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An essay by Oscar Wilde
The Critic as Artist
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Title: The Critic as Artist
Author: Oscar Wilde [More Titles by Wilde]
THE CRITIC AS ARTIST: WITH SOME REMARKS !O" THE IM!ORTA"CE O# $OI"%
"OTHI"%
A $IA&O%E' !art I' !erso(s: %ilbert a(d Er(est' Sce(e: the library o) a house i(
!iccadilly* o+erloo,i(- the %ree( !ar,'
%I&.ERT /at the !ia(o0' My dear Er(est* 1hat are you lau-hi(- at2
ER"EST /loo,i(- u30' At a ca3ital story that I ha+e 4ust co5e across i( this +olu5e o)
Re5i(isce(ces that I ha+e )ou(d o( your table'
%I&.ERT' What is the boo,2 Ah6 I see' I ha+e (ot read it yet' Is it -ood2
ER"EST' Well* 1hile you ha+e bee( 3layi(-* I ha+e bee( tur(i(- o+er the 3a-es 1ith so5e
a5use5e(t* thou-h* as a rule* I disli,e 5oder( 5e5oirs' They are -e(erally 1ritte( by
3eo3le 1ho ha+e either e(tirely lost their 5e5ories* or ha+e (e+er do(e a(ythi(- 1orth
re5e5beri(-7 1hich* ho1e+er* is* (o doubt* the true e83la(atio( o) their 3o3ularity* as the
E(-lish 3ublic al1ays )eels 3er)ectly at its ease 1he( a 5ediocrity is tal,i(- to it'
%I&.ERT' 9es: the 3ublic is 1o(der)ully tolera(t' It )or-i+es e+erythi(- e8ce3t -e(ius' .ut I
5ust co()ess that I li,e all 5e5oirs' I li,e the5 )or their )or5* 4ust as 5uch as )or their
5atter' I( literature 5ere e-otis5 is deli-ht)ul' It is 1hat )asci(ates us i( the letters o)
3erso(alities so di))ere(t as Cicero a(d .al:ac* #laubert a(d .erlio:* .yro( a(d Mada5e de
Se+i-(e' Whe(e+er 1e co5e across it* a(d* stra(-ely e(ou-h* it is rather rare* 1e ca((ot
but 1elco5e it* a(d do (ot easily )or-et it' Hu5a(ity 1ill al1ays lo+e Rousseau )or ha+i(-
co()essed his si(s* (ot to a 3riest* but to the 1orld* a(d the coucha(t (y53hs that Celli(i
1rou-ht i( bro(:e )or the castle o) Ki(- #ra(cis* the -ree( a(d -old !erseus* e+e(* that i(
the o3e( &o--ia at #lore(ce sho1s the 5oo( the dead terror that o(ce tur(ed li)e to sto(e*
ha+e (ot -i+e( it 5ore 3leasure tha( has that autobio-ra3hy i( 1hich the su3re5e
scou(drel o) the Re(aissa(ce relates the story o) his s3le(dour a(d his sha5e' The
o3i(io(s* the character* the achie+e5e(ts o) the 5a(* 5atter +ery little' He 5ay be a
sce3tic li,e the -e(tle Sieur de Mo(tai-(e* or a sai(t li,e the bitter so( o) Mo(ica* but
1he( he tells us his o1( secrets he ca( al1ays char5 our ears to liste(i(- a(d our li3s to
sile(ce' The 5ode o) thou-ht that Cardi(al "e15a( re3rese(ted;;i) that ca( be called a
5ode o) thou-ht 1hich see,s to sol+e i(tellectual 3roble5s by a de(ial o) the su3re5acy
o) the i(tellect;;5ay (ot* ca((ot* I thi(,* sur+i+e' .ut the 1orld 1ill (e+er 1eary o)
1atchi(- that troubled soul i( its 3ro-ress )ro5 dar,(ess to dar,(ess' The lo(ely church at
&ittle5ore* 1here <the breath o) the 5or(i(- is da53* a(d 1orshi33ers are )e1*< 1ill
al1ays be dear to it* a(d 1he(e+er 5e( see the yello1 s(a3dra-o( blosso5i(- o( the 1all
o) Tri(ity they 1ill thi(, o) that -racious u(der-raduate 1ho sa1 i( the )lo1er<s sure
recurre(ce a 3ro3hecy that he 1ould abide )or e+er 1ith the .e(i-( Mother o) his days;;a
3ro3hecy that #aith* i( her 1isdo5 or her )olly* su))ered (ot to be )ul)illed' 9es7
autobio-ra3hy is irresistible' !oor* silly* co(ceited Mr' Secretary !e3ys has chattered his
1ay i(to the circle o) the I55ortals* a(d* co(scious that i(discretio( is the better 3art o)
+alour* bustles about a5o(- the5 i( that <sha--y 3ur3le -o1( 1ith -old butto(s a(d
loo3ed lace< 1hich he is so )o(d o) describi(- to us* 3er)ectly at his ease* a(d 3rattli(-* to
his o1( a(d our i()i(ite 3leasure* o) the I(dia( blue 3etticoat that he bou-ht )or his 1i)e*
o) the <-ood ho-<s hars; let*< a(d the <3leasa(t #re(ch )ricassee o) +eal< that he lo+ed to
eat* o) his -a5e o) bo1ls 1ith Will =oyce* a(d his <-addi(- a)ter beauties*< a(d his reciti(-
o) Ha5let o( a Su(day* a(d his 3layi(- o) the +iol o( 1ee, days* a(d other 1ic,ed or
tri+ial thi(-s' E+e( i( actual li)e e-otis5 is (ot 1ithout its attractio(s' Whe( 3eo3le tal, to
us about others they are usually dull' Whe( they tal, to us about the5sel+es they are
(early al1ays i(teresti(-* a(d i) o(e could shut the5 u3* 1he( they beco5e 1eariso5e*
as easily as o(e ca( shut u3 a boo, o) 1hich o(e has -ro1( 1earied* they 1ould be
3er)ect absolutely'
ER"EST' There is 5uch +irtue i( that I)* as Touchsto(e 1ould say' .ut do you seriously
3ro3ose that e+ery 5a( should beco5e his o1( .os1ell2 What 1ould beco5e o) our
i(dustrious co53ilers o) &i+es a(d Recollectio(s i( that case2
%I&.ERT' What has beco5e o) the52 They are the 3est o) the a-e* (othi(- 5ore a(d
(othi(- less' E+ery -reat 5a( (o1adays has his disci3les* a(d it is al1ays =udas 1ho
1rites the bio-ra3hy'
ER"EST' My dear )ello16
%I&.ERT' I a5 a)raid it is true' #or5erly 1e used to ca(o(ise our heroes' The 5oder(
5ethod is to +ul-arise the5' Chea3 editio(s o) -reat boo,s 5ay be deli-ht)ul* but chea3
editio(s o) -reat 5e( are absolutely detestable'
ER"EST' May I as,* %ilbert* to 1ho5 you allude2
%I&.ERT' Oh6 to all our seco(d;rate litterateurs' We are o+erru( by a set o) 3eo3le 1ho*
1he( 3oet or 3ai(ter 3asses a1ay* arri+e at the house alo(- 1ith the u(derta,er* a(d
)or-et that their o(e duty is to beha+e as 5utes' .ut 1e 1o(<t tal, about the5' They are
the 5ere body;s(atchers o) literature' The dust is -i+e( to o(e* a(d the ashes to a(other*
a(d the soul is out o) their reach' A(d (o1* let 5e 3lay Cho3i( to you* or $+ora,2 Shall I
3lay you a )a(tasy by $+ora,2 He 1rites 3assio(ate* curiously;coloured thi(-s'
ER"EST' "o7 I do(<t 1a(t 5usic 4ust at 3rese(t' It is )ar too i(de)i(ite' .esides* I too, the
.aro(ess .er(stei( do1( to di((er last (i-ht* a(d* thou-h absolutely char5i(- i( e+ery
other res3ect* she i(sisted o( discussi(- 5usic as i) it 1ere actually 1ritte( i( the %er5a(
la(-ua-e' "o1* 1hate+er 5usic sou(ds li,e I a5 -lad to say that it does (ot sou(d i( the
s5allest de-ree li,e %er5a(' There are )or5s o) 3atriotis5 that are really >uite de-radi(-'
"o7 %ilbert* do(<t 3lay a(y 5ore' Tur( rou(d a(d tal, to 5e' Tal, to 5e till the 1hite;
hor(ed day co5es i(to the roo5' There is so5ethi(- i( your +oice that is 1o(der)ul'
%I&.ERT /risi(- )ro5 the 3ia(o0' I a5 (ot i( a 5ood )or tal,i(- to;(i-ht' I really a5 (ot'
Ho1 horrid o) you to s5ile6 Where are the ci-arettes2 Tha(,s' Ho1 e8>uisite these si(-le
da))odils are6 They see5 to be 5ade o) a5ber a(d cool i+ory' They are li,e %ree, thi(-s o)
the best 3eriod' What 1as the story i( the co()essio(s o) the re5orse)ul Acade5icia( that
5ade you lau-h2 Tell it to 5e' A)ter 3layi(- Cho3i(* I )eel as i) I had bee( 1ee3i(- o+er
si(s that I had (e+er co55itted* a(d 5our(i(- o+er tra-edies that 1ere (ot 5y o1('
Music al1ays see5s to 5e to 3roduce that e))ect' It creates )or o(e a 3ast o) 1hich o(e
has bee( i-(ora(t* a(d )ills o(e 1ith a se(se o) sorro1s that ha+e bee( hidde( )ro5 o(e<s
tears' I ca( )a(cy a 5a( 1ho had led a 3er)ectly co55o(3lace li)e* heari(- by cha(ce
so5e curious 3iece o) 5usic* a(d sudde(ly disco+eri(- that his soul* 1ithout his bei(-
co(scious o) it* had 3assed throu-h terrible e83erie(ces* a(d ,(o1( )ear)ul 4oys* or 1ild
ro5a(tic lo+es* or -reat re(u(ciatio(s' A(d so tell 5e this story* Er(est' I 1a(t to be
a5used'
ER"EST' Oh6 I do(<t ,(o1 that it is o) a(y i53orta(ce' .ut I thou-ht it a really ad5irable
illustratio( o) the true +alue o) ordi(ary art;criticis5' It see5s that a lady o(ce -ra+ely
as,ed the re5orse)ul Acade5icia(* as you call hi5* i) his celebrated 3icture o) <A S3ri(-;
$ay at Whiteley<s*< or* <Waiti(- )or the &ast O5(ibus*< or so5e sub4ect o) that ,i(d* 1as all
3ai(ted by ha(d2
%I&.ERT' A(d 1as it2
ER"EST' 9ou are >uite i(corri-ible' .ut* seriously s3ea,i(-* 1hat is the use o) art;
criticis52 Why ca((ot the artist be le)t alo(e* to create a (e1 1orld i) he 1ishes it* or* i)
(ot* to shado1 )orth the 1orld 1hich 1e already ,(o1* a(d o) 1hich* I )a(cy* 1e 1ould
each o(e o) us be 1earied i) Art* 1ith her )i(e s3irit o) choice a(d delicate i(sti(ct o)
selectio(* did (ot* as it 1ere* 3uri)y it )or us* a(d -i+e to it a 5o5e(tary 3er)ectio(' It
see5s to 5e that the i5a-i(atio( s3reads* or should s3read* a solitude arou(d it* a(d
1or,s best i( sile(ce a(d i( isolatio(' Why should the artist be troubled by the shrill
cla5our o) criticis52 Why should those 1ho ca((ot create ta,e u3o( the5sel+es to
esti5ate the +alue o) creati+e 1or,2 What ca( they ,(o1 about it2 I) a 5a(<s 1or, is easy
to u(dersta(d* a( e83la(atio( is u((ecessary' ' ' '
%I&.ERT' A(d i) his 1or, is i(co53rehe(sible* a( e83la(atio( is 1ic,ed'
ER"EST' I did (ot say that'
%I&.ERT' Ah6 but you should ha+e' "o1adays* 1e ha+e so )e1 5ysteries le)t to us that 1e
ca((ot a))ord to 3art 1ith o(e o) the5' The 5e5bers o) the .ro1(i(- Society* li,e the
theolo-ia(s o) the .road Church !arty* or the authors o) Mr' Walter Scott<s %reat Writers
Series* see5 to 5e to s3e(d their ti5e i( tryi(- to e83lai( their di+i(ity a1ay' Where o(e
had ho3ed that .ro1(i(- 1as a 5ystic they ha+e sou-ht to sho1 that he 1as si53ly
i(articulate' Where o(e had )a(cied that he had so5ethi(- to co(ceal* they ha+e 3ro+ed
