementtotheshort-sighted,andwhiletheirleadersmayhavealltheinexperienceofoldage,theiryoungmenarefartoowisetobeeversensible.Yettheywillinsistontreatingpaintingasifitwereamodeofautobiographyinventedfortheuseoftheilliterate,andarealwayspratingtousontheircoarsegrittycanvasesoftheirunnecessaryselvesandtheirunnecessaryopinions,andspoilingbyavulgarover-emphasisthatfinecontemptofnaturewhichisthebestandonlymodestthingaboutthem.Onetires,attheend,oftheworkofindividualswhoseindividualityisalwaysnoisy,andgenerallyuninteresting.ThereisfarmoretobesaidinfavourofthatnewerschoolatParis,theARCHAICISTES,astheycallthemselves,who,refusingtoleavetheartistentirelyatthemercyoftheweather,donotfindtheidealofartinmereatmosphericeffect,butseekratherfortheimaginativebeautyofdesignandthelovelinessoffaircolour,andrejectingthetediousrealismofthosewhomerelypaintwhattheysee,trytoseesomethingworthseeing,andtoseeitnotmerelywithactualandphysicalvision,butwiththatnoblervisionofthesoulwhichisasfarwiderinspiritualscopeasitisfarmoresplendidinartisticpurpose.They,atanyrate,workunderthosedecorativeconditionsthateachartrequiresforitsperfection,andhavesufficientaestheticinstincttoregretthosesordidandstupidlimitationsofabsolutemodernityofformwhichhaveprovedtheruinofsomanyoftheImpressionists.Still,theartthatisfranklydecorativeisthearttolivewith.Itis,ofallourvisiblearts,theoneartthatcreatesinusbothmoodandtemperament.Merecolour,unspoiledbymeaning,andunalliedwithdefiniteform,canspeaktothesoulinathousanddifferentways.Theharmonythatresidesinthedelicateproportionsoflinesandmassesbecomesmirroredinthemind.Therepetitionsofpattern giveusrest.Themarvelsofdesignstirtheimagination.Inthemerelovelinessofthematerialsemployedtherearelatentelementsofculture.Noristhisall.ByitsdeliberaterejectionofNatureastheidealofbeauty,aswellasoftheimitativemethodoftheordinarypainter,decorativeartnotmerelypreparesthesoulforthereceptionoftrueimaginativework,butdevelopsinitthatsenseofformwhichisthebasisofcreativenolessthanofcriticalachievement.Fortherealartistishewhoproceeds,notfromfeelingtoform,butfromformtothoughtandpassion.Hedoesnotfirstconceiveanidea,andthensaytohimself,'Iwillputmyideaintoacomplexmetreoffourteenlines,'but,realisingthebeautyofthesonnet-scheme,heconceivescertainmodesofmusicandmethodsofrhyme,andthemereformsuggestswhatistofillitandmakeitintellectuallyandemotionallycomplete.Fromtimetotimetheworldcriesoutagainstsomecharmingartisticpoet,because,touseitshackneyedandsillyphrase,hehas'nothingtosay.'Butifhehadsomethingtosay,hewouldprobablysayit,andtheresultwouldbetedious.Itisjustbecausehehasnonewmessage,thathecandobeautifulwork.Hegainshisinspirationfromform,andfromformpurely,asanartistshould.Arealpassionwouldruinhim.Whateveractuallyoccursisspoiledforart.Allbadpoetryspringsfromgenuinefeeling.Tobenaturalistobeobvious,andtobeobviousistobeinartistic.ERNEST.Iwonderdoyoureallybelievewhatyousay?GILBERT.Whyshouldyouwonder?Itisnotmerelyinartthatthebodyisthesoul.IneverysphereoflifeFormisthebeginningofthings.Therhythmicharmoniousgesturesofdancingconvey,Platotellsus,bothrhythmandharmonyintothemind.Formsarethefoodoffaith,criedNewmaninoneofthosegreatmomentsofsinceritythatmakeusadmireandknowtheman.Hewasright, thoughhemaynothaveknownhowterriblyrighthewas.TheCreedsarebelieved,notbecausetheyarerational,butbecausetheyarerepeated.Yes:Formiseverything.Itisthesecretoflife.Findexpressionforasorrow,anditwillbecomedeartoyou.Findexpressionforajoy,andyouintensifyitsecstasy.Doyouwishtolove?UseLove'sLitany,andthewordswillcreatetheyearningfromwhichtheworldfanciesthattheyspring.Haveyouagriefthatcorrodesyourheart?SteepyourselfintheLanguageofgrief,learnitsutterancefromPrinceHamletandQueenConstance,andyouwillfindthatmereexpressionisamodeofconsolation,andthatForm,whichisthebirthofpassion,isalsothedeathofpain.Andso,toreturntothesphereofArt,itisFormthatcreatesnotmerelythecriticaltemperament,butalsotheaestheticinstinct,thatunerringinstinctthatrevealstooneallthingsundertheirconditionsofbeauty.Startwiththeworshipofform,andthereisnosecretinartthatwillnotberevealedtoyou,andrememberthatincriticism,asincreation,temperamentiseverything,andthatitis,notbythetimeoftheirproduction,butbythetemperamentstowhichtheyappeal,thattheschoolsofartshouldbehistoricallygrouped.ERNEST.Yourtheoryofeducationisdelightful.Butwhatinfluencewillyourcritic,broughtupintheseexquisitesurroundings,possess?Doyoureallythinkthatanyartistiseveraffectedbycriticism?GILBERT.Theinfluenceofthecriticwillbethemerefactofhisownexistence.Hewillrepresenttheflawlesstype.Inhimthecultureofthecenturywillseeitselfrealised.Youmustnotaskofhimtohaveanyaimotherthantheperfectingofhimself.Thedemandoftheintellect,ashasbeenwellsaid,issimplytofeelitselfalive.Thecriticmay,indeed,desiretoexerciseinfluence;but,ifso,hewillconcernhimselfnotwiththe individual,butwiththeage,whichhewillseektowakeintoconsciousness,andtomakeresponsive,creatinginitnewdesiresandappetites,andlendingithislargervisionandhisnoblermoods.Theactualartofto-daywilloccupyhimlessthantheartofto-morrow,farlessthantheartofyesterday,andasforthisorthatpersonatpresenttoilingaway,whatdotheindustriousmatter?Theydotheirbest,nodoubt,andconsequentlywegettheworstfromthem.Itisalwayswiththebestintentionsthattheworstworkisdone.Andbesides,mydearErnest,whenamanreachestheageofforty,orbecomesaRoyalAcademician,oriselectedamemberoftheAthenaeumClub,orisrecognisedasapopularnovelist,whosebooksareingreatdemandatsuburbanrailwaystations,onemayhavetheamusementofexposinghim,butonecannothavethepleasureofreforminghim.Andthisis,Idaresay,veryfortunateforhim;forIhavenodoubtthatreformationisamuchmorepainfulprocessthanpunishment,isindeedpunishmentinitsmostaggravatedandmoralform-afactwhichaccountsforourentirefailureasacommunitytoreclaimthatinterestingphenomenonwhoiscalledtheconfirmedcriminal.ERNEST.Butmayitnotbethatthepoetisthebestjudgeofpoetry,andthepainterofpainting?Eachartmustappealprimarilytotheartistwhoworksinit.Hisjudgmentwillsurelybethemostvaluable?GILBERT.Theappealofallartissimplytotheartistictemperament.Artdoesnotaddressherselftothespecialist.Herclaimisthatsheisuniversal,andthatinallhermanifestationssheisone.Indeed,sofarfromitsbeingtruethattheartististhebestjudgeofart,areallygreatartistcanneverjudgeofotherpeople'sworkatall,andcanhardly,infact,judgeofhisown.Thatveryconcentrationofvisionthatmakesamananartist,limitsbyitssheerintensityhisfacultyoffineappreciation. Theenergyofcreationhurrieshimblindlyontohisowngoal.Thewheelsofhischariotraisethedustasacloudaroundhim.Thegodsarehiddenfromeachother.Theycanrecognisetheirworshippers.Thatisall.ERNEST.Yousaythatagreatartistcannotrecognisethebeautyofworkdifferentfromhisown.GILBERT.Itisimpossibleforhimtodoso.WordsworthsawinENDYMIONmerelyaprettypieceofPaganism,andShelley,withhisdislikeofactuality,wasdeaftoWordsworth'smessage,beingrepelledbyitsform,andByron,thatgreatpassionatehumanincompletecreature,couldappreciateneitherthepoetofthecloudnorthepoetofthelake,andthewonderofKeatswashiddenfromhim.TherealismofEuripideswashatefultoSophokles.Thosedroppingsofwarmtearshadnomusicforhim.Milton,withhissenseofthegrandstyle,couldnotunderstandthemethodofShakespeare,anymorethancouldSirJoshuathemethodofGainsborough.Badartistsalwaysadmireeachother'swork.Theycallitbeinglarge-mindedandfreefromprejudice.Butatrulygreatartistcannotconceiveoflifebeingshown,orbeautyfashioned,underanyconditionsotherthanthosethathehasselected.Creationemploysallitscriticalfacultywithinitsownsphere.Itmaynotuseitinthespherethatbelongstoothers.Itisexactlybecauseamancannotdoathingthatheistheproperjudgeofit.ERNEST.Doyoureallymeanthat?GILBERT.Yes,forcreationlimits,whilecontemplationwidens,thevision.ERNEST.Butwhatabouttechnique?Surelyeacharthasits