GILBERT。Thedifferencebetweenobjectiveandsubjectiveworkisoneofexternalformmerely。Itisaccidental，notessential。Allartisticcreationisabsolutelysubjective。TheverylandscapethatCorotlookedatwas，ashesaidhimself，butamoodofhisownmind；andthosegreatfiguresofGreekorEnglishdramathatseemtoustopossessanactualexistenceoftheirown，apartfromthepoetswhoshapedandfashionedthem，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，willnecessarilybelessablefullytoexpresshimselfthantheartist，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。OnegainedfromitthatNOUVEAUFRISSON
whichitwasitsaimtoproduce。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，andmadeSidneyandLordBrookediscourseonlettersbeneaththePenshurstoaks；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，andthesoulmaybemadetheprisonerofthemindaswellasofthebody。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，andwillneversufferhimselftobelimitedtoanysettledcustomofthoughtorstereotypedmodeoflookingatthings。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’sarticlesandChadband’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，andtothevariousimpressionsthatbeautygivesus。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。’Ineedhardlysay，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。Andthoughthemissionoftheaestheticmovementistolurepeopletocontemplate，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’simmortalSYMPHONIEENBLANC
MAJEUR，thatflawlessmasterpieceofcolourandmusicwhichmayhavesuggestedthetypeaswellasthetitlesofmanyoftheirbestpictures。Foraclassthatwelcomestheincompetentwithsympatheticeagerness，andthatconfusesthebizarrewiththebeautiful，andvulgaritywithtruth，theyareextremelyaccomplished。Theycandoetchingsthathavethebrilliancyofepigrams，pastelsthatareasfascinatingasparadoxes，andasfortheirportraits，whateverthecommonplacemaysayagainstthem，noonecandenythattheypossessthatuniqueandwonderfulcharmwhichbelongstoworksofpurefiction。ButeventheImpressionists，earnestandindustriousastheyare，willnotdo。
Ilikethem。Theirwhitekeynote，withitsvariationsinlilac，wasaneraincolour。Thoughthemomentdoesnotmaketheman，themomentcertainlymakestheImpressionist，andforthemomentinart，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。Therepetitionsofpatterngiveusrest。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，hewillconcernhimselfnotwiththeindividual，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？Surelyeacharthasitsseparatetechnique？
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，andtheyhavelostthatelementofnoveltyorsurprisewhichissoessentialforromance。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，liketheauthorofLE
ROUGEETLENOIR，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，anddistilsitintoafineressence。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’WewillnotwaragainstFrancebecauseherproseisperfect，’butbecausetheproseofFranceisperfect，theywillnothatetheland。
IntellectualcriticismwillbindEuropetogetherinbondsfarcloserthanthosethatcanbeforgedbyshopmanorsentimentalist。
Itwillgiveusthepeacethatspringsfromunderstanding。
Noristhisall。ItisCriticismthat，recognisingnopositionasfinal，andrefusingtobinditselfbytheshallowshibbolethsofanysectorschool，createsthatserenephilosophictemperwhichlovestruthforitsownsake，andlovesitnotthelessbecauseitknowsittobeunattainable。HowlittlewehaveofthistemperinEngland，andhowmuchweneedit！TheEnglishmindisalwaysinarage。Theintellectoftheraceiswastedinthesordidandstupidquarrelsofsecond-ratepoliticiansorthird-ratetheologians。Itwasreservedforamanofsciencetoshowusthesupremeexampleofthat’sweetreasonableness’ofwhichArnoldspokesowisely，and，alas！tosolittleeffect。TheauthoroftheORIGINOFSPECIES
had，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。Aestheticsarehigherthanethics。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。A
faintpurplemisthangsoverthePark，andtheshadowsofthewhitehousesarepurple。Itistoolatetosleep。LetusgodowntoCoventGardenandlookattheroses。Come！Iamtiredofthought。
THETRUTHOFMASKS-ANOTEONILLUSION
Inmanyofthesomewhatviolentattacksthathaverecentlybeen
madeonthatsplendourofmountingwhichnowcharacterisesour
ShakespearianrevivalsinEngland，itseemstohavebeentacitly
assumedbythecriticsthatShakespearehimselfwasmoreorless
indifferenttothecostumesofhisactors，andthat，couldhesee
Mrs。Langtry’sproductionofANTONYANDCLEOPATRA，hewould
probablysaythattheplay，andtheplayonly，isthething，and
thateverythingelseisleatherandprunella。While，asregards
anyhistoricalaccuracyindress，LordLytton，inanarticleinthe
NINETEENTHCENTURY，haslaiditdownasadogmaofartthat
archaeologyisentirelyoutofplaceinthepresentationofanyof
Shakespeare’splays，andtheattempttointroduceitoneofthe
stupidestpedantriesofanageofprigs。
LordLytton’spositionIshallexaminelateron；but，asregards
thetheorythatShakespearedidnotbusyhimselfmuchaboutthe
costume-wardrobeofhistheatre，anybodywhocarestostudy
Shakespeare’smethodwillseethatthereisabsolutelynodramatist
oftheFrench，English，orAthenianstagewhoreliessomuchfor
hisillusionisteffectsonthedressofhisactorsasShakespeare
doeshimself。