that he had but little to re+eal' .ut I s3ea, 5erely o) his i(cohere(t 1or,' Ta,e( as a
1hole the 5a( 1as -reat' He did (ot belo(- to the Oly53ia(s* a(d had all the
i(co53lete(ess o) the Tita(' He did (ot sur+ey* a(d it 1as but rarely that he could si(-'
His 1or, is 5arred by stru--le* +iole(ce a(d e))ort* a(d he 3assed (ot )ro5 e5otio( to
)or5* but )ro5 thou-ht to chaos' Still* he 1as -reat' He has bee( called a thi(,er* a(d 1as
certai(ly a 5a( 1ho 1as al1ays thi(,i(-* a(d al1ays thi(,i(- aloud7 but it 1as (ot
thou-ht that )asci(ated hi5* but rather the 3rocesses by 1hich thou-ht 5o+es' It 1as the
5achi(e he lo+ed* (ot 1hat the 5achi(e 5a,es' The 5ethod by 1hich the )ool arri+es at
his )olly 1as as dear to hi5 as the ulti5ate 1isdo5 o) the 1ise' So 5uch* i(deed* did the
subtle 5echa(is5 o) 5i(d )asci(ate hi5 that he des3ised la(-ua-e* or loo,ed u3o( it as
a( i(co53lete i(stru5e(t o) e83ressio(' Rhy5e* that e8>uisite echo 1hich i( the Muse<s
hollo1 hill creates a(d a(s1ers its o1( +oice7 rhy5e* 1hich i( the ha(ds o) the real artist
beco5es (ot 5erely a 5aterial ele5e(t o) 5etrical beauty* but a s3iritual ele5e(t o)
thou-ht a(d 3assio( also* 1a,i(- a (e1 5ood* it 5ay be* or stirri(- a )resh trai( o) ideas*
or o3e(i(- by 5ere s1eet(ess a(d su--estio( o) sou(d so5e -olde( door at 1hich the
I5a-i(atio( itsel) had ,(oc,ed i( +ai(7 rhy5e* 1hich ca( tur( 5a(<s uttera(ce to the
s3eech o) -ods7 rhy5e* the o(e chord 1e ha+e added to the %ree, lyre* beca5e i( Robert
.ro1(i(-<s ha(ds a -rotes>ue* 5issha3e( thi(-* 1hich at ti5es 5ade hi5 5as>uerade i(
3oetry as a lo1 co5edia(* a(d ride !e-asus too o)te( 1ith his to(-ue i( his chee,' There
are 5o5e(ts 1he( he 1ou(ds us by 5o(strous 5usic' "ay* i) he ca( o(ly -et his 5usic
by brea,i(- the stri(-s o) his lute* he brea,s the5* a(d they s(a3 i( discord* a(d (o
Athe(ia( tetti8* 5a,i(- 5elody )ro5 tre5ulous 1i(-s* li-hts o( the i+ory hor( to 5a,e
the 5o+e5e(t 3er)ect* or the i(ter+al less harsh' 9et* he 1as -reat: a(d thou-h he tur(ed
la(-ua-e i(to i-(oble clay* he 5ade )ro5 it 5e( a(d 1o5e( that li+e' He is the 5ost
Sha,es3earia( creature si(ce Sha,es3eare' I) Sha,es3eare could si(- 1ith 5yriad li3s*
.ro1(i(- could sta55er throu-h a thousa(d 5ouths' E+e( (o1* as I a5 s3ea,i(-* a(d
s3ea,i(- (ot a-ai(st hi5 but )or hi5* there -lides throu-h the roo5 the 3a-ea(t o) his
3erso(s' There* cree3s #ra &i33o &i33i 1ith his chee,s still bur(i(- )ro5 so5e -irl<s hot
,iss' There* sta(ds dread Saul 1ith the lordly 5ale;sa33hires -lea5i(- i( his turba('
Mildred Tresha5 is there* a(d the S3a(ish 5o(,* yello1 1ith hatred* a(d .lou-ra5* a(d
.e( E:ra* a(d the .isho3 o) St' !ra8ed<s' The s3a1( o) Setebos -ibbers i( the cor(er* a(d
Sebald* heari(- !i33a 3ass by* loo,s o( Otti5a<s ha--ard )ace* a(d loathes her a(d his
o1( si(* a(d hi5sel)' !ale as the 1hite sati( o) his doublet* the 5ela(choly ,i(- 1atches
1ith drea5y treacherous eyes too loyal Stra))ord 3ass )orth to his doo5* a(d A(drea
shudders as he hears the cousi(s 1histle i( the -arde(* a(d bids his 3er)ect 1i)e -o do1('
9es* .ro1(i(- 1as -reat' A(d as 1hat 1ill he be re5e5bered2 As a 3oet2 Ah* (ot as a
3oet6 He 1ill be re5e5bered as a 1riter o) )ictio(* as the 5ost su3re5e 1riter o) )ictio(* it
5ay be* that 1e ha+e e+er had' His se(se o) dra5atic situatio( 1as u(ri+alled* a(d* i) he
could (ot a(s1er his o1( 3roble5s* he could at least 3ut 3roble5s )orth* a(d 1hat 5ore
should a( artist do2 Co(sidered )ro5 the 3oi(t o) +ie1 o) a creator o) character he ra(,s
(e8t to hi5 1ho 5ade Ha5let' Had he bee( articulate* he 5i-ht ha+e sat beside hi5' The
o(ly 5a( 1ho ca( touch the he5 o) his -ar5e(t is %eor-e Meredith' Meredith is a 3rose
.ro1(i(-* a(d so is .ro1(i(-' He used 3oetry as a 5ediu5 )or 1riti(- i( 3rose'
ER"EST' There is so5ethi(- i( 1hat you say* but there is (ot e+erythi(- i( 1hat you say'
I( 5a(y 3oi(ts you are u(4ust'
%I&.ERT' It is di))icult (ot to be u(4ust to 1hat o(e lo+es' .ut let us retur( to the
3articular 3oi(t at issue' What 1as it that you said2
ER"EST' Si53ly this: that i( the best days o) art there 1ere (o art;critics'
%I&.ERT' I see5 to ha+e heard that obser+atio( be)ore* Er(est' It has all the +itality o)
error a(d all the tedious(ess o) a( old )rie(d'
ER"EST' It is true' 9es: there is (o use your tossi(- your head i( that 3etula(t 5a((er' It
is >uite true' I( the best days o) art there 1ere (o art;critics' The scul3tor he1ed )ro5 the
5arble bloc, the -reat 1hite;li5bed Her5es that sle3t 1ithi( it' The 1a8ers a(d -ilders o)
i5a-es -a+e to(e a(d te8ture to the statue* a(d the 1orld* 1he( it sa1 it* 1orshi33ed a(d
1as du5b' He 3oured the -lo1i(- bro(:e i(to the 5ould o) sa(d* a(d the ri+er o) red
5etal cooled i(to (oble cur+es a(d too, the i53ress o) the body o) a -od' With e(a5el or
3olished 4e1els he -a+e si-ht to the si-htless eyes' The hyaci(th;li,e curls -re1 cris3
be(eath his -ra+er' A(d 1he(* i( so5e di5 )rescoed )a(e* or 3illared su(lit 3ortico* the
child o) &eto stood u3o( his 3edestal* those 1ho 3assed by* [%ree, te8t 1hich ca((ot be
re3roduced]* beca5e co(scious o) a (e1 i()lue(ce that had co5e across their li+es* a(d
drea5ily* or 1ith a se(se o) stra(-e a(d >uic,e(i(- 4oy* 1e(t to their ho5es or daily
labour* or 1a(dered* it 5ay be* throu-h the city -ates to that (y53h;hau(ted 5eado1
1here you(- !haedrus bathed his )eet* a(d* lyi(- there o( the so)t -rass* be(eath the tall
1i(d;;1his3eri(- 3la(es a(d )lo1eri(- a-(us castus* be-a( to thi(, o) the 1o(der o)
beauty* a(d -re1 sile(t 1ith u(accusto5ed a1e' I( those days the artist 1as )ree' #ro5
the ri+er +alley he too, the )i(e clay i( his )i(-ers* a(d 1ith a little tool o) 1ood or bo(e*
)ashio(ed it i(to )or5s so e8>uisite that the 3eo3le -a+e the5 to the dead as their
3laythi(-s* a(d 1e )i(d the5 still i( the dusty to5bs o( the yello1 hillside by Ta(a-ra*
1ith the )ai(t -old a(d the )adi(- cri5so( still li(-eri(- about hair a(d li3s a(d rai5e(t'
O( a 1all o) )resh 3laster* stai(ed 1ith bri-ht sa(dy8 or 5i8ed 1ith 5il, a(d sa))ro(* he
3ictured o(e 1ho trod 1ith tired )eet the 3ur3le 1hite;starred )ields o) as3hodel* o(e <i(
1hose eyelids lay the 1hole o) the Tro4a( War*< !oly8e(a* the dau-hter o) !ria57 or )i-ured
Odysseus* the 1ise a(d cu((i(-* bou(d by ti-ht cords to the 5ast;ste3* that he 5i-ht
liste( 1ithout hurt to the si(-i(- o) the Sire(s* or 1a(deri(- by the clear ri+er o) Achero(*
1here the -hosts o) )ishes )litted o+er the 3ebbly bed7 or sho1ed the !ersia( i( tre1s a(d
5itre )lyi(- be)ore the %ree, at Maratho(* or the -alleys clashi(- their bea,s o) brass i(
the little Sala5i(ia( bay' He dre1 1ith sil+er;3oi(t a(d charcoal u3o( 3arch5e(t a(d
3re3ared cedar' 3o( i+ory a(d rose;coloured terracotta he 3ai(ted 1ith 1a8* 5a,i(- the
1a8 )luid 1ith 4uice o) oli+es* a(d 1ith heated iro(s 5a,i(- it )ir5' !a(el a(d 5arble a(d
li(e( ca(+as beca5e 1o(der)ul as his brush s1e3t across the57 a(d li)e seei(- her o1(
i5a-e* 1as still* a(d dared (ot s3ea,' All li)e* i(deed* 1as his* )ro5 the 5ercha(ts seated
i( the 5ar,et;3lace to the cloa,ed she3herd lyi(- o( the hill7 )ro5 the (y53h hidde( i(
the laurels a(d the )au( that 3i3es at (oo(* to the ,i(- 1ho5* i( lo(- -ree(; curtai(ed
litter* sla+es bore u3o( oil;bri-ht shoulders* a(d )a((ed 1ith 3eacoc, )a(s' Me( a(d
1o5e(* 1ith 3leasure or sorro1 i( their )aces* 3assed be)ore hi5' He 1atched the5* a(d
their secret beca5e his' Throu-h )or5 a(d colour he re;created a 1orld'
All subtle arts belo(-ed to hi5 also' He held the -e5 a-ai(st the re+ol+i(- dis,* a(d the
a5ethyst beca5e the 3ur3le couch )or Ado(is* a(d across the +ei(ed sardo(y8 s3ed
Arte5is 1ith her hou(ds' He beat out the -old i(to roses* a(d stru(- the5 to-ether )or
(ec,lace or ar5let' He beat out the -old i(to 1reaths )or the co(>ueror<s hel5et* or i(to
3al5ates )or the Tyria( robe* or i(to 5as,s )or the royal dead' O( the bac, o) the sil+er
5irror he -ra+ed Thetis bor(e by her "ereids* or lo+e;sic, !haedra 1ith her (urse* or
!erse3ho(e* 1eary o) 5e5ory* 3utti(- 3o33ies i( her hair' The 3otter sat i( his shed* a(d*
)lo1er;li,e )ro5 the sile(t 1heel* the +ase rose u3 be(eath his ha(ds' He decorated the
base a(d ste5 a(d ears 1ith 3atter( o) dai(ty oli+e;lea)* or )oliated aca(thus* or cur+ed
a(d crested 1a+e' The( i( blac, or red he 3ai(ted lads 1restli(-* or i( the race: ,(i-hts i(
)ull ar5our* 1ith stra(-e heraldic shields a(d curious +isors* lea(i(- )ro5 shell;sha3ed
chariot o+er reari(- steeds: the -ods seated at the )east or 1or,i(- their 5iracles: the
heroes i( their +ictory or i( their 3ai(' So5eti5es he 1ould etch i( thi( +er5ilio( li(es
u3o( a -rou(d o) 1hite the la(-uid bride-roo5 a(d his bride* 1ith Eros ho+eri(- rou(d
the5;;a( Eros li,e o(e o) $o(atello<s a(-els* a little lau-hi(- thi(- 1ith -ilded or 1ith
a:ure 1i(-s' O( the cur+ed side he 1ould 1rite the (a5e o) his )rie(d' [%ree, te8t 1hich
ca((ot be re3roduced] or [%ree, te8t 1hich ca((ot be re3roduced] tells us the story o) his
days' A-ai(* o( the ri5 o) the 1ide )lat cu3 he 1ould dra1 the sta- bro1si(-* or the lio(
at rest* as his )a(cy 1illed it' #ro5 the ti(y 3er)u5e;bottle lau-hed A3hrodite at her toilet*