separatetechnique?GILBERT.Certainly:eacharthasitsgrammaranditsmaterials.Thereisnomysteryabouteither,andtheincompetentcanalwaysbecorrect.But,whilethelawsuponwhichArtrestsmaybefixedandcertain,tofindtheirtruerealisationtheymustbetouchedbytheimaginationintosuchbeautythattheywillseemanexception,eachoneofthem.Techniqueisreallypersonality.Thatisthereasonwhytheartistcannotteachit,whythepupilcannotlearnit,andwhytheaestheticcriticcanunderstandit.Tothegreatpoet,thereisonlyonemethodofmusic-hisown.Tothegreatpainter,thereisonlyonemannerofpainting-thatwhichhehimselfemploys.Theaestheticcritic,andtheaestheticcriticalone,canappreciateallformsandmodes.ItistohimthatArtmakesherappeal.ERNEST.Well,IthinkIhaveputallmyquestionstoyou.AndnowImustadmit-GILBERT.Ah!don'tsaythatyouagreewithme.WhenpeopleagreewithmeIalwaysfeelthatImustbewrong.ERNEST.InthatcaseIcertainlywon'ttellyouwhetherIagreewithyouornot.ButIwillputanotherquestion.Youhaveexplainedtomethatcriticismisacreativeart.Whatfuturehasit?GILBERT.Itistocriticismthatthefuturebelongs.Thesubject-matteratthedisposalofcreationbecomeseverydaymorelimitedinextentandvariety.ProvidenceandMr.WalterBesanthaveexhaustedtheobvious.Ifcreationistolastatall,itcanonlydosoontheconditionofbecomingfarmorecriticalthanitisatpresent.Theoldroadsanddustyhighwayshavebeentraversedtoooften.Theircharmhasbeenwornawaybyploddingfeet,andthey havelostthatelementofnoveltyorsurprisewhichissoessentialforromance.Hewhowouldstirusnowbyfictionmusteithergiveusanentirelynewbackground,orrevealtousthesoulofmaninitsinnermostworkings.ThefirstisforthemomentbeingdoneforusbyMr.RudyardKipling.AsoneturnsoverthepagesofhisPLAINTALESFROMTHEHILLS,onefeelsasifonewereseatedunderapalm-treereadinglifebysuperbflashesofvulgarity.Thebrightcoloursofthebazaarsdazzleone'seyes.Thejaded,second-rateAnglo-Indiansareinexquisiteincongruitywiththeirsurroundings.Themerelackofstyleinthestory-tellergivesanoddjournalisticrealismtowhathetellsus.FromthepointofviewofliteratureMr.Kiplingisageniuswhodropshisaspirates.Fromthepointofviewoflife,heisareporterwhoknowsvulgaritybetterthananyonehaseverknownit.Dickensknewitsclothesanditscomedy.Mr.Kiplingknowsitsessenceanditsseriousness.Heisourfirstauthorityonthesecond-rate,andhasseenmarvellousthingsthroughkeyholes,andhisbackgroundsarerealworksofart.Asforthesecondcondition,wehavehadBrowning,andMeredithiswithus.Butthereisstillmuchtobedoneinthesphereofintrospection.Peoplesometimessaythatfictionisgettingtoomorbid.Asfaraspsychologyisconcerned,ithasneverbeenmorbidenough.Wehavemerelytouchedthesurfaceofthesoul,thatisall.Inonesingleivorycellofthebraintherearestoredawaythingsmoremarvellousandmoreterriblethaneventheyhavedreamedof,who,liketheauthorofLEROUGEETLENOIR,havesoughttotrackthesoulintoitsmostsecretplaces,andtomakelifeconfessitsdearestsins.Still,thereisalimiteventothenumberofuntriedbackgrounds,anditispossiblethatafurtherdevelopmentofthehabitofintrospectionmayprovefataltothatcreativefacultytowhichitseekstosupplyfreshmaterial.Imyselfaminclinedtothinkthatcreationisdoomed.Itspringsfromtooprimitive,toonaturalanimpulse.Howeverthismaybe,itiscertainthatthesubject- matteratthedisposalofcreationisalwaysdiminishing,whilethesubject-matterofcriticismincreasesdaily.Therearealwaysnewattitudesforthemind,andnewpointsofview.Thedutyofimposingformuponchaosdoesnotgrowlessastheworldadvances.TherewasneveratimewhenCriticismwasmoreneededthanitisnow.ItisonlybyitsmeansthatHumanitycanbecomeconsciousofthepointatwhichithasarrived.Hoursago,Ernest,youaskedmetheuseofCriticism.Youmightjustaswellhaveaskedmetheuseofthought.ItisCriticism,asArnoldpointsout,thatcreatestheintellectualatmosphereoftheage.ItisCriticism,asIhopetopointoutmyselfsomeday,thatmakesthemindafineinstrument.We,inoureducationalsystem,haveburdenedthememorywithaloadofunconnectedfacts,andlaboriouslystriventoimpartourlaboriously-acquiredknowledge.Weteachpeoplehowtoremember,weneverteachthemhowtogrow.Ithasneveroccurredtoustotryanddevelopinthemindamoresubtlequalityofapprehensionanddiscernment.TheGreeksdidthis,andwhenwecomeincontactwiththeGreekcriticalintellect,wecannotbutbeconsciousthat,whileoursubject-matterisineveryrespectlargerandmorevariedthantheirs,theirsistheonlymethodbywhichthissubject-mattercanbeinterpreted.Englandhasdoneonething;ithasinventedandestablishedPublicOpinion,whichisanattempttoorganisetheignoranceofthecommunity,andtoelevateittothedignityofphysicalforce.ButWisdomhasalwaysbeenhiddenfromit.Consideredasaninstrumentofthought,theEnglishmindiscoarseandundeveloped.Theonlythingthatcanpurifyitisthegrowthofthecriticalinstinct.ItisCriticism,again,that,byconcentration,makesculturepossible.Ittakesthecumbersomemassofcreativework,and distilsitintoafineressence.Whothatdesirestoretainanysenseofformcouldstrugglethroughthemonstrousmultitudinousbooksthattheworldhasproduced,booksinwhichthoughtstammersorignorancebrawls?ThethreadthatistoguideusacrossthewearisomelabyrinthisinthehandsofCriticism.Naymore,wherethereisnorecord,andhistoryiseitherlost,orwasneverwritten,Criticismcanre-createthepastforusfromtheverysmallestfragmentoflanguageorart,justassurelyasthemanofsciencecanfromsometinybone,orthemereimpressofafootuponarock,re-createforusthewingeddragonorTitanlizardthatoncemadetheearthshakebeneathitstread,cancallBehemothoutofhiscave,andmakeLeviathanswimoncemoreacrossthestartledsea.Prehistorichistorybelongstothephilologicalandarchaeologicalcritic.Itistohimthattheoriginsofthingsarerevealed.Theself-consciousdepositsofanagearenearlyalwaysmisleading.Throughphilologicalcriticismaloneweknowmoreofthecenturiesofwhichnoactualrecordhasbeenpreserved,thanwedoofthecenturiesthathaveleftustheirscrolls.Itcandoforuswhatcanbedoneneitherbyphysicsnormetaphysics.Itcangiveustheexactscienceofmindintheprocessofbecoming.ItcandoforuswhatHistorycannotdo.Itcantelluswhatmanthoughtbeforehelearnedhowtowrite.YouhaveaskedmeabouttheinfluenceofCriticism.IthinkIhaveansweredthatquestionalready;butthereisthisalsotobesaid.ItisCriticismthatmakesuscosmopolitan.TheManchesterschooltriedtomakemenrealisethebrotherhoodofhumanity,bypointingoutthecommercialadvantagesofpeace.Itsoughttodegradethewonderfulworldintoacommonmarket-placeforthebuyerandtheseller.Itaddresseditselftothelowestinstincts,anditfailed.Warfolloweduponwar,andthetradesman'screeddidnotpreventFranceandGermanyfromclashingtogetherinblood-stainedbattle.Thereareothersofourowndaywhoseektoappealtomereemotionalsympathies,ortotheshallowdogmasofsomevaguesystemofabstractethics. TheyhavetheirPeaceSocieties,sodeartothesentimentalists,andtheirproposalsforunarmedInternationalArbitration,sopopularamongthosewhohaveneverreadhistory.Butmereemotionalsympathywillnotdo.Itistoovariable,andtoocloselyconnectedwiththepassions;andaboardofarbitratorswho,forthegeneralwelfareoftherace,aretobedeprivedofthepowerofputtingtheirdecisionsintoexecution,willnotbeofmuchavail.ThereisonlyonethingworsethanInjustice,andthatisJusticewithoutherswordinherhand.WhenRightisnotMight,itisEvil.No:theemotionswillnotmakeuscosmopolitan,anymorethanthegreedforgaincoulddoso.Itisonlybythecultivationofthehabitofintellectualcriticismthatweshallbeabletorisesuperiortorace-prejudices.Goethe-youwillnotmisunderstandwhatIsay-wasaGermanoftheGermans.Helovedhiscountry-nomanmoreso.Itspeopleweredeartohim;andheledthem.Yet,whentheironhoofofNapoleontrampleduponvineyardandcornfield,hislipsweresilent.'Howcanonewritesongsofhatredwithouthating?'hesaidtoEckermann,'andhowcouldI,towhomcultureandbarbarismarealoneofimportance,hateanationwhichisamongthemostcultivatedoftheearthandtowhichIowesogreatapartofmyowncultivation?'Thisnote,soundedinthemodernworldbyGoethefirst,willbecome,Ithink,thestartingpointforthecosmopolitanismofthefuture.Criticismwillannihilaterace-prejudices,byinsistingupontheunityofthehumanmindinthevarietyofitsforms.Ifwearetemptedtomakewaruponanothernation,weshallrememberthatweareseekingtodestroyanelementofourownculture,andpossiblyitsmostimportantelement.Aslongaswarisregardedaswicked,itwillalwayshaveitsfascination.Whenitislookeduponasvulgar,itwillceasetobepopular.Thechangewillofcoursebeslow,andpeoplewillnotbeconsciousofit.Theywillnotsay'Wewillnot waragainstFrancebecauseherproseisperfect,'butbecausetheproseofFranceisperfect,theywillnothatetheland.IntellectualcriticismwillbindEuropetogetherinbondsfarcloserthanthosethatcanbeforgedbyshopmanorsentimentalist.Itwillgiveusthepeacethatspringsfromunderstanding.Noristhisall.ItisCriticismthat,recognisingnopositionasfinal,andrefusingtobinditselfbytheshallowshibbolethsofanysectorschool,createsthatserenephilosophictemperwhichlovestruthforitsownsake,andlovesitnotthelessbecauseitknowsittobeunattainable.HowlittlewehaveofthistemperinEngland,andhowmuchweneedit!TheEnglishmindisalwaysinarage.Theintellectoftheraceiswastedinthesordidandstupidquarrelsofsecond-ratepoliticiansorthird-ratetheologians.Itwasreservedforamanofsciencetoshowusthesupremeexampleofthat'sweetreasonableness'ofwhichArnoldspokesowisely,and,alas!tosolittleeffect.TheauthoroftheORIGINOFSPECIEShad,atanyrate,thephilosophictemper.IfonecontemplatestheordinarypulpitsandplatformsofEngland,onecanbutfeelthecontemptofJulian,ortheindifferenceofMontaigne.Wearedominatedbythefanatic,whoseworstviceishissincerity.Anythingapproachingtothefreeplayofthemindispracticallyunknownamongstus.Peoplecryoutagainstthesinner,yetitisnotthesinful,butthestupid,whoareourshame.Thereisnosinexceptstupidity.ERNEST.Ah!whatanantinomianyouare!GILBERT.Theartisticcritic,likethemystic,isanantinomianalways.Tobegood,accordingtothevulgarstandardofgoodness,isobviouslyquiteeasy.Itmerelyrequiresacertainamountofsordidterror,acertainlackofimaginativethought,andacertainlowpassionformiddle-classrespectability.Aestheticsarehigher