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，repeatingeachlineoverandoveragaintohimselftillhehascaughtthesecretofitsmelody，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，adreadfulthoughtcomesovermethatI
mayhavebeenguiltyoftheimmoraleffeminacyofusingtrochaicandtribrachicmovements，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，dealswithartprimarilyinitsconcretemanifestations，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，ortherealisticandimpressionistschools，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。Toknowtheprinciplesofthehighestartistoknowtheprinciplesofallthearts。
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。Buttherehasneverbeenacreativeagethathasnotbeencriticalalso。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。Itmustbeperfectlyeasyinhalfanhourtosaywhetherabookisworthanythingorworthnothing。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，andemptyortrammellingcreeds。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。Thewholesecretliesinthat。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，theLordoftheMyrmidonstakesoutthatmysticchalicethatthelipofmanhadnevertouched，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。Theseasonscomeandgoingladorsaddeningpageant，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，thehigheryouplacethecreativeartist，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。Criticismisnomoretobejudgedbyanylowstandardofimitationorresemblancethanistheworkofpoetorsculptor。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，andtowhichimaginativeformandcolourhavebeenalreadyadded。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，bookswritten，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。PaterhasputintotheportraitofMonnaLisasomethingthatLionardoneverdreamedof？Thepaintermayhavebeenmerelytheslaveofanarchaicsmile，assomehavefancied，butwheneverI
passintothecoolgalleriesofthePalaceoftheLouvre，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。ThelongerI
study，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，likethemusicofwhichAristotleandPlatotellus，thenobleDorianmusicoftheGreek，itmayperformtheofficeofaphysician，andgiveusananodyneagainstpain，andhealthespiritthatiswounded，and’bringthesoulintoharmonywithallrightthings。’Andwhatistrueaboutmusicistrueaboutallthearts。Beautyhasasmanymeaningsasmanhasmoods。
Beautyisthesymbolofsymbols。Beautyrevealseverything，becauseitexpressesnothing。Whenitshowsusitself，itshowsusthewholefiery-colouredworld。
ERNEST。Butissuchworkasyouhavetalkedaboutreallycriticism？
GILBERT。ItisthehighestCriticism，foritcriticisesnotmerelytheindividualworkofart，butBeautyitself，andfillswithwonderaformwhichtheartistmayhaveleftvoid，ornotunderstood，orunderstoodincompletely。