a(d* 1ith bare;li5bed Mae(ads i( his trai(* $io(ysus da(ced rou(d the 1i(e;4ar o( (a,ed
5ust;stai(ed )eet* 1hile* satyr;li,e* the old Sile(us s3ra1led u3o( the bloated s,i(s* or
shoo, that 5a-ic s3ear 1hich 1as ti33ed 1ith a )retted )ir;co(e* a(d 1reathed 1ith dar,
i+y' A(d (o o(e ca5e to trouble the artist at his 1or,' "o irres3o(sible chatter disturbed
hi5' He 1as (ot 1orried by o3i(io(s' .y the Ilyssus* says Ar(old so5e1here* there 1as
(o Hi--i(botha5' .y the Ilyssus* 5y dear %ilbert* there 1ere (o silly art co(-resses
bri(-i(- 3ro+i(cialis5 to the 3ro+i(ces a(d teachi(- the 5ediocrity ho1 to 5outh' .y the
Ilyssus there 1ere (o tedious 5a-a:i(es about art* i( 1hich the i(dustrious 3rattle o) 1hat
they do (ot u(dersta(d' O( the reed; -ro1( ba(,s o) that little strea5 strutted (o
ridiculous 4our(alis5 5o(o3olisi(- the seat o) 4ud-5e(t 1he( it should be a3olo-isi(- i(
the doc,' The %ree,s had (o art;critics'
%I&.ERT' Er(est* you are >uite deli-ht)ul* but your +ie1s are terribly u(sou(d' I a5 a)raid
that you ha+e bee( liste(i(- to the co(+ersatio( o) so5e o(e older tha( yoursel)' That is
al1ays a da(-erous thi(- to do* a(d i) you allo1 it to de-e(erate i(to a habit you 1ill )i(d
it absolutely )atal to a(y i(tellectual de+elo35e(t' As )or 5oder( 4our(alis5* it is (ot 5y
busi(ess to de)e(d it' It 4usti)ies its o1( e8iste(ce by the -reat $ar1i(ia( 3ri(ci3le o) the
sur+i+al o) the +ul-arest' I ha+e 5erely to do 1ith literature'
ER"EST' .ut 1hat is the di))ere(ce bet1ee( literature a(d 4our(alis52
%I&.ERT' Oh6 4our(alis5 is u(readable* a(d literature is (ot read' That is all' .ut 1ith
re-ard to your state5e(t that the %ree,s had (o art;critics* I assure you that is >uite
absurd' It 1ould be 5ore 4ust to say that the %ree,s 1ere a (atio( o) art;critics'
ER"EST' Really2
%I&.ERT' 9es* a (atio( o) art;critics' .ut I do(<t 1ish to destroy the deli-ht)ully u(real
3icture that you ha+e dra1( o) the relatio( o) the Helle(ic artist to the i(tellectual s3irit o)
his a-e' To -i+e a( accurate descri3tio( o) 1hat has (e+er occurred is (ot 5erely the
3ro3er occu3atio( o) the historia(* but the i(alie(able 3ri+ile-e o) a(y 5a( o) 3arts a(d
culture' Still less do I desire to tal, lear(edly' &ear(ed co(+ersatio( is either the
a))ectatio( o) the i-(ora(t or the 3ro)essio( o) the 5e(tally u(e53loyed' A(d* as )or 1hat
is called i53ro+i(- co(+ersatio(* that is 5erely the )oolish 5ethod by 1hich the still 5ore
)oolish 3hila(thro3ist )eebly tries to disar5 the 4ust ra(cour o) the cri5i(al classes' "o: let
5e 3lay to you so5e 5ad scarlet thi(- by $+ora,' The 3allid )i-ures o( the ta3estry are
s5ili(- at us* a(d the hea+y eyelids o) 5y bro(:e "arcissus are )olded i( slee3' $o(<t let
us discuss a(ythi(- sole5(ly' I a5 but too co(scious o) the )act that 1e are bor( i( a(
a-e 1he( o(ly the dull are treated seriously* a(d I li+e i( terror o) (ot bei(-
5isu(derstood' $o(<t de-rade 5e i(to the 3ositio( o) -i+i(- you use)ul i()or5atio('
Educatio( is a( ad5irable thi(-* but it is 1ell to re5e5ber )ro5 ti5e to ti5e that (othi(-
that is 1orth ,(o1i(- ca( be tau-ht' Throu-h the 3arted curtai(s o) the 1i(do1 I see the
5oo( li,e a cli33ed 3iece o) sil+er' &i,e -ilded bees the stars cluster rou(d her' The s,y is a
hard hollo1 sa33hire' &et us -o out i(to the (i-ht' Thou-ht is 1o(der)ul* but ad+e(ture is
5ore 1o(der)ul still' Who ,(o1s but 1e 5ay 5eet !ri(ce #lori:el o) .ohe5ia* a(d hear
the )air Cuba( tell us that she is (ot 1hat she see5s2
ER"EST' 9ou are horribly 1il)ul' I i(sist o( your discussi(- this 5atter 1ith 5e' 9ou ha+e
said that the %ree,s 1ere a (atio( o) art;critics' What art;criticis5 ha+e they le)t us2
%I&.ERT' My dear Er(est* e+e( i) (ot a si(-le )ra-5e(t o) art; criticis5 had co5e do1( to
us )ro5 Helle(ic or Helle(istic days* it 1ould be (o(e the less true that the %ree,s 1ere a
(atio( o) art; critics* a(d that they i(+e(ted the criticis5 o) art 4ust as they i(+e(ted the
criticis5 o) e+erythi(- else' #or* a)ter all* 1hat is our 3ri5ary debt to the %ree,s2 Si53ly
the critical s3irit' A(d* this s3irit* 1hich they e8ercised o( >uestio(s o) reli-io( a(d
scie(ce* o) ethics a(d 5eta3hysics* o) 3olitics a(d educatio(* they e8ercised o( >uestio(s
o) art also* a(d* i(deed* o) the t1o su3re5e a(d hi-hest arts* they ha+e le)t us the 5ost
)la1less syste5 o) criticis5 that the 1orld has e+er see('
ER"EST' .ut 1hat are the t1o su3re5e a(d hi-hest arts2
%I&.ERT' &i)e a(d &iterature* li)e a(d the 3er)ect e83ressio( o) li)e' The 3ri(ci3les o) the
)or5er* as laid do1( by the %ree,s* 1e 5ay (ot realise i( a( a-e so 5arred by )alse ideals
as our o1(' The 3ri(ci3les o) the latter* as they laid the5 do1(* are* i( 5a(y cases* so
subtle that 1e ca( hardly u(dersta(d the5' Reco-(isi(- that the 5ost 3er)ect art is that
1hich 5ost )ully 5irrors 5a( i( all his i()i(ite +ariety* they elaborated the criticis5 o)
la(-ua-e* co(sidered i( the li-ht o) the 5ere 5aterial o) that art* to a 3oi(t to 1hich 1e*
1ith our acce(tual syste5 o) reaso(able or e5otio(al e53hasis* ca( barely i) at all attai(7
studyi(-* )or i(sta(ce* the 5etrical 5o+e5e(ts o) a 3rose as scie(ti)ically as a 5oder(
5usicia( studies har5o(y a(d cou(ter3oi(t* a(d* I (eed hardly say* 1ith 5uch ,ee(er
aesthetic i(sti(ct' I( this they 1ere ri-ht* as they 1ere ri-ht i( all thi(-s' Si(ce the
i(troductio( o) 3ri(ti(-* a(d the )atal de+elo35e(t o) the habit o) readi(- a5o(-st the
5iddle a(d lo1er classes o) this cou(try* there has bee( a te(de(cy i( literature to a33eal
5ore a(d 5ore to the eye* a(d less a(d less to the ear 1hich is really the se(se 1hich*
)ro5 the sta(d3oi(t o) 3ure art* it should see, to 3lease* a(d by 1hose ca(o(s o) 3leasure
it should abide al1ays' E+e( the 1or, o) Mr' !ater* 1ho is* o( the 1hole* the 5ost 3er)ect
5aster o) E(-lish 3rose (o1 creati(- a5o(-st us* is o)te( )ar 5ore li,e a 3iece o) 5osaic
tha( a 3assa-e i( 5usic* a(d see5s* here a(d there* to lac, the true rhyth5ical li)e o)
1ords a(d the )i(e )reedo5 a(d rich(ess o) e))ect that such rhyth5ical li)e 3roduces' We*
i( )act* ha+e 5ade 1riti(- a de)i(ite 5ode o) co53ositio(* a(d ha+e treated it as a )or5 o)
elaborate desi-(' The %ree,s* u3o( the other ha(d* re-arded 1riti(- si53ly as a 5ethod
o) chro(icli(-' Their test 1as al1ays the s3o,e( 1ord i( its 5usical a(d 5etrical relatio(s'
The +oice 1as the 5ediu5* a(d the ear the critic' I ha+e so5eti5es thou-ht that the story
o) Ho5er<s bli(d(ess 5i-ht be really a( artistic 5yth* created i( critical days* a(d ser+i(-
to re5i(d us* (ot 5erely that the -reat 3oet is al1ays a seer* seei(- less 1ith the eyes o)
the body tha( he does 1ith the eyes o) the soul* but that he is a true si(-er also* buildi(-
his so(- out o) 5usic* re3eati(- each li(e o+er a(d o+er a-ai( to hi5sel) till he has cau-ht
the secret o) its 5elody* chau(ti(- i( dar,(ess the 1ords that are 1i(-ed 1ith li-ht'
Certai(ly* 1hether this be so or (ot* it 1as to his bli(d(ess* as a( occasio(* i) (ot as a
cause* that E(-la(d<s -reat 3oet o1ed 5uch o) the 5a4estic 5o+e5e(t a(d so(orous
s3le(dour o) his later +erse' Whe( Milto( could (o lo(-er 1rite he be-a( to si(-' Who
1ould 5atch the 5easures o) Co5us 1ith the 5easures o) Sa5so( A-o(istes* or o)
!aradise &ost or Re-ai(ed2 Whe( Milto( beca5e bli(d he co53osed* as e+ery o(e should
co53ose* 1ith the +oice 3urely* a(d so the 3i3e or reed o) earlier days beca5e that
5i-hty 5a(y;sto33ed or-a( 1hose rich re+erbera(t 5usic has all the stateli(ess o)
Ho5eric +erse* i) it see,s (ot to ha+e its s1i)t(ess* a(d is the o(e i53erishable i(herita(ce
o) E(-lish literature s1ee3i(- throu-h all the a-es* because abo+e the5* a(d abidi(- 1ith
us e+er* bei(- i55ortal i( its )or5' 9es: 1riti(- has do(e 5uch har5 to 1riters' We 5ust
retur( to the +oice' That 5ust be our test* a(d 3erha3s the( 1e shall be able to a33reciate
so5e o) the subtleties o) %ree, art;criticis5'
As it (o1 is* 1e ca((ot do so' So5eti5es* 1he( I ha+e 1ritte( a 3iece o) 3rose that I
ha+e bee( 5odest e(ou-h to co(sider absolutely )ree )ro5 )ault* a dread)ul thou-ht co5es
o+er 5e that I 5ay ha+e bee( -uilty o) the i55oral e))e5i(acy o) usi(- trochaic a(d
tribrachic 5o+e5e(ts* a cri5e )or 1hich a lear(ed critic o) the Au-usta( a-e ce(sures 1ith
5ost 4ust se+erity the brillia(t i) so5e1hat 3arado8ical He-esias' I -ro1 cold 1he( I thi(,
o) it* a(d 1o(der to 5ysel) i) the ad5irable ethical e))ect o) the 3rose o) that char5i(-
1riter* 1ho o(ce i( a s3irit o) rec,less -e(erosity to1ards the u(culti+ated 3ortio( o) our
co55u(ity 3roclai5ed the 5o(strous doctri(e that co(duct is three;)ourths o) li)e* 1ill (ot
so5e day be e(tirely a((ihilated by the disco+ery that the 3aeo(s ha+e bee( 1ro(-ly
3laced'
ER"EST' Ah6 (o1 you are )li33a(t'
%I&.ERT' Who 1ould (ot be )li33a(t 1he( he is -ra+ely told that the %ree,s had (o art;
critics2 I ca( u(dersta(d it bei(- said that the co(structi+e -e(ius o) the %ree,s lost itsel)
i( criticis5* but (ot that the race to 1ho5 1e o1e the critical s3irit did (ot criticise' 9ou
1ill (ot as, 5e to -i+e you a sur+ey o) %ree, art criticis5 )ro5 !lato to !loti(us' The (i-ht
is too lo+ely )or that* a(d the 5oo(* i) she heard us* 1ould 3ut 5ore ashes o( her )ace