thanethics.Theybelongtoamorespiritualsphere.Todiscernthebeautyofathingisthefinestpointtowhichwecanarrive.Evenacolour-senseismoreimportant,inthedevelopmentoftheindividual,thanasenseofrightandwrong.Aesthetics,infact,aretoEthicsinthesphereofconsciouscivilisation,what,inthesphereoftheexternalworld,sexualistonaturalselection.Ethics,likenaturalselection,makeexistencepossible.Aesthetics,likesexualselection,makelifelovelyandwonderful,fillitwithnewforms,andgiveitprogress,andvarietyandchange.Andwhenwereachthetrueculturethatisouraim,weattaintothatperfectionofwhichthesaintshavedreamed,theperfectionofthosetowhomsinisimpossible,notbecausetheymaketherenunciationsoftheascetic,butbecausetheycandoeverythingtheywishwithouthurttothesoul,andcanwishfornothingthatcandothesoulharm,thesoulbeinganentitysodivinethatitisabletotransformintoelementsofaricherexperience,orafinersusceptibility,oranewermodeofthought,actsorpassionsthatwiththecommonwouldbecommonplace,orwiththeuneducatedignoble,orwiththeshamefulvile.Isthisdangerous?Yes;itisdangerous-allideas,asItoldyou,areso.Butthenightwearies,andthelightflickersinthelamp.OnemorethingIcannothelpsayingtoyou.YouhavespokenagainstCriticismasbeingasterilething.Thenineteenthcenturyisaturningpointinhistory,simplyonaccountoftheworkoftwomen,DarwinandRenan,theonethecriticoftheBookofNature,theotherthecriticofthebooksofGod.Nottorecognisethisistomissthemeaningofoneofthemostimportanterasintheprogressoftheworld.Creationisalwaysbehindtheage.ItisCriticismthatleadsus.TheCriticalSpiritandtheWorld-Spiritareone.ERNEST.Andhewhoisinpossessionofthisspirit,orwhomthisspiritpossesses,will,Isuppose,donothing? GILBERT.LikethePersephoneofwhomLandortellsus,thesweetpensivePersephonearoundwhosewhitefeettheasphodelandamaranthareblooming,hewillsitcontented'inthatdeep,motionlessquietwhichmortalspity,andwhichthegodsenjoy.'Hewilllookoutupontheworldandknowitssecret.Bycontactwithdivinethingshewillbecomedivine.Hiswillbetheperfectlife,andhisonly.ERNEST.Youhavetoldmemanystrangethingsto-night,Gilbert.Youhavetoldmethatitismoredifficulttotalkaboutathingthantodoit,andthattodonothingatallisthemostdifficultthingintheworld;youhavetoldmethatallArtisimmoral,andallthoughtdangerous;thatcriticismismorecreativethancreation,andthatthehighestcriticismisthatwhichrevealsintheworkofArtwhattheartisthadnotputthere;thatitisexactlybecauseamancannotdoathingthatheistheproperjudgeofit;andthatthetruecriticisunfair,insincere,andnotrational.Myfriend,youareadreamer.GILBERT.Yes:Iamadreamer.Foradreamerisonewhocanonlyfindhiswaybymoonlight,andhispunishmentisthatheseesthedawnbeforetherestoftheworld.ERNEST.Hispunishment?GILBERT.Andhisreward.But,see,itisdawnalready.Drawbackthecurtainsandopenthewindowswide.Howcoolthemorningairis!Piccadillyliesatourfeetlikealongribandofsilver.AfaintpurplemisthangsoverthePark,andtheshadowsofthewhitehousesarepurple.Itistoolatetosleep.LetusgodowntoCoventGardenandlookattheroses.Come!Iamtiredofthought. THETRUTHOFMASKS-ANOTEONILLUSIONInmanyofthesomewhatviolentattacksthathaverecentlybeenmadeonthatsplendourofmountingwhichnowcharacterisesourShakespearianrevivalsinEngland,itseemstohavebeentacitlyassumedbythecriticsthatShakespearehimselfwasmoreorlessindifferenttothecostumesofhisactors,andthat,couldheseeMrs.Langtry'sproductionofANTONYANDCLEOPATRA,hewouldprobablysaythattheplay,andtheplayonly,isthething,andthateverythingelseisleatherandprunella.While,asregardsanyhistoricalaccuracyindress,LordLytton,inanarticleintheNINETEENTHCENTURY,haslaiditdownasadogmaofartthatarchaeologyisentirelyoutofplaceinthepresentationofanyofShakespeare'splays,andtheattempttointroduceitoneofthestupidestpedantriesofanageofprigs.LordLytton'spositionIshallexaminelateron;but,asregardsthetheorythatShakespearedidnotbusyhimselfmuchaboutthecostume-wardrobeofhistheatre,anybodywhocarestostudyShakespeare'smethodwillseethatthereisabsolutelynodramatistoftheFrench,English,orAthenianstagewhoreliessomuchforhisillusionisteffectsonthedressofhisactorsasShakespearedoeshimself.Knowinghowtheartistictemperamentisalwaysfascinatedbybeautyofcostume,heconstantlyintroducesintohisplaysmasquesanddances,purelyforthesakeofthepleasurewhichtheygivetheeye;andwehavestillhisstage-directionsforthethreegreatprocessionsinHENRYTHEEIGHTH,directionswhicharecharacterised bythemostextraordinaryelaboratenessofdetaildowntothecollarsofS.S.andthepearlsinAnneBoleyn'shair.IndeeditwouldbequiteeasyforamodernmanagertoreproducethesepageantsabsolutelyasShakespearehadthemdesigned;andsoaccurateweretheythatoneofthecourtofficialsofthetime,writinganaccountofthelastperformanceoftheplayattheGlobeTheatretoafriend,actuallycomplainsoftheirrealisticcharacter,notablyoftheproductiononthestageoftheKnightsoftheGarterintherobesandinsigniaoftheorderasbeingcalculatedtobringridiculeontherealceremonies;muchinthesamespiritinwhichtheFrenchGovernment,sometimeago,prohibitedthatdelightfulactor,M.Christian,fromappearinginuniform,onthepleathatitwasprejudicialtothegloryofthearmythatacolonelshouldbecaricatured.AndelsewherethegorgeousnessofapparelwhichdistinguishedtheEnglishstageunderShakespeare'sinfluencewasattackedbythecontemporarycritics,notasarule,however,onthegroundsofthedemocratictendenciesofrealism,butusuallyonthosemoralgroundswhicharealwaysthelastrefugeofpeoplewhohavenosenseofbeauty.Thepoint,however,whichIwishtoemphasiseis,notthatShakespeareappreciatedthevalueoflovelycostumesinaddingpicturesquenesstopoetry,butthathesawhowimportantcostumeisasameansofproducingcertaindramaticeffects.Manyofhisplays,suchasMEASUREFORMEASURE,TWELFTHNIGHT,THETWOGENTLEMANOFVERONA,ALL'SWELLTHATENDSWELL,CYMBELINE,andothers,dependfortheirillusiononthecharacterofthevariousdresseswornbytheheroortheheroine;thedelightfulsceneinHENRYTHESIXTH,onthemodernmiraclesofhealingbyfaith,losesallitspointunlessGlosterisinblackandscarlet;andtheDENOUMENToftheMERRYWIVESOFWINDSORhingesonthecolourofAnnePage'sgown.AsfortheusesShakespearemakesofdisguisestheinstancesarealmostnumberless.Posthumushideshispassion underapeasant'sgarb,andEdgarhispridebeneathanidiot'srags;Portiawearstheapparelofalawyer,andRosalindisattiredin'allpointsasaman';thecloak-bagofPisaniochangesImogentotheYouthFidele;Jessicafleesfromherfather'shouseinboy'sdress,andJuliatiesupheryellowhairinfantasticlove-knots,anddonshoseanddoublet;HenrytheEighthwooshisladyasashepherd,andRomeohisasapilgrim;PrinceHalandPoinsappearfirstasfootpadsinbuckramsuits,andtheninwhiteapronsandleatherjerkinsasthewaitersinatavern:andasforFalstaff,doeshenotcomeonasahighwayman,asanoldwoman,asHernetheHunter,andastheclothesgoingtothelaundry?Noraretheexamplesoftheemploymentofcostumeasamodeofintensifyingdramaticsituationlessnumerous.AfterslaughterofDuncan,Macbethappearsinhisnight-gownasifarousedfromsleep;Timonendsinragstheplayhehadbeguninsplendour;RichardflatterstheLondoncitizensinasuitofmeanandshabbyarmour,and,assoonashehassteppedinbloodtothethrone,marchesthroughthestreetsincrownandGeorgeandGarter;theclimaxofTHETEMPESTisreachedwhenProspero,throwingoffhisenchanter'srobes,sendsArielforhishatandrapier,andrevealshimselfasthegreatItalianDuke;theveryGhostinHAMLETchangeshismysticalappareltoproducedifferenteffects;andasforJuliet,amodernplaywrightwouldprobablyhavelaidheroutinhershroud,andmadethesceneasceneofhorrormerely,butShakespearearraysherinrichandgorgeousraiment,whoselovelinessmakesthevault'afeastingpresencefulloflight,'turnsthetombintoabridalchamber,andgivesthecueandmotiveforRomeo'sspeechofthetriumphofBeautyoverDeath.Evensmalldetailsofdress,suchasthecolourofamajor-domo'sstockings,thepatternonawife'shandkerchief,thesleeveofayoungsoldier,andafashionablewoman'sbonnets,becomein