tha( are there already' .ut thi(, 5erely o) o(e 3er)ect little 1or, o) aesthetic criticis5*
Aristotle<s Treatise o( !oetry' It is (ot 3er)ect i( )or5* )or it is badly 1ritte(* co(sisti(-
3erha3s o) (otes dotted do1( )or a( art lecture* or o) isolated )ra-5e(ts desti(ed )or
so5e lar-er boo,* but i( te53er a(d treat5e(t it is 3er)ect* absolutely' The ethical e))ect
o) art* its i53orta(ce to culture* a(d its 3lace i( the )or5atio( o) character* had bee( do(e
o(ce )or all by !lato7 but here 1e ha+e art treated* (ot )ro5 the 5oral* but )ro5 the
3urely aesthetic 3oi(t o) +ie1' !lato had* o) course* dealt 1ith 5a(y de)i(itely artistic
sub4ects* such as the i53orta(ce o) u(ity i( a 1or, o) art* the (ecessity )or to(e a(d
har5o(y* the aesthetic +alue o) a33eara(ces* the relatio( o) the +isible arts to the e8ter(al
1orld* a(d the relatio( o) )ictio( to )act' He )irst 3erha3s stirred i( the soul o) 5a( that
desire that 1e ha+e (ot yet satis)ied* the desire to ,(o1 the co((ectio( bet1ee( .eauty
a(d Truth* a(d the 3lace o) .eauty i( the 5oral a(d i(tellectual order o) the Kos5os' The
3roble5s o) idealis5 a(d realis5* as he sets the5 )orth* 5ay see5 to 5a(y to be
so5e1hat barre( o) result i( the 5eta3hysical s3here o) abstract bei(- i( 1hich he 3laces
the5* but tra(s)er the5 to the s3here o) art* a(d you 1ill )i(d that they are still +ital a(d
)ull o) 5ea(i(-' It 5ay be that it is as a critic o) .eauty that !lato is desti(ed to li+e* a(d
that by alteri(- the (a5e o) the s3here o) his s3eculatio( 1e shall )i(d a (e1 3hiloso3hy'
.ut Aristotle* li,e %oethe* deals 1ith art 3ri5arily i( its co(crete 5a(i)estatio(s* ta,i(-
Tra-edy* )or i(sta(ce* a(d i(+esti-ati(- the 5aterial it uses* 1hich is la(-ua-e* its sub4ect;
5atter* 1hich is li)e* the 5ethod by 1hich it 1or,s* 1hich is actio(* the co(ditio(s u(der
1hich it re+eals itsel)* 1hich are those o) theatric 3rese(tatio(* its lo-ical structure* 1hich
is 3lot* a(d its )i(al aesthetic a33eal* 1hich is to the se(se o) beauty realised throu-h the
3assio(s o) 3ity a(d a1e' That 3uri)icatio( a(d s3iritualisi(- o) the (ature 1hich he calls
[%ree, te8t 1hich ca((ot be re3roduced] is* as %oethe sa1* esse(tially aesthetic* a(d is
(ot 5oral* as &essi(- )a(cied' Co(cer(i(- hi5sel) 3ri5arily 1ith the i53ressio( that the
1or, o) art 3roduces* Aristotle sets hi5sel) to a(alyse that i53ressio(* to i(+esti-ate its
source* to see ho1 it is e(-e(dered' As a 3hysiolo-ist a(d 3sycholo-ist* he ,(o1s that the
health o) a )u(ctio( resides i( e(er-y' To ha+e a ca3acity )or a 3assio( a(d (ot to realise
it* is to 5a,e o(esel) i(co53lete a(d li5ited' The 5i5ic s3ectacle o) li)e that Tra-edy
a))ords clea(ses the boso5 o) 5uch <3erilous stu))*< a(d by 3rese(ti(- hi-h a(d 1orthy
ob4ects )or the e8ercise o) the e5otio(s 3uri)ies a(d s3iritualises the 5a(7 (ay* (ot 5erely
does it s3iritualise hi5* but it i(itiates hi5 also i(to (oble )eeli(-s o) 1hich he 5i-ht else
ha+e ,(o1( (othi(-* the 1ord [%ree, te8t 1hich ca((ot be re3roduced] ha+i(-* it has
so5eti5es see5ed to 5e* a de)i(ite allusio( to the rite o) i(itiatio(* i) i(deed that be (ot*
as I a5 occasio(ally te53ted to )a(cy* its true a(d o(ly 5ea(i(- here' This is o) course a
5ere outli(e o) the boo,' .ut you see 1hat a 3er)ect 3iece o) aesthetic criticis5 it is' Who
i(deed but a %ree, could ha+e a(alysed art so 1ell2 A)ter readi(- it* o(e does (ot 1o(der
a(y lo(-er that Ale8a(dria de+oted itsel) so lar-ely to art;criticis5* a(d that 1e )i(d the
artistic te53era5e(ts o) the day i(+esti-ati(- e+ery >uestio( o) style a(d 5a((er*
discussi(- the -reat Acade5ic schools o) 3ai(ti(-* )or i(sta(ce* such as the school o)
Sicyo(* that sou-ht to 3reser+e the di-(i)ied traditio(s o) the a(ti>ue 5ode* or the
realistic a(d i53ressio(ist schools* that ai5ed at re3roduci(- actual li)e* or the ele5e(ts
o) ideality i( 3ortraiture* or the artistic +alue o) the e3ic )or5 i( a( a-e so 5oder( as
theirs* or the 3ro3er sub4ect;5atter )or the artist' I(deed* I )ear that the i(artistic
te53era5e(ts o) the day busied the5sel+es also i( 5atters o) literature a(d art* )or the
accusatio(s o) 3la-iaris5 1ere e(dless* a(d such accusatio(s 3roceed either )ro5 the thi(
colourless li3s o) i53ote(ce* or )ro5 the -rotes>ue 5ouths o) those 1ho* 3ossessi(-
(othi(- o) their o1(* )a(cy that they ca( -ai( a re3utatio( )or 1ealth by cryi(- out that
they ha+e bee( robbed' A(d I assure you* 5y dear Er(est* that the %ree,s chattered
about 3ai(ters >uite as 5uch as 3eo3le do (o1adays* a(d had their 3ri+ate +ie1s* a(d
shilli(- e8hibitio(s* a(d Arts a(d Cra)ts -uilds* a(d !re;Ra3haelite 5o+e5e(ts* a(d
5o+e5e(ts to1ards realis5* a(d lectured about art* a(d 1rote essays o( art* a(d
3roduced their art;historia(s* a(d their archaeolo-ists* a(d all the rest o) it' Why* e+e( the
theatrical 5a(a-ers o) tra+elli(- co53a(ies brou-ht their dra5atic critics 1ith the5 1he(
they 1e(t o( tour* a(d 3aid the5 +ery ha(dso5e salaries )or 1riti(- laudatory (otices'
Whate+er* i( )act* is 5oder( i( our li)e 1e o1e to the %ree,s' Whate+er is a( a(achro(is5
is due to 5ediae+alis5' It is the %ree,s 1ho ha+e -i+e( us the 1hole syste5 o) art;
criticis5* a(d ho1 )i(e their critical i(sti(ct 1as* 5ay be see( )ro5 the )act that the
5aterial they criticised 1ith 5ost care 1as* as I ha+e already said* la(-ua-e' #or the
5aterial that 3ai(ter or scul3tor uses is 5ea-re i( co53ariso( 1ith that o) 1ords' Words
ha+e (ot 5erely 5usic as s1eet as that o) +iol a(d lute* colour as rich a(d +i+id as a(y
that 5a,es lo+ely )or us the ca(+as o) the ?e(etia( or the S3a(iard* a(d 3lastic )or5 (o
less sure a(d certai( tha( that 1hich re+eals itsel) i( 5arble or i( bro(:e* but thou-ht a(d
3assio( a(d s3irituality are theirs also* are theirs i(deed alo(e' I) the %ree,s had criticised
(othi(- but la(-ua-e* they 1ould still ha+e bee( the -reat art;critics o) the 1orld' To ,(o1
the 3ri(ci3les o) the hi-hest art is to ,(o1 the 3ri(ci3les o) all the arts'
.ut I see that the 5oo( is hidi(- behi(d a sul3hur;coloured cloud' Out o) a ta1(y 5a(e o)
dri)t she -lea5s li,e a lio(<s eye' She is a)raid that I 1ill tal, to you o) &ucia( a(d
&o(-i(us* o) @ui(ctilia( a(d $io(ysius* o) !li(y a(d #ro(to a(d !ausa(ias* o) all those 1ho
i( the a(ti>ue 1orld 1rote or lectured u3o( art 5atters' She (eed (ot be a)raid' I a5 tired
o) 5y e83editio( i(to the di5* dull abyss o) )acts' There is (othi(- le)t )or 5e (o1 but the
di+i(e [%ree, te8t 1hich ca((ot be re3roduced] o) a(other ci-arette' Ci-arettes ha+e at
least the char5 o) lea+i(- o(e u(satis)ied'
ER"EST' Try o(e o) 5i(e' They are rather -ood' I -et the5 direct )ro5 Cairo' The o(ly use
o) our attaches is that they su33ly their )rie(ds 1ith e8celle(t tobacco' A(d as the 5oo(
has hidde( hersel)* let us tal, a little lo(-er' I a5 >uite ready to ad5it that I 1as 1ro(- i(
1hat I said about the %ree,s' They 1ere* as you ha+e 3oi(ted out* a (atio( o) art;critics' I
ac,(o1led-e it* a(d I )eel a little sorry )or the5' #or the creati+e )aculty is hi-her tha( the
critical' There is really (o co53ariso( bet1ee( the5'
%I&.ERT' The a(tithesis bet1ee( the5 is e(tirely arbitrary' Without the critical )aculty*
there is (o artistic creatio( at all* 1orthy o) the (a5e' 9ou s3o,e a little 1hile a-o o) that
)i(e s3irit o) choice a(d delicate i(sti(ct o) selectio( by 1hich the artist realises li)e )or us*
a(d -i+es to it a 5o5e(tary 3er)ectio(' Well* that s3irit o) choice* that subtle tact o)
o5issio(* is really the critical )aculty i( o(e o) its 5ost characteristic 5oods* a(d (o o(e
1ho does (ot 3ossess this critical )aculty ca( create a(ythi(- at all i( art' Ar(old<s
de)i(itio( o) literature as a criticis5 o) li)e 1as (ot +ery )elicitous i( )or5* but it sho1ed
ho1 ,ee(ly he reco-(ised the i53orta(ce o) the critical ele5e(t i( all creati+e 1or,'
ER"EST' I should ha+e said that -reat artists 1or, u(co(sciously* that they 1ere <1iser
tha( they ,(e1*< as* I thi(,* E5erso( re5ar,s so5e1here'
%I&.ERT' It is really (ot so* Er(est' All )i(e i5a-i(ati+e 1or, is sel);co(scious a(d
deliberate' "o 3oet si(-s because he 5ust si(-' At least* (o -reat 3oet does' A -reat 3oet
si(-s because he chooses to si(-' It is so (o1* a(d it has al1ays bee( so' We are
so5eti5es a3t to thi(, that the +oices that sou(ded at the da1( o) 3oetry 1ere si53ler*
)resher* a(d 5ore (atural tha( ours* a(d that the 1orld 1hich the early 3oets loo,ed at*
a(d throu-h 1hich they 1al,ed* had a ,i(d o) 3oetical >uality o) its o1(* a(d al5ost
1ithout cha(-i(- could 3ass i(to so(-' The s(o1 lies thic, (o1 u3o( Oly53us* a(d its
stee3 scar3ed sides are blea, a(d barre(* but o(ce* 1e )a(cy* the 1hite )eet o) the Muses
brushed the de1 )ro5 the a(e5o(es i( the 5or(i(-* a(d at e+e(i(- ca5e A3ollo to si(-
to the she3herds i( the +ale' .ut i( this 1e are 5erely le(di(- to other a-es 1hat 1e
desire* or thi(, 1e desire* )or our o1(' Our historical se(se is at )ault' E+ery ce(tury that
3roduces 3oetry is* so )ar* a( arti)icial ce(tury* a(d the 1or, that see5s to us to be the
5ost (atural a(d si53le 3roduct o) its ti5e is al1ays the result o) the 5ost sel);co(scious
e))ort' .elie+e 5e* Er(est* there is (o )i(e art 1ithout sel);co(scious(ess* a(d sel);
co(scious(ess a(d the critical s3irit are o(e'
ER"EST' I see 1hat you 5ea(* a(d there is 5uch i( it' .ut surely you 1ould ad5it that
the -reat 3oe5s o) the early 1orld* the 3ri5iti+e* a(o(y5ous collecti+e 3oe5s* 1ere the
result o) the i5a-i(atio( o) races* rather tha( o) the i5a-i(atio( o) i(di+iduals2
%I&.ERT' "ot 1he( they beca5e 3oetry' "ot 1he( they recei+ed a beauti)ul )or5' #or
there is (o art 1here there is (o style* a(d (o style 1here there is (o u(ity* a(d u(ity is o)
the i(di+idual' "o doubt Ho5er had old ballads a(d stories to deal 1ith* as Sha,es3eare
had chro(icles a(d 3lays a(d (o+els )ro5 1hich to 1or,* but they 1ere 5erely his rou-h
5aterial' He too, the5* a(d sha3ed the5 i(to so(-' They beco5e his* because he 5ade
the5 lo+ely' They 1ere built out o) 5usic*
A(d so (ot built at all* A(d there)ore built )or e+er'
The lo(-er o(e studies li)e a(d literature* the 5ore stro(-ly o(e )eels that behi(d
e+erythi(- that is 1o(der)ul sta(ds the i(di+idual* a(d that it is (ot the 5o5e(t that
5a,es the 5a(* but the 5a( 1ho creates the a-e' I(deed* I a5 i(cli(ed to thi(, that each
5yth a(d le-e(d that see5s to us to s3ri(- out o) the 1o(der* or terror* or )a(cy o) tribe
a(d (atio(* 1as i( its ori-i( the i(+e(tio( o) o(e si(-le 5i(d' The curiously li5ited (u5ber
o) the 5yths see5s to 5e to 3oi(t to this co(clusio(' .ut 1e 5ust (ot -o o)) i(to
>uestio(s o) co53arati+e 5ytholo-y' We 5ust ,ee3 to criticis5' A(d 1hat I 1a(t to 3oi(t
out is this' A( a-e that has (o criticis5 is either a( a-e i( 1hich art is i55obile* hieratic*
a(d co()i(ed to the re3roductio( o) )or5al ty3es* or a( a-e that 3ossesses (o art at all'
There ha+e bee( critical a-es that ha+e (ot bee( creati+e* i( the ordi(ary se(se o) the
1ord* a-es i( 1hich the s3irit o) 5a( has sou-ht to set i( order the treasures o) his
treasure;house* to se3arate the -old )ro5 the sil+er* a(d the sil+er )ro5 the lead* to cou(t
o+er the 4e1els* a(d to -i+e (a5es to the 3earls' .ut there has (e+er bee( a creati+e a-e
that has (ot bee( critical also' #or it is the critical )aculty that i(+e(ts )resh )or5s' The
te(de(cy o) creatio( is to re3eat itsel)' It is to the critical i(sti(ct that 1e o1e each (e1
school that s3ri(-s u3* each (e1 5ould that art )i(ds ready to its ha(d' There is really (ot
a si(-le )or5 that art (o1 uses that does (ot co5e to us )ro5 the critical s3irit o)
Ale8a(dria* 1here these )or5s 1ere either stereoty3ed or i(+e(ted or 5ade 3er)ect' I say
Ale8a(dria* (ot 5erely because it 1as there that the %ree, s3irit beca5e 5ost sel);
co(scious* a(d i(deed ulti5ately e83ired i( sce3ticis5 a(d theolo-y* but because it 1as to
that city* a(d (ot to Athe(s* that Ro5e tur(ed )or her 5odels* a(d it 1as throu-h the
sur+i+al* such as it 1as* o) the &ati( la(-ua-e that culture li+ed at all' Whe(* at the
Re(aissa(ce* %ree, literature da1(ed u3o( Euro3e* the soil had bee( i( so5e 5easure
3re3ared )or it' .ut* to -et rid o) the details o) history* 1hich are al1ays 1eariso5e a(d
usually i(accurate* let us say -e(erally* that the )or5s o) art ha+e bee( due to the %ree,
critical s3irit' To it 1e o1e the e3ic* the lyric* the e(tire dra5a i( e+ery o(e o) its
de+elo35e(ts* i(cludi(- burles>ue* the idyll* the ro5a(tic (o+el* the (o+el o) ad+e(ture*
the essay* the dialo-ue* the oratio(* the lecture* )or 1hich 3erha3s 1e should (ot )or-i+e
the5* a(d the e3i-ra5* i( all the 1ide 5ea(i(- o) that 1ord' I( )act* 1e o1e it
e+erythi(-* e8ce3t the so((et* to 1hich* ho1e+er* so5e curious 3arallels o) thou-ht;
5o+e5e(t 5ay be traced i( the A(tholo-y* A5erica( 4our(alis5* to 1hich (o 3arallel ca(
be )ou(d a(y1here* a(d the ballad i( sha5 Scotch dialect* 1hich o(e o) our 5ost
i(dustrious 1riters has rece(tly 3ro3osed should be 5ade the basis )or a )i(al a(d
u(a(i5ous e))ort o( the 3art o) our seco(d;rate 3oets to 5a,e the5sel+es really ro5a(tic'
Each (e1 school* as it a33ears* cries out a-ai(st criticis5* but it is to the critical )aculty i(
5a( that it o1es its ori-i(' The 5ere creati+e i(sti(ct does (ot i((o+ate* but re3roduces'
ER"EST' 9ou ha+e bee( tal,i(- o) criticis5 as a( esse(tial 3art o) the creati+e s3irit* a(d I
(o1 )ully acce3t your theory' .ut 1hat o) criticis5 outside creatio(2 I ha+e a )oolish habit
o) readi(- 3eriodicals* a(d it see5s to 5e that 5ost 5oder( criticis5 is 3er)ectly
+alueless'
%I&.ERT' So is 5ost 5oder( creati+e 1or, also' Mediocrity 1ei-hi(- 5ediocrity i( the
bala(ce* a(d i(co53ete(ce a33laudi(- its brother;;that is the s3ectacle 1hich the artistic
acti+ity o) E(-la(d a))ords us )ro5 ti5e to ti5e' A(d yet* I )eel I a5 a little u()air i( this
5atter' As a rule* the critics;;I s3ea,* o) course* o) the hi-her class* o) those i( )act 1ho
1rite )or the si83e((y 3a3ers;;are )ar 5ore cultured tha( the 3eo3le 1hose 1or, they are
called u3o( to re+ie1' This is* i(deed* o(ly 1hat o(e 1ould e83ect* )or criticis5 de5a(ds
i()i(itely 5ore culti+atio( tha( creatio( does'
ER"EST' Really2
%I&.ERT' Certai(ly' A(ybody ca( 1rite a three;+olu5ed (o+el' It 5erely re>uires a
co53lete i-(ora(ce o) both li)e a(d literature' The di))iculty that I should )a(cy the
re+ie1er )eels is the di))iculty o) sustai(i(- a(y sta(dard' Where there is (o style a
sta(dard 5ust be i53ossible' The 3oor re+ie1ers are a33are(tly reduced to be the
re3orters o) the 3olice;court o) literature* the chro(iclers o) the doi(-s o) the habitual
cri5i(als o) art' It is so5eti5es said o) the5 that they do (ot read all throu-h the 1or,s
they are called u3o( to criticise' They do (ot' Or at least they should (ot' I) they did so*
they 1ould beco5e co()ir5ed 5isa(thro3es* or i) I 5ay borro1 a 3hrase )ro5 o(e o) the
3retty "e1(ha5 -raduates* co()ir5ed 1o5a(thro3es )or the rest o) their li+es' "or is it
(ecessary' To ,(o1 the +i(ta-e a(d >uality o) a 1i(e o(e (eed (ot dri(, the 1hole cas,' It
5ust be 3er)ectly easy i( hal) a( hour to say 1hether a boo, is 1orth a(ythi(- or 1orth
(othi(-' Te( 5i(utes are really su))icie(t* i) o(e has the i(sti(ct )or )or5' Who 1a(ts to
1ade throu-h a dull +olu5e2 O(e tastes it* a(d that is >uite e(ou-h;;5ore tha( e(ou-h* I
should i5a-i(e' I a5 a1are that there are 5a(y ho(est 1or,ers i( 3ai(ti(- as 1ell as i(
literature 1ho ob4ect to criticis5 e(tirely' They are >uite ri-ht' Their 1or, sta(ds i( (o
i(tellectual relatio( to their a-e' It bri(-s us (o (e1 ele5e(t o) 3leasure' It su--ests (o
)resh de3arture o) thou-ht* or 3assio(* or beauty' It should (ot be s3o,e( o)' It should be
le)t to the obli+io( that it deser+es'
ER"EST' .ut* 5y dear )ello1;;e8cuse 5e )or i(terru3ti(- you;;you see5 to 5e to be
allo1i(- your 3assio( )or criticis5 to lead you a -reat deal too )ar' #or* a)ter all* e+e( you
5ust ad5it that it is 5uch 5ore di))icult to do a thi(- tha( to tal, about it'
%I&.ERT' More di))icult to do a thi(- tha( to tal, about it2 "ot at all' That is a -ross
3o3ular error' It is +ery 5uch 5ore di))icult to tal, about a thi(- tha( to do it' I( the
s3here o) actual li)e that is o) course ob+ious' A(ybody ca( 5a,e history' O(ly a -reat
5a( ca( 1rite it' There is (o 5ode o) actio(* (o )or5 o) e5otio(* that 1e do (ot share
1ith the lo1er a(i5als' It is o(ly by la(-ua-e that 1e rise abo+e the5* or abo+e each
other;;by la(-ua-e* 1hich is the 3are(t* a(d (ot the child* o) thou-ht' Actio(* i(deed* is
al1ays easy* a(d 1he( 3rese(ted to us i( its 5ost a--ra+ated* because 5ost co(ti(uous
)or5* 1hich I ta,e to be that o) real i(dustry* beco5es si53ly the re)u-e o) 3eo3le 1ho
ha+e (othi(- 1hatsoe+er to do' "o* Er(est* do(<t tal, about actio(' It is a bli(d thi(-
de3e(de(t o( e8ter(al i()lue(ces* a(d 5o+ed by a( i53ulse o) 1hose (ature it is
u(co(scious' It is a thi(- i(co53lete i( its esse(ce* because li5ited by accide(t* a(d
i-(ora(t o) its directio(* bei(- al1ays at +aria(ce 1ith its ai5' Its basis is the lac, o)
i5a-i(atio(' It is the last resource o) those 1ho ,(o1 (ot ho1 to drea5'
ER"EST' %ilbert* you treat the 1orld as i) it 1ere a crystal ball' 9ou hold it i( your ha(d*
a(d re+erse it to 3lease a 1il)ul )a(cy' 9ou do (othi(- but re;1rite history'
%I&.ERT' The o(e duty 1e o1e to history is to re;1rite it' That is (ot the least o) the tas,s
i( store )or the critical s3irit' Whe( 1e ha+e )ully disco+ered the scie(ti)ic la1s that -o+er(
li)e* 1e shall realise that the o(e 3erso( 1ho has 5ore illusio(s tha( the drea5er is the
5a( o) actio(' He* i(deed* ,(o1s (either the ori-i( o) his deeds (or their results' #ro5
the )ield i( 1hich he thou-ht that he had so1( thor(s* 1e ha+e -athered our +i(ta-e* a(d
the )i-;tree that he 3la(ted )or our 3leasure is as barre( as the thistle* a(d 5ore bitter' It
is because Hu5a(ity has (e+er ,(o1( 1here it 1as -oi(- that it has bee( able to )i(d its
1ay'
ER"EST' 9ou thi(,* the(* that i( the s3here o) actio( a co(scious ai5 is a delusio(2
%I&.ERT' It is 1orse tha( a delusio(' I) 1e li+ed lo(- e(ou-h to see the results o) our
actio(s it 5ay be that those 1ho call the5sel+es -ood 1ould be sic,e(ed 1ith a dull
re5orse* a(d those 1ho5 the 1orld calls e+il stirred by a (oble 4oy' Each little thi(- that