Shakespeare'shandspointsofactualdramaticimportance,andbysomeofthemtheactionoftheplayinquestionisconditionedabsolutely.Manyotherdramatistshaveavailedthemselvesofcostumeasamethodofexpressingdirectlytotheaudiencethecharacterofapersononhisentrance,thoughhardlysobrilliantlyasShakespearehasdoneinthecaseofthedandyParolles,whosedress,bytheway,onlyanarchaeologistcanunderstand;thefunofamasterandservantexchangingcoatsinpresenceoftheaudience,ofshipwreckedsailorssquabblingoverthedivisionofalotoffineclothes,andofatinkerdresseduplikeadukewhileheisinhiscups,mayberegardedaspartofthatgreatcareerwhichcostumehasalwaysplayedincomedyfromthetimeofAristophanesdowntoMr.Gilbert;butnobodyfromthemeredetailsofapparelandadornmenthaseverdrawnsuchironyofcontrast,suchimmediateandtragiceffect,suchpityandsuchpathos,asShakespearehimself.Armedcap-e-pie,thedeadKingstalksonthebattlementsofElsinorebecauseallisnotrightwithDenmark;Shylock'sJewishgaberdineispartofthestigmaunderwhichthatwoundedandembitterednaturewrithes;ArthurbeggingforhislifecanthinkofnobetterpleathanthehandkerchiefhehadgivenHubert-Haveyoutheheart?whenyourheaddidbutache,Iknitmyhandkerchiefaboutyourbrows,(ThebestIhad,aprincesswroughtitme)AndIdidneveraskityouagain;andOrlando'sblood-stainednapkinstrikesthefirstsombrenoteinthatexquisitewoodlandidyll,andshowsusthedepthoffeelingthatunderliesRosalind'sfancifulwitandwilfuljesting.Lastnight'twasonmyarm;Ikissedit; IhopeitbenotgonetotellmylordThatIkissaughtbuthe,saysImogen,jestingonthelossofthebraceletwhichwasalreadyonitswaytoRometorobherofherhusband'sfaith;thelittlePrincepassingtotheTowerplayswiththedaggerinhisuncle'sgirdle;DuncansendsaringtoLadyMacbethonthenightofhisownmurder,andtheringofPortiaturnsthetragedyofthemerchantintoawife'scomedy.ThegreatrebelYorkdieswithapapercrownonhishead;Hamlet'sblacksuitisakindofcolour-motiveinthepiece,likethemourningoftheChimeneintheCID;andtheclimaxofAntony'sspeechistheproductionofCaesar'scloak:-IrememberThefirsttimeeverCaesarputiton.'Twasonasummer'sevening,inhistent,ThedayheovercametheNervii:-Look,inthisplaceranCassius'daggerthrough:SeewhatarenttheenviousCascamade:Throughthisthewell-belovedBrutusstabbed....Kindsouls,what,weepyouwhenyoubutbeholdOurCaesar'svesturewounded?TheflowerswhichOpheliacarrieswithherinhermadnessareaspatheticasthevioletsthatblossomonagrave;theeffectofLear'swanderingontheheathisintensifiedbeyondwordsbyhisfantasticattire;andwhenCloten,stungbythetauntofthatsimilewhichhissisterdrawsfromherhusband'sraiment,arrayshimselfinthathusband'sverygarbtoworkuponherthedeedofshame,wefeelthatthereisnothinginthewholeofmodernFrench realism,nothingeveninTHERESERAQUIN,thatmasterpieceofhorror,whichforterribleandtragicsignificancecancomparewiththisstrangesceneinCYMBELINE.Intheactualdialoguealsosomeofthemostvividpassagesarethosesuggestedbycostume.Rosalind'sDostthouthink,thoughIamcaparisonedlikeaman,Ihaveadoubletandhoseinmydisposition?Constance'sGrieffillstheplaceofmyabsentchild,Stuffsouthisvacantgarmentswithhisform;andthequicksharpcryofElizabeth-Ah!cutmylaceasunder!-areonlyafewofthemanyexamplesonemightquote.OneofthefinesteffectsIhaveeverseenonthestagewasSalvini,inthelastactofLEAR,tearingtheplumefromKent'scapandapplyingittoCordelia'slipswhenhecametotheline,Thisfeatherstirs;shelives!Mr.Booth,whoseLearhadmanynoblequalitiesofpassion,plucked, Iremember,somefurfromhisarchaeologically-incorrectermineforthesamebusiness;butSalvini'swasthefinereffectofthetwo,aswellasthetruer.AndthosewhosawMr.IrvinginthelastactofRICHARDTHETHIRDhavenot,Iamsure,forgottenhowmuchtheagonyandterrorofhisdreamwasintensified,bycontrast,throughthecalmandquietthatprecededit,andthedeliveryofsuchlinesasWhat,ismybeavereasierthanitwas?Andallmyarmourlaidintomytent?Lookthatmystavesbesoundandnottooheavy-lineswhichhadadoublemeaningfortheaudience,rememberingthelastwordswhichRichard'smothercalledafterhimashewasmarchingtoBosworth:-Thereforetakewiththeemymostgrievouscurse,WhichinthedayofbattletiretheemoreThanallthecompletearmourthatthouwear'st.AsregardstheresourceswhichShakespearehadathisdisposal,itistoberemarkedthat,whilehemorethanoncecomplainsofthesmallnessofthestageonwhichhehastoproducebighistoricalplays,andofthewantofscenerywhichobligeshimtocutoutmanyeffectiveopen-airincidents,healwayswritesasadramatistwhohadathisdisposalamostelaboratetheatricalwardrobe,andwhocouldrelyontheactorstakingpainsabouttheirmake-up.EvennowitisdifficulttoproducesuchaplayastheCOMEDYOFERRORS;andtothepicturesqueaccidentofMissEllenTerry'sbrother resemblingherselfweowetheopportunityofseeingTWELFTHNIGHTadequatelyperformed.Indeed,toputanyplayofShakespeare'sonthestage,absolutelyashehimselfwishedittobedone,requirestheservicesofagoodproperty-man,acleverwig-maker,acostumierwithasenseofcolourandaknowledgeoftextures,amasterofthemethodsofmaking-up,afencing-master,adancing-master,andanartisttodirectpersonallythewholeproduction.Forheismostcarefultotellusthedressandappearanceofeachcharacter.'Racineabhorrelarealite,'saysAugusteVacqueriesomewhere;'ilnedaignepass'occuperdesoncostume.Sil'ons'enrapportaitauxindicationsdupoete,Agamemnonseraitvetud'unsceptreetAchilled'uneepee.'ButwithShakespeareitisverydifferent.HegivesusdirectionsaboutthecostumesofPerdita,Florizel,Autolycus,theWitchesinMACBETH,andtheapothecaryinROMEOANDJULIET,severalelaboratedescriptionsofhisfatknight,andadetailedaccountoftheextraordinarygarbinwhichPetruchioistobemarried.Rosalind,hetellsus,istall,andistocarryaspearandalittledagger;Celiaissmaller,andistopaintherfacebrownsoastolooksunburnt.ThechildrenwhoplayatfairiesinWindsorForestaretobedressedinwhiteandgreen-acompliment,bytheway,toQueenElizabeth,whosefavouritecolourstheywere-andinwhite,withgreengarlandsandgildedvizors,theangelsaretocometoKatherineinKimbolton.Bottomisinhomespun,LysanderisdistinguishedfromOberonbyhiswearinganAtheniandress,andLauncehasholesinhisboots.TheDuchessofGloucesterstandsinawhitesheetwithherhusbandinmourningbesideher.ThemotleyoftheFool,thescarletoftheCardinal,andtheFrenchliliesbroideredontheEnglishcoats,areallmadeoccasionforjestortauntinthedialogue.WeknowthepatternsontheDauphin'sarmourandthePucelle'ssword,thecrestonWarwick'shelmetandthecolourofBardolph'snose.Portiahasgoldenhair,Phoebeisblack-haired,Orlandohaschestnutcurls,andSirAndrewAguecheek'shairhangslikeflaxonadistaff,and won'tcurlatall.Someofthecharactersarestout,somelean,somestraight,somehunchbacked,somefair,somedark,andsomearetoblackentheirfaces.Learhasawhitebeard,Hamlet'sfatheragrizzled,andBenedickistoshavehisinthecourseoftheplay.Indeed,onthesubjectofstagebeardsShakespeareisquiteelaborate;tellsusofthemanydifferentcoloursinuse,andgivesahinttoactorsalwaystoseethattheirownareproperlytiedon.Thereisadanceofreapersinrye-strawhats,andofrusticsinhairycoatslikesatyrs;amasqueofAmazons,amasqueofRussians,andaclassicalmasque;severalimmortalscenesoveraweaverinanass'shead,ariotoverthecolourofacoatwhichittakestheLordMayorofLondontoquell,andascenebetweenaninfuriatedhusbandandhiswife'smillinerabouttheslashingofasleeve.AsforthemetaphorsShakespearedrawsfromdress,andtheaphorismshemakesonit,hishitsatthecostumeofhisage,particularlyattheridiculoussizeoftheladies'bonnets,andthemanydescriptionsoftheMUNDUSMULIEBRIS,fromthelongofAutolycusintheWINTER'STALEdowntotheaccountoftheDuchessofMilan'sgowninMUCHADOABOUTNOTHING,theyarefartoonumeroustoquote;thoughitmaybeworthwhiletoremindpeoplethatthewholeofthePhilosophyofClothesistobefoundinLear'sscenewithEdgar-apassagewhichhastheadvantageofbrevityandstyleoverthegrotesquewisdomandsomewhatmouthingmetaphysicsofSARTORRESARTUS.ButIthinkthatfromwhatIhavealreadysaiditisquiteclearthatShakespearewasverymuchinterestedincostume.IdonotmeaninthatshallowsensebywhichithasbeenconcludedfromhisknowledgeofdeedsanddaffodilsthathewastheBlackstoneandPaxtonoftheElizabethanage;butthathesawthatcostumecouldbemadeatonceimpressiveofacertaineffectontheaudienceandexpressiveofcertaintypesofcharacter,andisoneoftheessentialfactorsofthemeanswhichatrueillusionisthasathisdisposal.Indeedtohimthe deformedfigureofRichardwasofasmuchvalueasJuliet'sloveliness;hesetsthesergeoftheradicalbesidethesilksofthelord,andseesthestageeffectstobegotfromeach:hehasasmuchdelightinCalibanashehasinAriel,inragsashehasinclothofgold,andrecognisestheartisticbeautyofugliness.ThedifficultyDucisfeltabouttranslatingOTHELLOinconsequenceoftheimportancegiventosuchavulgarthingasahandkerchief,andhisattempttosoftenitsgrossnessbymakingtheMoorreiterate'Lebandeau!lebandeau!'maybetakenasanexampleofthedifferencebetweenLATRAGEDIEPHILOSOPHIQUEandthedramaofreallife;andtheintroductionforthefirsttimeofthewordMOUCHOIRattheTheatreFrancaiswasanerainthatromantic-realisticmovementofwhichHugoisthefatherandM.ZolatheENFANTTERRIBLE,justastheclassicismoftheearlierpartofthecenturywasemphasisedbyTalma'srefusaltoplayGreekheroesanylongerinapowderedperiwig-oneofthemanyinstances,bytheway,ofthatdesireforarchaeologicalaccuracyindresswhichhasdistinguishedthegreatactorsofourage.IncriticisingtheimportancegiventomoneyinLACOMEDIEHUMAINE,TheophileGautiersaysthatBalzacmayclaimtohaveinventedanewheroinfiction,LEHEROSMETALLIQUE.OfShakespeareitmaybesaidhewasthefirsttoseethedramaticvalueofdoublets,andthataclimaxmaydependonacrinoline.TheburningoftheGlobeTheatre-aneventdue,bytheway,totheresultsofthepassionforillusionthatdistinguishedShakespeare'sstage-management-hasunfortunatelyrobbedusofmanyimportantdocuments;butintheinventory,stillinexistence,ofthecostume-wardrobeofaLondontheatreinShakespeare'stime,therearementionedparticularcostumesforcardinals,shepherds,kings,clowns,friars,andfools;greencoatsforRobinHood'smen, andagreengownforMaidMarian;awhiteandgolddoubletforHenrytheFifth,andarobeforLongshanks;besidessurplices,copes,damaskgowns,gownsofclothofgoldandofclothofsilver,taffetagowns,calicogowns,velvetcoats,satincoats,friezecoats,jerkinsofyellowleatherandofblackleather,redsuits,greysuits,FrenchPierrotsuits,arobe'fortogooinvisibell,'whichseemsinexpensiveat3pounds,10s.,andfourincomparablefardingales-allofwhichshowadesiretogiveeverycharacteranappropriatedress.TherearealsoentriesofSpanish,MoorishandDanishcostumes,ofhelmets,lances,paintedshields,imperialcrowns,andpapaltiaras,aswellasofcostumesforTurkishJanissaries,RomanSenators,andallthegodsandgoddessesofOlympus,whichevidenceagooddealofarchaeologicalresearchonthepartofthemanagerofthetheatre.ItistruethatthereisamentionofabodiceforEve,butprobablytheDONNEEoftheplaywasaftertheFall.Indeed,anybodywhocarestoexaminetheageofShakespearewillseethatarchaeologywasoneofitsspecialcharacteristics.AfterthatrevivaloftheclassicalformsofarchitecturewhichwasoneofthenotesoftheRenaissance,andtheprintingatVeniceandelsewhereofthemasterpiecesofGreekandLatinliterature,hadcomenaturallyaninterestintheornamentationandcostumeoftheantiqueworld.Norwasitforthelearningthattheycouldacquire,butratherforthelovelinessthattheymightcreate,thattheartistsstudiedthesethings.Thecuriousobjectsthatwerebeingconstantlybroughttolightbyexcavationswerenotlefttomoulderinamuseum,forthecontemplationofacallouscurator,andtheENNUIofapolicemanboredbytheabsenceofcrime.Theywereusedasmotivesfortheproductionofanewart,whichwastobenotbeautifulmerely,butalsostrange.Infessuratellsusthatin1485someworkmendiggingontheAppian WaycameacrossanoldRomansarcophagusinscribedwiththename'Julia,daughterofClaudius.'Onopeningthecoffertheyfoundwithinitsmarblewombthebodyofabeautifulgirlofaboutfifteenyearsofage,preservedbytheembalmer'sskillfromcorruptionandthedecayoftime.Hereyeswerehalfopen,herhairrippledroundherincrispcurlinggold,andfromherlipsandcheekthebloomofmaidenhoodhadnotyetdeparted.BornebacktotheCapitol,shebecameatoncethecentreofanewcult,andfromallpartsofthecitycrowdedpilgrimstoworshipatthewonderfulshrine,tillthePope,fearinglestthosewhohadfoundthesecretofbeautyinaPagantombmightforgetwhatsecretsJudaea'sroughandrock-hewnsepulchrecontained,hadthebodyconveyedawaybynight,andinsecretburied.Legendthoughitmaybe,yetthestoryisnonethelessvaluableasshowingustheattitudeoftheRenaissancetowardstheantiqueworld.Archaeologytothemwasnotameresciencefortheantiquarian;itwasameansbywhichtheycouldtouchthedrydustofantiquityintotheverybreathandbeautyoflife,andfillwiththenewwineofromanticismformsthatelsehadbeenoldandoutworn.FromthepulpitofNiccolaPisanodowntoMantegna's'TriumphofCaesar,'andtheserviceCellinidesignedforKingFrancis,theinfluenceofthisspiritcanbetraced;norwasitconfinedmerelytotheimmobilearts-theartsofarrestedmovement-butitsinfluencewastobeseenalsointhegreatGraeco-Romanmasqueswhichweretheconstantamusementofthegaycourtsofthetime,andinthepublicpompsandprocessionswithwhichthecitizensofbigcommercialtownswerewonttogreettheprincesthatchancedtovisitthem;pageants,bytheway,whichwereconsideredsoimportantthatlargeprintsweremadeofthemandpublished-afactwhichisaproofofthegeneralinterestatthetimeinmattersofsuchkind.Andthisuseofarchaeologyinshows,sofarfrombeingabitofpriggishpedantry,isineverywaylegitimateandbeautiful.For thestageisnotmerelythemeeting-placeofallthearts,butisalsothereturnofarttolife.Sometimesinanarchaeologicalnoveltheuseofstrangeandobsoletetermsseemstohidetherealitybeneaththelearning,andIdaresaythatmanyofthereadersofNOTREDAMEDEPARIShavebeenmuchpuzzledoverthemeaningofsuchexpressionsasLACASAQUEEMAHOITRES,LESVOULGIERS,LEGALLIMARDTACHED'ENCRE,LESCRAAQUINIERS,andthelike;butwiththestagehowdifferentitis!Theancientworldwakesfromitssleep,andhistorymovesasapageantbeforeoureyes,withoutobligingustohaverecoursetoadictionaryoranencyclopaediafortheperfectionofourenjoyment.Indeed,thereisnottheslightestnecessitythatthepublicshouldknowtheauthoritiesforthemountingofanypiece.Fromsuchmaterials,forinstance,asthediskofTheodosius,materialswithwhichthemajorityofpeopleareprobablynotveryfamiliar,Mr.E.W.Godwin,oneofthemostartisticspiritsofthiscenturyinEngland,createdthemarvellouslovelinessofthefirstactofCLAUDIAN,andshowedusthelifeofByzantiuminthefourthcentury,notbyadrearylectureandasetofgrimycasts,notbyanovelwhichrequiresaglossarytoexplainit,butbythevisiblepresentationbeforeusofallthegloryofthatgreattown.Andwhilethecostumesweretruetothesmallestpointsofcolouranddesign,yetthedetailswerenotassignedthatabnormalimportancewhichtheymustnecessarilybegiveninapiecemeallecture,butweresubordinatedtotherulesofloftycompositionandtheunityofartisticeffect.Mr.Symonds,speakingofthatgreatpictureofMantegna's,nowinHamptonCourt,saysthattheartisthasconvertedanantiquarianmotiveintoathemeformelodiesofline.ThesamecouldhavebeensaidwithequaljusticeofMr.Godwin'sscene.Onlythefoolishcalleditpedantry,onlythosewhowouldneitherlooknorlistenspokeofthepassionoftheplaybeingkilledbyitspaint.Itwasinrealityascenenotmerelyperfectinitspicturesqueness,butabsolutelydramaticalso,gettingrid ofanynecessityfortediousdescriptions,andshowingus,bythecolourandcharacterofClaudian'sdress,andthedressofhisattendants,thewholenatureandlifeoftheman,fromwhatschoolofphilosophyheaffected,downtowhathorseshebackedontheturf.Andindeedarchaeologyisonlyreallydelightfulwhentransfusedintosomeformofart.Ihavenodesiretounderratetheservicesoflaboriousscholars,butIfeelthattheuseKeatsmadeofLempriere'sDictionaryisoffarmorevaluetousthanProfessorMaxMuller'streatmentofthesamemythologyasadiseaseoflanguage.BetterENDYMIONthananytheory,howeversound,or,asinthepresentinstance,unsound,ofanepidemicamongadjectives!AndwhodoesnotfeelthatthechiefgloryofPiranesi'sbookonVasesisthatitgaveKeatsthesuggestionforhis'OdeonaGrecianUrn'?Art,andartonly,canmakearchaeologybeautiful;andthetheatricartcanuseitmostdirectlyandmostvividly,foritcancombineinoneexquisitepresentationtheillusionofactuallifewiththewonderoftheunrealworld.ButthesixteenthcenturywasnotmerelytheageofVitruvius;itwastheageofVecellioalso.Everynationseemssuddenlytohavebecomeinterestedinthedressofitsneighbours.Europebegantoinvestigateitsownclothes,andtheamountofbookspublishedonnationalcostumesisquiteextraordinary.AtthebeginningofthecenturytheNUREMBERGCHRONICLE,withitstwothousandillustrations,reacheditsfifthedition,andbeforethecenturywasoverseventeeneditionswerepublishedofMunster'sCOSMOGRAPHY.BesidesthesetwobookstherewerealsotheworksofMichaelColyns,ofHansWeigel,ofAmman,andofVecelliohimself,allofthemwellillustrated,someofthedrawingsinVecelliobeingprobablyfromthehandofTitian.Norwasitmerelyfrombooksandtreatisesthattheyacquiredtheir