1e do 3asses i(to the -reat 5achi(e o) li)e 1hich 5ay -ri(d our +irtues to 3o1der a(d
5a,e the5 1orthless* or tra(s)or5 our si(s i(to ele5e(ts o) a (e1 ci+ilisatio(* 5ore
5ar+ellous a(d 5ore s3le(did tha( a(y that has -o(e be)ore' .ut 5e( are the sla+es o)
1ords' They ra-e a-ai(st Materialis5* as they call it* )or-etti(- that there has bee( (o
5aterial i53ro+e5e(t that has (ot s3iritualised the 1orld* a(d that there ha+e bee( )e1* i)
a(y* s3iritual a1a,e(i(-s that ha+e (ot 1asted the 1orld<s )aculties i( barre( ho3es* a(d
)ruitless as3iratio(s* a(d e53ty or tra55elli(- creeds' What is ter5ed Si( is a( esse(tial
ele5e(t o) 3ro-ress' Without it the 1orld 1ould sta-(ate* or -ro1 old* or beco5e
colourless' .y its curiosity Si( i(creases the e83erie(ce o) the race' Throu-h its i(te(si)ied
assertio( o) i(di+idualis5* it sa+es us )ro5 5o(oto(y o) ty3e' I( its re4ectio( o) the
curre(t (otio(s about 5orality* it is o(e 1ith the hi-her ethics' A(d as )or the +irtues6
What are the +irtues2 "ature* M' Re(a( tells us* cares little about chastity* a(d it 5ay be
that it is to the sha5e o) the Ma-dale(* a(d (ot to their o1( 3urity* that the &ucretias o)
5oder( li)e o1e their )reedo5 )ro5 stai(' Charity* as e+e( those o) 1hose reli-io( it
5a,es a )or5al 3art ha+e bee( co53elled to ac,(o1led-e* creates a 5ultitude o) e+ils'
The 5ere e8iste(ce o) co(scie(ce* that )aculty o) 1hich 3eo3le 3rate so 5uch (o1adays*
a(d are so i-(ora(tly 3roud* is a si-( o) our i53er)ect de+elo35e(t' It 5ust be 5er-ed i(
i(sti(ct be)ore 1e beco5e )i(e' Sel);de(ial is si53ly a 5ethod by 1hich 5a( arrests his
3ro-ress* a(d sel);sacri)ice a sur+i+al o) the 5utilatio( o) the sa+a-e* 3art o) that old
1orshi3 o) 3ai( 1hich is so terrible a )actor i( the history o) the 1orld* a(d 1hich e+e(
(o1 5a,es its +icti5s day by day* a(d has its altars i( the la(d' ?irtues6 Who ,(o1s 1hat
the +irtues are2 "ot you' "ot I' "ot a(y o(e' It is 1ell )or our +a(ity that 1e slay the
cri5i(al* )or i) 1e su))ered hi5 to li+e he 5i-ht sho1 us 1hat 1e had -ai(ed by his cri5e'
It is 1ell )or his 3eace that the sai(t -oes to his 5artyrdo5' He is s3ared the si-ht o) the
horror o) his har+est'
ER"EST' %ilbert* you sou(d too harsh a (ote' &et us -o bac, to the 5ore -racious )ields o)
literature' What 1as it you said2 That it 1as 5ore di))icult to tal, about a thi(- tha( to do
it2
%I&.ERT /a)ter a 3ause0' 9es: I belie+e I +e(tured u3o( that si53le truth' Surely you see
(o1 that I a5 ri-ht2 Whe( 5a( acts he is a 3u33et' Whe( he describes he is a 3oet' The
1hole secret lies i( that' It 1as easy e(ou-h o( the sa(dy 3lai(s by 1i(dy Ilio( to se(d
the (otched arro1 )ro5 the 3ai(ted bo1* or to hurl a-ai(st the shield o) hide a(d )la5eli,e
brass the lo(- ash;ha(dled s3ear' It 1as easy )or the adulterous >uee( to s3read the
Tyria( car3ets )or her lord* a(d the(* as he lay couched i( the 5arble bath* to thro1 o+er
his head the 3ur3le (et* a(d call to her s5ooth;)aced lo+er to stab throu-h the 5eshes at
the heart that should ha+e bro,e( at Aulis' #or A(ti-o(e e+e(* 1ith $eath 1aiti(- )or her
as her bride-roo5* it 1as easy to 3ass throu-h the tai(ted air at (oo(* a(d cli5b the hill*
a(d stre1 1ith ,i(dly earth the 1retched (a,ed corse that had (o to5b' .ut 1hat o) those
1ho 1rote about these thi(-s2 What o) those 1ho -a+e the5 reality* a(d 5ade the5 li+e
)or e+er2 Are they (ot -reater tha( the 5e( a(d 1o5e( they si(- o)2 <Hector that s1eet
,(i-ht is dead*< a(d &ucia( tells us ho1 i( the di5 u(der;1orld Me(i33us sa1 the
bleachi(- s,ull o) Hele(* a(d 5ar+elled that it 1as )or so -ri5 a )a+our that all those
hor(ed shi3s 1ere lau(ched* those beauti)ul 5ailed 5e( laid lo1* those to1ered cities
brou-ht to dust' 9et* e+ery day the s1a(li,e dau-hter o) &eda co5es out o( the
battle5e(ts* a(d loo,s do1( at the tide o) 1ar' The -reybeards 1o(der at her lo+eli(ess*
a(d she sta(ds by the side o) the ,i(-' I( his cha5ber o) stai(ed i+ory lies her le5a(' He
is 3olishi(- his dai(ty ar5our* a(d co5bi(- the scarlet 3lu5e' With s>uire a(d 3a-e* her
husba(d 3asses )ro5 te(t to te(t' She ca( see his bri-ht hair* a(d hears* or )a(cies that
she hears* that clear cold +oice' I( the courtyard belo1* the so( o) !ria5 is buc,li(- o( his
bra:e( cuirass' The 1hite ar5s o) A(dro5ache are arou(d his (ec,' He sets his hel5et o(
the -rou(d* lest their babe should be )ri-hte(ed' .ehi(d the e5broidered curtai(s o) his
3a+ilio( sits Achilles* i( 3er)u5ed rai5e(t* 1hile i( har(ess o) -ilt a(d sil+er the )rie(d o)
his soul arrays hi5sel) to -o )orth to the )i-ht' #ro5 a curiously car+e( chest that his
5other Thetis had brou-ht to his shi3;side* the &ord o) the Myr5ido(s ta,es out that
5ystic chalice that the li3 o) 5a( had (e+er touched* a(d clea(ses it 1ith bri5sto(e* a(d
1ith )resh 1ater cools it* a(d* ha+i(- 1ashed his ha(ds* )ills 1ith blac, 1i(e its bur(ished
hollo1* a(d s3ills the thic, -ra3e;blood u3o( the -rou(d i( ho(our o) Hi5 1ho5 at
$odo(a bare)ooted 3ro3hets 1orshi33ed* a(d 3rays to Hi5* a(d ,(o1s (ot that he 3rays
i( +ai(* a(d that by the ha(ds o) t1o ,(i-hts )ro5 Troy* !a(thous< so(* Eu3horbus* 1hose
lo+e;loc,s 1ere loo3ed 1ith -old* a(d the !ria5id* the lio(;hearted* !atro,lus* the
co5rade o) co5rades* 5ust 5eet his doo5' !ha(to5s* are they2 Heroes o) 5ist a(d
5ou(tai(2 Shado1s i( a so(-2 "o: they are real' Actio(6 What is actio(2 It dies at the
5o5e(t o) its e(er-y' It is a base co(cessio( to )act' The 1orld is 5ade by the si(-er )or
the drea5er'
ER"EST' While you tal, it see5s to 5e to be so'
%I&.ERT' It is so i( truth' O( the 5oulderi(- citadel o) Troy lies the li:ard li,e a thi(- o)
-ree( bro(:e' The o1l has built her (est i( the 3alace o) !ria5' O+er the e53ty 3lai(
1a(der she3herd a(d -oatherd 1ith their )loc,s* a(d 1here* o( the 1i(e; sur)aced* oily
sea* [%ree, te8t 1hich ca((ot be re3roduced]* as Ho5er calls it* co33er;3ro1ed a(d
strea,ed 1ith +er5ilio(* the -reat -alleys o) the $a(aoi ca5e i( their -lea5i(- cresce(t*
the lo(ely tu((y;)isher sits i( his little boat a(d 1atches the bobbi(- cor,s o) his (et' 9et*
e+ery 5or(i(- the doors o) the city are thro1( o3e(* a(d o( )oot* or i( horse;dra1(
chariot* the 1arriors -o )orth to battle* a(d 5oc, their e(e5ies )ro5 behi(d their iro(
5as,s' All day lo(- the )i-ht ra-es* a(d 1he( (i-ht co5es the torches -lea5 by the te(ts*
a(d the cresset bur(s i( the hall' Those 1ho li+e i( 5arble or o( 3ai(ted 3a(el* ,(o1 o)
li)e but a si(-le e8>uisite i(sta(t* eter(al i(deed i( its beauty* but li5ited to o(e (ote o)
3assio( or o(e 5ood o) cal5' Those 1ho5 the 3oet 5a,es li+e ha+e their 5yriad
e5otio(s o) 4oy a(d terror* o) coura-e a(d des3air* o) 3leasure a(d o) su))eri(-' The
seaso(s co5e a(d -o i( -lad or sadde(i(- 3a-ea(t* a(d 1ith 1i(-ed or leade( )eet the
years 3ass by be)ore the5' They ha+e their youth a(d their 5a(hood* they are childre(*
a(d they -ro1 old' It is al1ays da1( )or St' Hele(a* as ?ero(ese sa1 her at the 1i(do1'
Throu-h the still 5or(i(- air the a(-els bri(- her the sy5bol o) %od<s 3ai(' The cool
bree:es o) the 5or(i(- li)t the -ilt threads )ro5 her bro1' O( that little hill by the city o)
#lore(ce* 1here the lo+ers o) %ior-io(e are lyi(-* it is al1ays the solstice o) (oo(* o) (oo(
5ade so la(-uorous by su55er su(s that hardly ca( the sli5 (a,ed -irl di3 i(to the
5arble ta(, the rou(d bubble o) clear -lass* a(d the lo(- )i(-ers o) the lute;3layer rest
idly u3o( the chords' It is t1ili-ht al1ays )or the da(ci(- (y53hs 1ho5 Corot set )ree
a5o(- the sil+er 3o3lars o) #ra(ce' I( eter(al t1ili-ht they 5o+e* those )rail dia3ha(ous
)i-ures* 1hose tre5ulous 1hite )eet see5 (ot to touch the de1;dre(ched -rass they tread
o(' .ut those 1ho 1al, i( e3os* dra5a* or ro5a(ce* see throu-h the labouri(- 5o(ths the
you(- 5oo(s 1a8 a(d 1a(e* a(d 1atch the (i-ht )ro5 e+e(i(- u(to 5or(i(- star* a(d
)ro5 su(rise u(to su(setti(- ca( (ote the shi)ti(- day 1ith all its -old a(d shado1' #or
the5* as )or us* the )lo1ers bloo5 a(d 1ither* a(d the Earth* that %ree(; tressed %oddess
as Colerid-e calls her* alters her rai5e(t )or their 3leasure' The statue is co(ce(trated to
o(e 5o5e(t o) 3er)ectio(' The i5a-e stai(ed u3o( the ca(+as 3ossesses (o s3iritual
ele5e(t o) -ro1th or cha(-e' I) they ,(o1 (othi(- o) death* it is because they ,(o1 little
o) li)e* )or the secrets o) li)e a(d death belo(- to those* a(d those o(ly* 1ho5 the
se>ue(ce o) ti5e a))ects* a(d 1ho 3ossess (ot 5erely the 3rese(t but the )uture* a(d ca(
rise or )all )ro5 a 3ast o) -lory or o) sha5e' Mo+e5e(t* that 3roble5 o) the +isible arts*
ca( be truly realised by &iterature alo(e' It is &iterature that sho1s us the body i( its
s1i)t(ess a(d the soul i( its u(rest'
ER"EST' 9es7 I see (o1 1hat you 5ea(' .ut* surely* the hi-her you 3lace the creati+e
artist* the lo1er 5ust the critic ra(,'
%I&.ERT' Why so2
ER"EST' .ecause the best that he ca( -i+e us 1ill be but a( echo o) rich 5usic* a di5
shado1 o) clear;outli(ed )or5' It 5ay* i(deed* be that li)e is chaos* as you tell 5e that it
is7 that its 5artyrdo5s are 5ea( a(d its herois5s i-(oble7 a(d that it is the )u(ctio( o)
&iterature to create* )ro5 the rou-h 5aterial o) actual e8iste(ce* a (e1 1orld that 1ill be
5ore 5ar+ellous* 5ore e(duri(-* a(d 5ore true tha( the 1orld that co55o( eyes loo,
u3o(* a(d throu-h 1hich co55o( (atures see, to realise their 3er)ectio(' .ut surely* i)
this (e1 1orld has bee( 5ade by the s3irit a(d touch o) a -reat artist* it 1ill be a thi(- so
co53lete a(d 3er)ect that there 1ill be (othi(- le)t )or the critic to do' I >uite u(dersta(d
(o1* a(d i(deed ad5it 5ost readily* that it is )ar 5ore di))icult to tal, about a thi(- tha(
to do it' .ut it see5s to 5e that this sou(d a(d se(sible 5a8i5* 1hich is really e8tre5ely
soothi(- to o(e<s )eeli(-s* a(d should be ado3ted as its 5otto by e+ery Acade5y o)
&iterature all o+er the 1orld* a33lies o(ly to the relatio(s that e8ist bet1ee( Art a(d &i)e*
a(d (ot to a(y relatio(s that there 5ay be bet1ee( Art a(d Criticis5'
%I&.ERT' .ut* surely* Criticis5 is itsel) a( art' A(d 4ust as artistic creatio( i53lies the
1or,i(- o) the critical )aculty* a(d* i(deed* 1ithout it ca((ot be said to e8ist at all* so
Criticis5 is really creati+e i( the hi-hest se(se o) the 1ord' Criticis5 is* i( )act* both
creati+e a(d i(de3e(de(t'
ER"EST' I(de3e(de(t2
%I&.ERT' 9es7 i(de3e(de(t' Criticis5 is (o 5ore to be 4ud-ed by a(y lo1 sta(dard o)
i5itatio( or rese5bla(ce tha( is the 1or, o) 3oet or scul3tor' The critic occu3ies the sa5e
relatio( to the 1or, o) art that he criticises as the artist does to the +isible 1orld o) )or5
a(d colour* or the u(see( 1orld o) 3assio( a(d o) thou-ht' He does (ot e+e( re>uire )or
the 3er)ectio( o) his art the )i(est 5aterials' A(ythi(- 1ill ser+e his 3ur3ose' A(d 4ust as
out o) the sordid a(d se(ti5e(tal a5ours o) the silly 1i)e o) a s5all cou(try doctor i( the
s>ualid +illa-e o) 9o(+ille;l<Abbaye* (ear Roue(* %usta+e #laubert 1as able to create a
classic* a(d 5a,e a 5aster3iece o) style* so* )ro5 sub4ects o) little or o) (o i53orta(ce*
such as the 3ictures i( this year<s Royal Acade5y* or i( a(y year<s Royal Acade5y )or that
5atter* Mr' &e1is Morris<s 3oe5s* M' Oh(et<s (o+els* or the 3lays o) Mr' He(ry Arthur
=o(es* the true critic ca(* i) it be his 3leasure so to direct or 1aste his )aculty o)
co(te53latio(* 3roduce 1or, that 1ill be )la1less i( beauty a(d i(sti(ct 1ith i(tellectual
subtlety' Why (ot2 $ul(ess is al1ays a( irresistible te53tatio( )or brillia(cy* a(d stu3idity
is the 3er5a(e(t .estia Trio()a(s that calls 1isdo5 )ro5 its ca+e' To a( artist so creati+e
as the critic* 1hat does sub4ect;5atter si-(i)y2 "o 5ore a(d (o less tha( it does to the
(o+elist a(d the 3ai(ter' &i,e the5* he ca( )i(d his 5oti+es e+ery1here' Treat5e(t is the
test' There is (othi(- that has (ot i( it su--estio( or challe(-e'
ER"EST' .ut is Criticis5 really a creati+e art2
%I&.ERT' Why should it (ot be2 It 1or,s 1ith 5aterials* a(d 3uts the5 i(to a )or5 that is
at o(ce (e1 a(d deli-ht)ul' What 5ore ca( o(e say o) 3oetry2 I(deed* I 1ould call
criticis5 a creatio( 1ithi( a creatio(' #or 4ust as the -reat artists* )ro5 Ho5er a(d
AEschylus* do1( to Sha,es3eare a(d Keats* did (ot -o directly to li)e )or their sub4ect;
5atter* but sou-ht )or it i( 5yth* a(d le-e(d* a(d a(cie(t tale* so the critic deals 1ith
5aterials that others ha+e* as it 1ere* 3uri)ied )or hi5* a(d to 1hich i5a-i(ati+e )or5 a(d
colour ha+e bee( already added' "ay* 5ore* I 1ould say that the hi-hest Criticis5* bei(-
the 3urest )or5 o) 3erso(al i53ressio(* is i( its 1ay 5ore creati+e tha( creatio(* as it has
least re)ere(ce to a(y sta(dard e8ter(al to itsel)* a(d is* i( )act* its o1( reaso( )or
e8isti(-* a(d* as the %ree,s 1ould 3ut it* i( itsel)* a(d to itsel)* a( e(d' Certai(ly* it is
(e+er tra55elled by a(y shac,les o) +erisi5ilitude' "o i-(oble co(sideratio(s o)
3robability* that co1ardly co(cessio( to the tedious re3etitio(s o) do5estic or 3ublic li)e*
a))ect it e+er' O(e 5ay a33eal )ro5 )ictio( u(to )act' .ut )ro5 the soul there is (o a33eal'
ER"EST' #ro5 the soul2
%I&.ERT' 9es* )ro5 the soul' That is 1hat the hi-hest criticis5 really is* the record o) o(e<s
o1( soul' It is 5ore )asci(ati(- tha( history* as it is co(cer(ed si53ly 1ith o(esel)' It is
5ore deli-ht)ul tha( 3hiloso3hy* as its sub4ect is co(crete a(d (ot abstract* real a(d (ot
+a-ue' It is the o(ly ci+ilised )or5 o) autobio-ra3hy* as it deals (ot 1ith the e+e(ts* but
1ith the thou-hts o) o(e<s li)e7 (ot 1ith li)e<s 3hysical accide(ts o) deed or circu5sta(ce*
but 1ith the s3iritual 5oods a(d i5a-i(ati+e 3assio(s o) the 5i(d' I a5 al1ays a5used by
the silly +a(ity o) those 1riters a(d artists o) our day 1ho see5 to i5a-i(e that the
3ri5ary )u(ctio( o) the critic is to chatter about their seco(d; rate 1or,' The best that o(e
ca( say o) 5ost 5oder( creati+e art is that it is 4ust a little less +ul-ar tha( reality* a(d so
the critic* 1ith his )i(e se(se o) disti(ctio( a(d sure i(sti(ct o) delicate re)i(e5e(t* 1ill
3re)er to loo, i(to the sil+er 5irror or throu-h the 1o+e( +eil* a(d 1ill tur( his eyes a1ay
)ro5 the chaos a(d cla5our o) actual e8iste(ce* thou-h the 5irror be tar(ished a(d the
+eil be tor(' His sole ai5 is to chro(icle his o1( i53ressio(s' It is )or hi5 that 3ictures are
3ai(ted* boo,s 1ritte(* a(d 5arble he1( i(to )or5'
ER"EST' I see5 to ha+e heard a(other theory o) Criticis5'
%I&.ERT' 9es: it has bee( said by o(e 1hose -racious 5e5ory 1e all re+ere* a(d the
5usic o) 1hose 3i3e o(ce lured !roser3i(a )ro5 her Sicilia( )ields* a(d 5ade those 1hite
)eet stir* a(d (ot i( +ai(* the Cu5(or co1sli3s* that the 3ro3er ai5 o) Criticis5 is to see
the ob4ect as i( itsel) it really is' .ut this is a +ery serious error* a(d ta,es (o co-(isa(ce
o) Criticis5<s 5ost 3er)ect )or5* 1hich is i( its esse(ce 3urely sub4ecti+e* a(d see,s to
re+eal its o1( secret a(d (ot the secret o) a(other' #or the hi-hest Criticis5 deals 1ith art
(ot as e83ressi+e but as i53ressi+e 3urely'
ER"EST' .ut is that really so2
%I&.ERT' O) course it is' Who cares 1hether Mr' Rus,i(<s +ie1s o( Tur(er are sou(d or
(ot2 What does it 5atter2 That 5i-hty a(d 5a4estic 3rose o) his* so )er+id a(d so )iery;
coloured i( its (oble elo>ue(ce* so rich i( its elaborate sy53ho(ic 5usic* so sure a(d
certai(* at its best* i( subtle choice o) 1ord a(d e3ithet* is at least as -reat a 1or, o) art
as a(y o) those 1o(der)ul su(sets that bleach or rot o( their corru3ted ca(+ases i(
E(-la(d<s %allery7 -reater i(deed* o(e is a3t to thi(, at ti5es* (ot 5erely because its
e>ual beauty is 5ore e(duri(-* but o( accou(t o) the )uller +ariety o) its a33eal* soul
s3ea,i(- to soul i( those lo(-;cade(ced li(es* (ot throu-h )or5 a(d colour alo(e* thou-h
throu-h these* i(deed* co53letely a(d 1ithout loss* but 1ith i(tellectual a(d e5otio(al
uttera(ce* 1ith lo)ty 3assio( a(d 1ith lo)tier thou-ht* 1ith i5a-i(ati+e i(si-ht* a(d 1ith
3oetic ai57 -reater* I al1ays thi(,* e+e( as &iterature is the -reater art' Who* a-ai(* cares
1hether Mr' !ater has 3ut i(to the 3ortrait o) Mo((a &isa so5ethi(- that &io(ardo (e+er
drea5ed o)2 The 3ai(ter 5ay ha+e bee( 5erely the sla+e o) a( archaic s5ile* as so5e
ha+e )a(cied* but 1he(e+er I 3ass i(to the cool -alleries o) the !alace o) the &ou+re* a(d
sta(d be)ore that stra(-e )i-ure <set i( its 5arble chair i( that cir>ue o) )a(tastic roc,s* as
i( so5e )ai(t li-ht u(der sea*< I 5ur5ur to 5ysel)* <She is older tha( the roc,s a5o(-
1hich she sits7 li,e the +a53ire* she has bee( dead 5a(y ti5es* a(d lear(ed the secrets
o) the -ra+e7 a(d has bee( a di+er i( dee3 seas* a(d ,ee3s their )alle( day about her: a(d
tra))ic,ed )or stra(-e 1ebs 1ith Easter( 5ercha(ts7 a(d* as &eda* 1as the 5other o)
Hele( o) Troy* a(d* as St' A((e* the 5other o) Mary7 a(d all this has bee( to her but as
the sou(d o) lyres a(d )lutes* a(d li+es o(ly i( the delicacy 1ith 1hich it has 5oulded the
cha(-i(- li(ea5e(ts* a(d ti(-ed the eyelids a(d the ha(ds'< A(d I say to 5y )rie(d* <The
3rese(ce that thus so stra(-ely rose beside the 1aters is e83ressi+e o) 1hat i( the 1ays o)
a thousa(d years 5a( had co5e to desire<7 a(d he a(s1ers 5e* <Hers is the head u3o(
1hich all Athe e(ds o) the 1orld are co5e*A a(d the eyelids are a little 1eary'<
A(d so the 3icture beco5es 5ore 1o(der)ul to us tha( it really is* a(d re+eals to us a
secret o) 1hich* i( truth* it ,(o1s (othi(-* a(d the 5usic o) the 5ystical 3rose is as s1eet
i( our ears as 1as that )lute;3layer<s 5usic that le(t to the li3s o) &a %ioco(da those
subtle a(d 3oiso(ous cur+es' $o you as, 5e 1hat &io(ardo 1ould ha+e said had a(y o(e
told hi5 o) this 3icture that <all the thou-hts a(d e83erie(ce o) the 1orld had etched a(d
5oulded therei( that 1hich they had o) 3o1er to re)i(e a(d 5a,e e83ressi+e the out1ard
)or5* the a(i5alis5 o) %reece* the lust o) Ro5e* the re+erie o) the Middle A-e 1ith its
s3iritual a5bitio( a(d i5a-i(ati+e lo+es* the retur( o) the !a-a( 1orld* the si(s o) the
.or-ias2< He 1ould 3robably ha+e a(s1ered that he had co(te53lated (o(e o) these
thi(-s* but had co(cer(ed hi5sel) si53ly 1ith certai( arra(-e5e(ts o) li(es a(d 5asses*
a(d 1ith (e1 a(d curious colour; har5o(ies o) blue a(d -ree(' A(d it is )or this +ery
reaso( that the criticis5 1hich I ha+e >uoted is criticis5 o) the hi-hest ,i(d' It treats the