knowledge.Thedevelopmentofthehabitofforeigntravel,theincreasedcommercialintercoursebetweencountries,andthefrequencyofdiplomaticmissions,gaveeverynationmanyopportunitiesofstudyingthevariousformsofcontemporarydress.AfterthedeparturefromEngland,forinstance,oftheambassadorsfromtheCzar,theSultanandthePrinceofMorocco,HenrytheEighthandhisfriendsgaveseveralmasquesinthestrangeattireoftheirvisitors.LateronLondonsaw,perhapstoooften,thesombresplendouroftheSpanishCourt,andtoElizabethcameenvoysfromalllands,whosedress,Shakespearetellsus,hadanimportantinfluenceonEnglishcostume.Andtheinterestwasnotconfinedmerelytoclassicaldress,orthedressofforeignnations;therewasalsoagooddealofresearch,amongsttheatricalpeopleespecially,intotheancientcostumeofEnglanditself:andwhenShakespeare,intheprologuetooneofhisplays,expresseshisregretatbeingunabletoproducehelmetsoftheperiod,heisspeakingasanElizabethanmanagerandnotmerelyasanElizabethanpoet.AtCambridge,forinstance,duringhisday,aplayofRICHARDTHETHIRDwasperformed,inwhichtheactorswereattiredinrealdressesofthetime,procuredfromthegreatcollectionofhistoricalcostumeintheTower,whichwasalwaysopentotheinspectionofmanagers,andsometimesplacedattheirdisposal.AndIcannothelpthinkingthatthisperformancemusthavebeenfarmoreartistic,asregardscostume,thanGarrick'smountingofShakespeare'sownplayonthesubject,inwhichhehimselfappearedinanondescriptfancydress,andeverybodyelseinthecostumeofthetimeofGeorgetheThird,Richmondespeciallybeingmuchadmiredintheuniformofayoungguardsman.Forwhatistheusetothestageofthatarchaeologywhichhassostrangelyterrifiedthecritics,butthatit,anditalone,can giveusthearchitectureandapparelsuitabletothetimeinwhichtheactionoftheplaypasses?ItenablesustoseeaGreekdressedlikeaGreek,andanItalianlikeanItalian;toenjoythearcadesofVeniceandthebalconiesofVerona;and,iftheplaydealswithanyofthegreaterasinourcountry'shistory,tocontemplatetheageinitsproperattire,andthekinginhishabitashelived.AndIwonder,bytheway,whatLordLyttonwouldhavesaidsometimeago,atthePrincess'sTheatre,hadthecurtainrisenonhisfather'sBrutusreclininginaQueenAnnechair,attiredinaflowingwigandaflowereddressing-gown,acostumewhichinthelastcenturywasconsideredpeculiarlyappropriatetoanantiqueRoman!Forinthosehalcyondaysofthedramanoarchaeologytroubledthestage,ordistressedthecritics,andourinartisticgrandfatherssatpeaceablyinastiflingatmosphereofanachronisms,andbeheldwiththecalmcomplacencyoftheageofproseanIachimoinpowderandpatches,aLearinlaceruffles,andaLadyMacbethinalargecrinoline.Icanunderstandarchaeologybeingattackedonthegroundofitsexcessiverealism,buttoattackitaspedanticseemstobeverymuchbesidethemark.However,toattackitforanyreasonisfoolish;onemightjustaswellspeakdisrespectfullyoftheequator.Forarchaeology,beingascience,isneithergoodnorbad,butafactsimply.Itsvaluedependsentirelyonhowitisused,andonlyanartistcanuseit.Welooktothearchaeologistforthematerials,totheartistforthemethod.IndesigningthesceneryandcostumesforanyofShakespeare'splays,thefirstthingtheartisthastosettleisthebestdateforthedrama.Thisshouldbedeterminedbythegeneralspiritoftheplay,morethanbyanyactualhistoricalreferenceswhichmayoccurinit.MostHAMLETSIhaveseenwereplacedfartooearly.HAMLETisessentiallyascholaroftheRevivalofLearning;andiftheallusiontotherecentinvasionofEnglandbytheDanesputsit backtotheninthcentury,theuseoffoilsbringsitdownmuchlater.Once,however,thatthedatehasbeenfixed,thenthearchaeologististosupplyuswiththefactswhichtheartististoconvertintoeffects.IthasbeensaidthattheanachronismsintheplaysthemselvesshowusthatShakespearewasindifferenttohistoricalaccuracy,andagreatdealofcapitalhasbeenmadeoutofHector'sindiscreetquotationfromAristotle.Upontheotherhand,theanachronismsarereallyfewinnumber,andnotveryimportant,and,hadShakespeare'sattentionbeendrawntothembyabrotherartist,hewouldprobablyhavecorrectedthem.For,thoughtheycanhardlybecalledblemishes,theyarecertainlynotthegreatbeautiesofhiswork;or,atleast,iftheyare,theiranachronisticcharmcannotbeemphasisedunlesstheplayisaccuratelymountedaccordingtoitsproperdate.InlookingatShakespeare'splaysasawhole,however,whatisreallyremarkableistheirextraordinaryfidelityasregardshispersonagesandhisplots.ManyofhisDRAMATISPERSONAEarepeoplewhohadactuallyexisted,andsomeofthemmighthavebeenseeninreallifebyaportionofhisaudience.IndeedthemostviolentattackthatwasmadeonShakespeareinhistimewasforhissupposedcaricatureofLordCobham.Asforhisplots,Shakespeareconstantlydrawsthemeitherfromauthentichistory,orfromtheoldballadsandtraditionswhichservedashistorytotheElizabethanpublic,andwhichevennownoscientifichistorianwoulddismissasabsolutelyuntrue.Andnotmerelydidheselectfactinsteadoffancyasthebasisofmuchofhisimaginativework,buthealwaysgivestoeachplaythegeneralcharacter,thesocialatmosphereinaword,oftheageinquestion.StupidityherecognisesasbeingoneofthepermanentcharacteristicsofallEuropeancivilisations;soheseesnodifferencebetweenaLondonmobofhisowndayandaRomanmobofpagandays,betweenasillywatchmaninMessinaandasillyJustice ofthePeaceinWindsor.Butwhenhedealswithhighercharacters,withthoseexceptionsofeachagewhicharesofinethattheybecomeitstypes,hegivesthemabsolutelythestampandsealoftheirtime.VirgiliaisoneofthoseRomanwivesonwhosetombwaswritten'Domimansit,lanamfecit,'assurelyasJulietistheromanticgirloftheRenaissance.Heiseventruetothecharacteristicsofrace.HamlethasalltheimaginationandirresolutionoftheNorthernnations,andthePrincessKatharineisasentirelyFrenchastheheroineofDIVORCONS.HarrytheFifthisapureEnglishman,andOthelloatrueMoor.AgainwhenShakespearetreatsofthehistoryofEnglandfromthefourteenthtothesixteenthcenturies,itiswonderfulhowcarefulheistohavehisfactsperfectlyright-indeedhefollowsHolinshedwithcuriousfidelity.TheincessantwarsbetweenFranceandEnglandaredescribedwithextraordinaryaccuracydowntothenamesofthebesiegedtowns,theportsoflandingandembarkation,thesitesanddatesofthebattles,thetitlesofthecommandersoneachside,andthelistsofthekilledandwounded.AndasregardstheCivilWarsoftheRoseswehavemanyelaborategenealogiesofthesevensonsofEdwardtheThird;theclaimsoftherivalHousesofYorkandLancastertothethronearediscussedatlength;andiftheEnglisharistocracywillnotreadShakespeareasapoet,theyshouldcertainlyreadhimasasortofearlyPeerage.ThereishardlyasingletitleintheUpperHouse,withtheexceptionofcourseoftheuninterestingtitlesassumedbythelawlords,whichdoesnotappearinShakespearealongwithmanydetailsoffamilyhistory,creditableanddiscreditable.IndeedifitbereallynecessarythattheSchoolBoardchildrenshouldknowallabouttheWarsoftheRoses,theycouldlearntheirlessonsjustaswelloutofShakespeareasoutofshillingprimers,andlearnthem,Ineednotsay,farmorepleasurably.EveninShakespeare'sowndaythisuseofhisplayswasrecognised.'Thehistoricalplaysteach historytothosewhocannotreaditinthechronicles,'saysHeywoodinatractaboutthestage,andyetIamsurethatsixteenth-centurychroniclesweremuchmoredelightfulreadingthannineteenth-centuryprimersare.OfcoursetheaestheticvalueofShakespeare'splaysdoesnot,intheslightestdegree,dependontheirfacts,butontheirTruth,andTruthisindependentoffactsalways,inventingorselectingthematpleasure.ButstillShakespeare'suseoffactsisamostinterestingpartofhismethodofwork,andshowsushisattitudetowardsthestage,andhisrelationstothegreatartofillusion.Indeedhewouldhavebeenverymuchsurprisedatanyoneclassinghisplayswith'fairytales,'asLordLyttondoes;foroneofhisaimswastocreateforEnglandanationalhistoricaldrama,whichshoulddealwithincidentswithwhichthepublicwaswellacquainted,andwithheroesthatlivedinthememoryofapeople.Patriotism,Ineedhardlysay,isnotanecessaryqualityofart;butitmeans,fortheartist,thesubstitutionofauniversalforanindividualfeeling,andforthepublicthepresentationofaworkofartinamostattractiveandpopularform.ItisworthnoticingthatShakespeare'sfirstandlastsuccesseswerebothhistoricalplays.Itmaybeasked,whathasthistodowithShakespeare'sattitudetowardscostume?Ianswerthatadramatistwholaidsuchstressonhistoricalaccuracyoffactwouldhavewelcomedhistoricalaccuracyofcostumeasamostimportantadjuncttohisillusionistmethod.AndIhavenohesitationinsayingthathedidso.ThereferencetohelmetsoftheperiodintheprologuetoHENRYTHEFIFTHmaybeconsideredfanciful,thoughShakespearemusthaveoftenseenTheverycasqueThatdidaffrighttheairatAgincourt, whereitstillhangsintheduskygloomofWestminsterAbbey,alongwiththesaddleofthat'impoffame,'andthedintedshieldwithitstornbluevelvetlininganditstarnishedliliesofgold;buttheuseofmilitarytabardsinHENRYTHESIXTHisabitofpurearchaeology,astheywerenotworninthesixteenthcentury;andtheKing'sowntabard,Imaymention,wasstillsuspendedoverhistombinSt.George'sChapel,Windsor,inShakespeare'sday.For,uptothetimeoftheunfortunatetriumphofthePhilistinesin1645,thechapelsandcathedralsofEnglandwerethegreatnationalmuseumsofarchaeology,andinthemwerekeptthearmourandattireoftheheroesofEnglishhistory.AgooddealwasofcoursepreservedintheTower,andeveninElizabeth'sdaytouristswerebroughttheretoseesuchcuriousrelicsofthepastasCharlesBrandon'shugelance,whichisstill,Ibelieve,theadmirationofourcountryvisitors;butthecathedralsandchurcheswere,asarule,selectedasthemostsuitableshrinesforthereceptionofthehistoricantiquities.CanterburycanstillshowusthehelmoftheBlackPrince,Westminstertherobesofourkings,andinoldSt.Paul'stheverybannerthathadwavedonBosworthfieldwashungupbyRichmondhimself.Infact,everywherethatShakespeareturnedinLondon,hesawtheapparelandappurtenancesofpastages,anditisimpossibletodoubtthathemadeuseofhisopportunities.Theemploymentoflanceandshield,forinstance,inactualwarfare,whichissofrequentinhisplays,isdrawnfromarchaeology,andnotfromthemilitaryaccoutrementsofhisday;andhisgeneraluseofarmourinbattlewasnotacharacteristicofhisage,atimewhenitwasrapidlydisappearingbeforefirearms.Again,thecrestonWarwick'shelmet,ofwhichsuchapointismadeinHENRYTHESIXTH,isabsolutelycorrectinafifteenth-centuryplaywhencrestswere generallyworn,butwouldnothavebeensoinaplayofShakespeare'sowntime,whenfeathersandplumeshadtakentheirplace-afashionwhich,ashetellsusinHENRYTHEEIGHTH,wasborrowedfromFrance.Forthehistoricalplays,then,wemaybesurethatarchaeologywasemployed,andasfortheothersIfeelcertainthatitwasthecasealso.TheappearanceofJupiteronhiseagle,thunderboltinhand,ofJunowithherpeacocks,andofIriswithhermany-colouredbow;theAmazonmasqueandthemasqueoftheFiveWorthies,mayallberegardedasarchaeological;andthevisionwhichPosthumusseesinprisonofSiciliusLeonatus-'anoldman,attiredlikeawarrior,leadinganancientmatron'-isclearlyso.Ofthe'Atheniandress'bywhichLysanderisdistinguishedfromOberonIhavealreadyspoken;butoneofthemostmarkedinstancesisinthecaseofthedressofCoriolanus,forwhichShakespearegoesdirectlytoPlutarch.Thathistorian,inhisLifeofthegreatRoman,tellsusoftheoak-wreathwithwhichCaiusMarciuswascrowned,andofthecuriouskindofdressinwhich,accordingtoancientfashion,hehadtocanvasshiselectors;andonbothofthesepointsheentersintolongdisquisitions,investigatingtheoriginandmeaningoftheoldcustoms.Shakespeare,inthespiritofthetrueartist,acceptsthefactsoftheantiquarianandconvertsthemintodramaticandpicturesqueeffects:indeedthegownofhumility,the'woolvishgown,'asShakespearecallsit,isthecentralnoteoftheplay.ThereareothercasesImightquote,butthisoneisquitesufficientformypurpose;anditisevidentfromitatanyratethat,inmountingaplayintheaccuratecostumeofthetime,accordingtothebestauthorities,wearecarryingoutShakespeare'sownwishesandmethod.Evenifitwerenotso,thereisnomorereasonthatweshouldcontinueanyimperfectionswhichmaybesupposedtohavecharacterisedShakespeare'sstagemountingthanthatweshouldhave Julietplayedbyayoungman,orgiveuptheadvantageofchangeablescenery.Agreatworkofdramaticartshouldnotmerelybemadeexpressiveofmodernpassionbymeansoftheactor,butshouldbepresentedtousintheformmostsuitabletothemodernspirit.RacineproducedhisRomanplaysinLouisQuatorzedressonastagecrowdedwithspectators;butwerequiredifferentconditionsfortheenjoymentofhisart.Perfectaccuracyofdetail,forthesakeofperfectillusion,isnecessaryforus.Whatwehavetoseeisthatthedetailsarenotallowedtousurptheprincipalplace.Theymustbesubordinatealwaystothegeneralmotiveoftheplay.Butsubordinationinartdoesnotmeandisregardoftruth;itmeansconversionoffactintoeffect,andassigningtoeachdetailitsproperrelativevalue'Lespetitsdetailsd'histoireetdeviedomestique(saysHugo)doiventetrescrupuleusementetudiesetreproduitsparlepoete,maisuniquementcommedesmoyensd'accroitrelarealitedel'ensemble,etdefairepenetrerjusquedanslescoinslesplusobscursdel'oeuvrecetteviegeneraleetpuissanteaumilieudelaquellelespersonnagessontplusvrais,etlescatastrophes,parconsequeut,pluspoignantes.Toutdoitetresubordonneecebut.L'Hommesurlepremierplan,leresteaufond.'ThispassageisinterestingascomingfromthefirstgreatFrenchdramatistwhoemployedarchaeologyonthestage,andwhoseplays,thoughabsolutelycorrectindetail,areknowntoallfortheirpassion,notfortheirpedantry-fortheirlife,notfortheirlearning.Itistruethathehasmadecertainconcessionsinthecaseoftheemploymentofcuriousorstrangeexpressions.RuyBlastalksofM,dePriegoas'sujetduroi'insteadof'nobleduroi,'andAngeloMalipierispeaksof'lacroixrouge'insteadof'la croixdegueules.'Buttheyareconcessionsmadetothepublic,orrathertoasectionofit.'J'enoffreicitoutemesexcusesauxspectateursintelligents,'hesaysinanotetooneoftheplays;'esperonsqu'unjourunseigneurvenitienpourradiretoutbonnementsansperilsonblasonsurletheatre.C'estunprogresquiviendra.'And,thoughthedescriptionofthecrestisnotcouchedinaccuratelanguage,stillthecrestitselfwasaccuratelyright.Itmay,ofcourse,besaidthatthepublicdonotnoticethesethings;upontheotherhand,itshouldberememberedthatArthasnootheraimbutherownperfection,andproceedssimplybyherownlaws,andthattheplaywhichHamletdescribesasbeingcaviaretothegeneralisaplayhehighlypraises.Besides,inEngland,atanyrate,thepublichaveundergoneatransformation;thereisfarmoreappreciationofbeautynowthantherewasafewyearsago;andthoughtheymaynotbefamiliarwiththeauthoritiesandarchaeologicaldataforwhatisshowntothem,stilltheyenjoywhateverlovelinesstheylookat.Andthisistheimportantthing.Bettertotakepleasureinarosethantoputitsrootunderamicroscope.Archaeologicalaccuracyismerelyaconditionofillusioniststageeffect;itisnotitsquality.AndLordLytton'sproposalthatthedressesshouldmerelybebeautifulwithoutbeingaccurateisfoundedonamisapprehensionofthenatureofcostume,andofitsvalueonthestage.Thisvalueistwofold,picturesqueanddramatic;theformerdependsonthecolourofthedress,thelatteronitsdesignandcharacter.Butsointerwovenarethetwothat,wheneverinourowndayhistoricalaccuracyhasbeendisregarded,andthevariousdressesinaplaytakenfromdifferentages,theresulthasbeenthatthestagehasbeenturnedintothatchaosofcostume,thatcaricatureofthecenturies,theFancyDressBall,totheentireruinofalldramaticandpicturesqueeffect.Forthedressesofoneagedonotartisticallyharmonisewiththedressesofanother:and,asfarasdramaticvaluegoes,toconfusethecostumesistoconfusetheplay.Costumeisagrowth,an evolution,andamostimportant,perhapsthemostimportant,signofthemanners,customsandmodeoflifeofeachcentury.ThePuritandislikeofcolour,adornmentandgraceinapparelwaspartofthegreatrevoltofthemiddleclassesagainstBeautyintheseventeenthcentury.Ahistorianwhodisregardeditwouldgiveusamostinaccuratepictureofthetime,andadramatistwhodidnotavailhimselfofitwouldmissamostvitalelementinproducinganillusionisteffect.TheeffeminacyofdressthatcharacterisedthereignofRichardtheSecondwasaconstantthemeofcontemporaryauthors.Shakespeare,writingtwohundredyearsafter,makestheking'sfondnessforgayapparelandforeignfashionsapointintheplay,fromJohnofGaunt'sreproachesdowntoRichard'sownspeechinthethirdactonhisdepositionfromthethrone.AndthatShakespeareexaminedRichard'stombinWestminsterAbbeyseemstomecertainfromYork'sspeech:-See,see,KingRicharddothhimselfappearAsdoththeblushingdiscontentedsunFromoutthefieryportaloftheeast,WhenheperceivestheenviouscloudsarebentTodimhisglory.ForwecanstilldiscernontheKing'srobehisfavouritebadge-thesunissuingfromacloud.Infact,ineveryagethesocialconditionsaresoexemplifiedincostume,thattoproduceasixteenth-centuryplayinfourteenth-centuryattire,orVICEVERSA,wouldmaketheperformanceseemunrealbecauseuntrue.And,valuableasbeautyofeffectonthestageis,thehighestbeautyisnotmerelycomparablewithabsoluteaccuracyofdetail,butreallydependentonit.Toinvent,anentirelynewcostumeisalmostimpossibleexceptinburlesqueorextravaganza,andasforcombiningthedressofdifferentcenturiesintoone,theexperiment wouldbedangerous,andShakespeare'sopinionoftheartisticvalueofsuchamedleymaybegatheredfromhisincessantsatireoftheElizabethandandiesforimaginingthattheywerewelldressedbecausetheygottheirdoubletsinItaly,theirhatsinGermany,andtheirhoseinFrance.Anditshouldbenotedthatthemostlovelyscenesthathavebeenproducedonourstagehavebeenthosethathavebeencharacterisedbyperfectaccuracy,suchasMr.andMrs.Bancroft'seighteenth-centuryrevivalsattheHaymarket,Mr.Irying'ssuperbproductionofMUCHADOABOUTNOTHING,andMr,Barrett'sCLAUDIAN.Besides,andthisisperhapsthemostcompleteanswertoLordLytton'stheory,itmustberememberedthatneitherincostumenorindialogueisbeautythedramatist'sprimaryaimatall.Thetruedramatistaimsfirstatwhatischaracteristic,andnomoredesiresthatallhispersonagesshouldbebeautifullyattiredthanhedesiresthattheyshouldallhavebeautifulnaturesorspeakbeautifulEnglish.Thetruedramatist,infact,showsuslifeundertheconditionsofart,notartintheformoflife.TheGreekdresswastheloveliestdresstheworldhaseverseen,andtheEnglishdressofthelastcenturyoneofthemostmonstrous;yetwecannotcostumeaplaybySheridanaswewouldcostumeaplaybySophokles.For,asPoloniussaysinhisexcellentlecture,alecturetowhichIamgladtohavetheopportunityofexpressingmyobligations,oneofthefirstqualitiesofapparelisitsexpressiveness.Andtheaffectedstyleofdressinthelastcenturywasthenaturalcharacteristicofasocietyofaffectedmannersandaffectedconversation-acharacteristicwhichtherealisticdramatistwillhighlyvaluedowntothesmallestdetailofaccuracy,andthematerialsforwhichhecangetonlyfromarchaeology.Butitisnotenoughthatadressshouldbeaccurate;itmustbealsoappropriatetothestatureandappearanceoftheactor,andtohissupposedcondition,aswellastohisnecessaryactioninthe play.InMr.Hare'sproductionOFASYOULIKEITattheSt.James'sTheatre,forinstance,thewholepointofOrlando'scomplaintthatheisbroughtuplikeapeasant,andnotlikeagentleman,wasspoiledbythegorgeousnessofhisdress,andthesplendidapparelwornbythebanishedDukeandhisfriendswasquiteoutofplace.Mr.LewisWingfield'sexplanationthatthesumptuarylawsoftheperiodnecessitatedtheirdoingso,is,Iamafraid,hardlysufficient.Outlaws,lurkinginaforestandlivingbythechase,arenotverylikelytocaremuchaboutordinancesofdress.TheywereprobablyattiredlikeRobinHood'smen,towhom,indeed,theyarecomparedinthecourseoftheplay.AndthattheirdresswasnotthatofwealthynoblemenmaybeseenbyOrlando'swordswhenhebreaksinuponthem.Hemistakesthemforrobbers,andisamazedtofindthattheyanswerhimincourteousandgentleterms.LadyArchibaldCampbell'sproduction,underMr.E.W.Godwin'sdirection,ofthesameplayinCoombeWoodwas,asregardsmounting,farmoreartistic.Atleastitseemedsotome.TheDukeandhiscompanionsweredressedinsergetunics,leathernjerkins,highbootsandgauntlets,andworebycockethatsandhoods.Andastheywereplayinginarealforest,theyfound,Iamsure,theirdressesextremelyconvenient.Toeverycharacterintheplaywasgivenaperfectlyappropriateattire,andthebrownandgreenoftheircostumesharmonisedexquisitelywiththefernsthroughwhichtheywandered,thetreesbeneathwhichtheylay,andthelovelyEnglishlandscapethatsurroundedthePastoralPlayers.Theperfectnaturalnessofthescenewasduetotheabsoluteaccuracyandappropriatenessofeverythingthatwasworn.Norcouldarchaeologyhavebeenputtoaseverertest,orcomeoutofitmoretriumphantly.Thewholeproductionshowedonceforallthat,unlessadressisarchaeologicallycorrect,andartisticallyappropriate,italwayslooksunreal,unnatural,andtheatricalinthesenseofartificial. Nor,again,isitenoughthatthereshouldbeaccurateandappropriatecostumesofbeautifulcolours;theremustbealsobeautyofcolouronthestageasawhole,andaslongasthebackgroundispaintedbyoneartist,andtheforegroundfiguresindependentlydesignedbyanother,thereisthedangerofawantofharmonyinthesceneasapicture.Foreachscenethecolour-schemeshouldbesettledasabsolutelyasforthedecorationofaroom,andthetextureswhichitisproposedtouseshouldbemixedandre-mixedineverypossiblecombination,andwhatisdiscordantremoved.Then,asregardstheparticularkindsofcolours,thestageisoftentooglaring,partlythroughtheexcessiveuseofhot,violentreds,andpartlythroughthecostumeslookingtoonew.Shabbiness,whichinmodernlifeismerelythetendencyofthelowerorderstowardstone,isnotwithoutitsartisticvalue,andmoderncoloursareoftenmuchimprovedbybeingalittlefaded.Bluealsoistoofrequentlyused:itisnotmerelyadangerouscolourtowearbygaslight,butitisreallydifficultinEnglandtogetathoroughlygoodblue.ThefineChineseblue,whichweallsomuchadmire,takestwoyearstodye,andtheEnglishpublicwillnotwaitsolongforacolour.Peacockblue,ofcourse,hasbeenemployedonthestage,notablyattheLyceum,withgreatadvantage;butallattemptsatagoodlightblue,orgooddarkblue,whichIhaveseenhavebeenfailures.Thevalueofblackishardlyappreciated;itwasusedeffectivelybyMr.IrvinginHAMLETasthecentralnoteofacomposition,butasatone-givingneutralitsimportanceisnotrecognised.Andthisiscurious,consideringthegeneralcolourofthedressofacenturyinwhich,asBaudelairesays,'Nouscelebronstousquelqueenterrement.'Thearchaeologistofthefuturewillprobablypointtothisageasthetimewhenthebeautyofblackwasunderstood;butIhardlythinkthat,asregardsstage-mountingorhousedecoration,itreallyis.Itsdecorativevalueis,ofcourse,thesameasthatofwhiteorgold;itcanseparateandharmonisecolours.Inmodernplaystheblackfrock- coatoftheherobecomesimportantinitself,andshouldbegivenasuitablebackground.Butitrarelyis.IndeedtheonlygoodbackgroundforaplayinmoderndresswhichIhaveeverseenwasthedarkgreyandcream-whitesceneofthefirstactofthePRINCESSEGEORGESinMrs.Langtry'sproduction.Asarule,theheroissmotheredinBRIC-E-BRACandpalm-trees,lostinthegildedabyssofLouisQuatorzefurniture,orreducedtoameremidgeinthemidstofmarqueterie;whereasthebackgroundshouldalwaysbekeptasabackground,andcoloursubordinatedtoeffect.This,ofcourse,canonlybedonewhenthereisonesingleminddirectingthewholeproduction.Thefactsofartarediverse,buttheessenceofartisticeffectisunity.Monarchy,Anarchy,andRepublicanismmaycontendforthegovernmentofnations;butatheatreshouldbeinthepowerofacultureddespot.Theremaybedivisionoflabour,buttheremustbenodivisionofmind.Whoeverunderstandsthecostumeofanageunderstandsofnecessityitsarchitectureanditssurroundingsalso,anditiseasytoseefromthechairsofacenturywhetheritwasacenturyofcrinolinesornot.Infact,inartthereisnospecialism,andareallyartisticproductionshouldbeartheimpressofonemaster,andonemasteronly,whonotmerelyshoulddesignandarrangeeverything,butshouldhavecompletecontroloverthewayinwhicheachdressistobeworn.MademoiselleMars,inthefirstproductionofHERNANI,absolutelyrefusedtocallherlover'MONLION!'unlessshewasallowedtowearalittlefashionableTOQUEthenmuchinvogueontheBoulevards;andmanyyoungladiesonourownstageinsisttothepresentdayonwearingstiffstarchedpetticoatsunderGreekdresses,totheentireruinofalldelicacyoflineandfold;butthesewickedthingsshouldnotbeallowed.Andthereshouldbefarmoredressrehearsalsthantherearenow.ActorssuchasMr.Forbes-Robertson,Mr.Conway,Mr.GeorgeAlexander,andothers,not tomentionolderartists,canmovewitheaseandeleganceintheattireofanycentury;buttherearenotafewwhoseemdreadfullyembarrassedabouttheirhandsiftheyhavenosidepockets,andwhoalwaysweartheirdressesasiftheywerecostumes.Costumes,ofcourse,theyaretothedesigner;butdressestheyshouldbetothosethatwearthem.Anditistimethatastopshouldbeputtotheidea,veryprevalentonthestage,thattheGreeksandRomansalwayswentaboutbareheadedintheopenair-amistaketheElizabethanmanagersdidnotfallinto,fortheygavehoodsaswellasgownstotheirRomansenators.Moredressrehearsalswouldalsobeofvalueinexplainingtotheactorsthatthereisaformofgestureandmovementthatisnotmerelyappropriatetoeachstyleofdress,butreallyconditionedbyit.Theextravagantuseofthearmsintheeighteenthcentury,forinstance,wasthenecessaryresultofthelargehoop,andthesolemndignityofBurleighowedasmuchtohisruffastohisreason.Besidesuntilanactorisathomeinhisdress,heisnotathomeinhispart.Ofthevalueofbeautifulcostumeincreatinganartistictemperamentintheaudience,andproducingthatjoyinbeautyforbeauty'ssakewithoutwhichthegreatmasterpiecesofartcanneverbeunderstood,Iwillnotherespeak;thoughitisworthwhiletonoticehowShakespeareappreciatedthatsideofthequestionintheproductionofhistragedies,actingthemalwaysbyartificiallight,andinatheatrehungwithblack;butwhatIhavetriedtopointoutisthatarchaeologyisnotapedanticmethod,butamethodofartisticillusion,andthatcostumeisameansofdisplayingcharacterwithoutdescription,andofproducingdramaticsituationsanddramaticeffects.AndIthinkitisapitythatsomanycriticsshouldhavesetthemselvestoattackoneofthemostimportantmovementsonthemodernstagebeforethatmovementhasat allreacheditsproperperfection.Thatitwilldoso,however,IfeelascertainasthatweshallrequirefromourdramaticcriticsinthefuturehigherqualificationthanthattheycanrememberMacreadyorhaveseenBenjaminWebster;weshallrequireofthem,indeed,thattheycultivateasenseofbeauty.POURETREPLUSDIFFICILE,LATACHEN'ENESTQUEPLUSGLORIEUSE.Andiftheywillnotencourage,atleasttheymustnotoppose,amovementofwhichShakespeareofalldramatistswouldhavemostapproved,forithastheillusionoftruthforitsmethod,andtheillusionofbeautyforitsresult.NotthatIagreewitheverythingthatIhavesaidinthisessay.ThereismuchwithwhichIentirelydisagree.Theessaysimplyrepresentsanartisticstandpoint,andinaestheticcriticismattitudeiseverything.Forinartthereisnosuchthingasauniversaltruth.ATruthinartisthatwhosecontradictoryisalsotrue.Andjustasitisonlyinart-criticism,andthroughit,thatwecanapprehendthePlatonictheoryofideas,soitisonlyinart-criticism,andthroughit,thatwecanrealiseHegel'ssystemofcontraries.Thetruthsofmetaphysicsarethetruthsofmasks.End
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