1or, o) art si53ly as a starti(-;3oi(t )or a (e1 creatio(' It does (ot co()i(e itsel);;let us
at least su33ose so )or the 5o5e(t;;to disco+eri(- the real i(te(tio( o) the artist a(d
acce3ti(- that as )i(al' A(d i( this it is ri-ht* )or the 5ea(i(- o) a(y beauti)ul created
thi(- is* at least* as 5uch i( the soul o) hi5 1ho loo,s at it* as it 1as i( his soul 1ho
1rou-ht it' "ay* it is rather the beholder 1ho le(ds to the beauti)ul thi(- its 5yriad
5ea(i(-s* a(d 5a,es it 5ar+ellous )or us* a(d sets it i( so5e (e1 relatio( to the a-e* so
that it beco5es a +ital 3ortio( o) our li+es* a(d a sy5bol o) 1hat 1e 3ray )or* or 3erha3s
o) 1hat* ha+i(- 3rayed )or* 1e )ear that 1e 5ay recei+e' The lo(-er I study* Er(est* the
5ore clearly I see that the beauty o) the +isible arts is* as the beauty o) 5usic* i53ressi+e
3ri5arily* a(d that it 5ay be 5arred* a(d i(deed o)te( is so* by a(y e8cess o) i(tellectual
i(te(tio( o( the 3art o) the artist' #or 1he( the 1or, is )i(ished it has* as it 1ere* a(
i(de3e(de(t li)e o) its o1(* a(d 5ay deli+er a 5essa-e )ar other tha( that 1hich 1as 3ut
i(to its li3s to say' So5eti5es* 1he( I liste( to the o+erture to Ta((hauser* I see5 i(deed
to see that co5ely ,(i-ht treadi(- delicately o( the )lo1er; stre1( -rass* a(d to hear the
+oice o) ?e(us calli(- to hi5 )ro5 the ca+er(ed hill' .ut at other ti5es it s3ea,s to 5e o)
a thousa(d di))ere(t thi(-s* o) 5ysel)* it 5ay be* a(d 5y o1( li)e* or o) the li+es o) others
1ho5 o(e has lo+ed a(d -ro1( 1eary o) lo+i(-* or o) the 3assio(s that 5a( has ,(o1(*
or o) the 3assio(s that 5a( has (ot ,(o1(* a(d so has sou-ht )or' To;(i-ht it 5ay )ill o(e
1ith that 22OS 2O2 222222O2* that A5our de l<I53ossible* 1hich )alls li,e a 5ad(ess o(
5a(y 1ho thi(, they li+e securely a(d out o) reach o) har5* so that they sic,e( sudde(ly
1ith the 3oiso( o) u(li5ited desire* a(d* i( the i()i(ite 3ursuit o) 1hat they 5ay (ot
obtai(* -ro1 )ai(t a(d s1oo( or stu5ble' To;5orro1* li,e the 5usic o) 1hich Aristotle a(d
!lato tell us* the (oble $oria( 5usic o) the %ree,* it 5ay 3er)or5 the o))ice o) a 3hysicia(
a(d -i+e us a( a(ody(e a-ai(st 3ai(* a(d heal the s3irit that is 1ou(ded* a(d <bri(- the
soul i(to har5o(y 1ith all ri-ht thi(-s'< A(d 1hat is true about 5usic is true about all the
arts' .eauty has as 5a(y 5ea(i(-s as 5a( has 5oods' .eauty is the sy5bol o) sy5bols'
.eauty re+eals e+erythi(-* because it e83resses (othi(-' Whe( it sho1s us itsel)* it sho1s
us the 1hole )iery;coloured 1orld'
ER"EST' .ut is such 1or, as you ha+e tal,ed about really criticis52
%I&.ERT' It is the hi-hest Criticis5* )or it criticises (ot 5erely the i(di+idual 1or, o) art*
but .eauty itsel)* a(d )ills 1ith 1o(der a )or5 1hich the artist 5ay ha+e le)t +oid* or (ot
u(derstood* or u(derstood i(co53letely'
ER"EST' The hi-hest Criticis5* the(* is 5ore creati+e tha( creatio(* a(d the 3ri5ary ai5
o) the critic is to see the ob4ect as i( itsel) it really is (ot7 that is your theory* I belie+e2
%I&.ERT' 9es* that is 5y theory' To the critic the 1or, o) art is si53ly a su--estio( )or a
(e1 1or, o) his o1(* that (eed (ot (ecessarily bear a(y ob+ious rese5bla(ce to the thi(-
it criticises' The o(e characteristic o) a beauti)ul )or5 is that o(e ca( 3ut i(to it 1hate+er
o(e 1ishes* a(d see i( it 1hate+er o(e chooses to see7 a(d the .eauty* that -i+es to
creatio( its u(i+ersal a(d aesthetic ele5e(t* 5a,es the critic a creator i( his tur(* a(d
1his3ers o) a thousa(d di))ere(t thi(-s 1hich 1ere (ot 3rese(t i( the 5i(d o) hi5 1ho
car+ed the statue or 3ai(ted the 3a(el or -ra+ed the -e5'
It is so5eti5es said by those 1ho u(dersta(d (either the (ature o) the hi-hest Criticis5
(or the char5 o) the hi-hest Art* that the 3ictures that the critic lo+es 5ost to 1rite about
are those that belo(- to the a(ecdota-e o) 3ai(ti(-* a(d that deal 1ith sce(es ta,e( out
o) literature or history' .ut this is (ot so' I(deed* 3ictures o) this ,i(d are )ar too
i(telli-ible' As a class* they ra(, 1ith illustratio(s* a(d* e+e( co(sidered )ro5 this 3oi(t o)
+ie1 are )ailures* as they do (ot stir the i5a-i(atio(* but set de)i(ite bou(ds to it' #or the
do5ai( o) the 3ai(ter is* as I su--ested be)ore* 1idely di))ere(t )ro5 that o) the 3oet' To
the latter belo(-s li)e i( its )ull a(d absolute e(tirety7 (ot 5erely the beauty that 5e( loo,
at* but the beauty that 5e( liste( to also7 (ot 5erely the 5o5e(tary -race o) )or5 or the
tra(sie(t -lad(ess o) colour* but the 1hole s3here o) )eeli(-* the 3er)ect cycle o) thou-ht'
The 3ai(ter is so )ar li5ited that it is o(ly throu-h the 5as, o) the body that he ca( sho1
us the 5ystery o) the soul7 o(ly throu-h co(+e(tio(al i5a-es that he ca( ha(dle ideas7
o(ly throu-h its 3hysical e>ui+ale(ts that he ca( deal 1ith 3sycholo-y' A(d ho1
i(ade>uately does he do it the(* as,i(- us to acce3t the tor( turba( o) the Moor )or the
(oble ra-e o) Othello* or a dotard i( a stor5 )or the 1ild 5ad(ess o) &ear6 9et it see5s as
i) (othi(- could sto3 hi5' Most o) our elderly E(-lish 3ai(ters s3e(d their 1ic,ed a(d
1asted li+es i( 3oachi(- u3o( the do5ai( o) the 3oets* 5arri(- their 5oti+es by clu5sy
treat5e(t* a(d stri+i(- to re(der* by +isible )or5 or colour* the 5ar+el o) 1hat is i(+isible*
the s3le(dour o) 1hat is (ot see(' Their 3ictures are* as a (atural co(se>ue(ce*
i(su))erably tedious' They ha+e de-raded the i(+isible arts i(to the ob+ious arts* a(d the
o(e thi(- (ot 1orth loo,i(- at is the ob+ious' I do (ot say that 3oet a(d 3ai(ter 5ay (ot
treat o) the sa5e sub4ect' They ha+e al1ays do(e so a(d 1ill al1ays do so' .ut 1hile the
3oet ca( be 3ictorial or (ot* as he chooses* the 3ai(ter 5ust be 3ictorial al1ays' #or a
3ai(ter is li5ited* (ot to 1hat he sees i( (ature* but to 1hat u3o( ca(+as 5ay be see('
A(d so* 5y dear Er(est* 3ictures o) this ,i(d 1ill (ot really )asci(ate the critic' He 1ill tur(
)ro5 the5 to such 1or,s as 5a,e hi5 brood a(d drea5 a(d )a(cy* to 1or,s that 3ossess
the subtle >uality o) su--estio(* a(d see5 to tell o(e that e+e( )ro5 the5 there is a(
esca3e i(to a 1ider 1orld' It is so5eti5es said that the tra-edy o) a( artist<s li)e is that he
ca((ot realise his ideal' .ut the true tra-edy that do-s the ste3s o) 5ost artists is that
they realise their ideal too absolutely' #or* 1he( the ideal is realised* it is robbed o) its
1o(der a(d its 5ystery* a(d beco5es si53ly a (e1 starti(-;3oi(t )or a( ideal that is other
tha( itsel)' This is the reaso( 1hy 5usic is the 3er)ect ty3e o) art' Music ca( (e+er re+eal
its ulti5ate secret' This* also* is the e83la(atio( o) the +alue o) li5itatio(s i( art' The
scul3tor -ladly surre(ders i5itati+e colour* a(d the 3ai(ter the actual di5e(sio(s o) )or5*
because by such re(u(ciatio(s they are able to a+oid too de)i(ite a 3rese(tatio( o) the
Real* 1hich 1ould be 5ere i5itatio(* a(d too de)i(ite a realisatio( o) the Ideal* 1hich
1ould be too 3urely i(tellectual' It is throu-h its +ery i(co53lete(ess that art beco5es
co53lete i( beauty* a(d so addresses itsel)* (ot to the )aculty o) reco-(itio( (or to the
)aculty o) reaso(* but to the aesthetic se(se alo(e* 1hich* 1hile acce3ti(- both reaso( a(d
reco-(itio( as sta-es o) a33rehe(sio(* subordi(ates the5 both to a 3ure sy(thetic
i53ressio( o) the 1or, o) art as a 1hole* a(d* ta,i(- 1hate+er alie( e5otio(al ele5e(ts
the 1or, 5ay 3ossess* uses their +ery co53le8ity as a 5ea(s by 1hich a richer u(ity 5ay
be added to the ulti5ate i53ressio( itsel)' 9ou see* the(* ho1 it is that the aesthetic critic
re4ects these ob+ious 5odes o) art that ha+e but o(e 5essa-e to deli+er* a(d ha+i(-
deli+ered it beco5e du5b a(d sterile* a(d see,s rather )or such 5odes as su--est re+erie
a(d 5ood* a(d by their i5a-i(ati+e beauty 5a,e all i(ter3retatio(s true* a(d (o
i(ter3retatio( )i(al' So5e rese5bla(ce* (o doubt* the creati+e 1or, o) the critic 1ill ha+e
to the 1or, that has stirred hi5 to creatio(* but it 1ill be such rese5bla(ce as e8ists* (ot
bet1ee( "ature a(d the 5irror that the 3ai(ter o) la(dsca3e or )i-ure 5ay be su33osed to
hold u3 to her* but bet1ee( "ature a(d the 1or, o) the decorati+e artist' =ust as o( the
)lo1erless car3ets o) !ersia* tuli3 a(d rose blosso5 i(deed a(d are lo+ely to loo, o(*
thou-h they are (ot re3roduced i( +isible sha3e or li(e7 4ust as the 3earl a(d 3ur3le o) the
sea; shell is echoed i( the church o) St' Mar, at ?e(ice7 4ust as the +aulted ceili(- o) the
1o(drous cha3el at Ra+e((a is 5ade -or-eous by the -old a(d -ree( a(d sa33hire o) the
3eacoc,<s tail* thou-h the birds o) =u(o )ly (ot across it7 so the critic re3roduces the 1or,
that he criticises i( a 5ode that is (e+er i5itati+e* a(d 3art o) 1hose char5 5ay really
co(sist i( the re4ectio( o) rese5bla(ce* a(d sho1s us i( this 1ay (ot 5erely the 5ea(i(-
but also the 5ystery o) .eauty* a(d* by tra(s)or5i(- each art i(to literature* sol+es o(ce
)or all the 3roble5 o) Art<s u(ity'
.ut I see it is ti5e )or su33er' A)ter 1e ha+e discussed so5e Cha5berti( a(d a )e1
ortola(s* 1e 1ill 3ass o( to the >uestio( o) the critic co(sidered i( the li-ht o) the
i(ter3reter'
ER"EST' Ah6 you ad5it* the(* that the critic 5ay occasio(ally be allo1ed to see the ob4ect
as i( itsel) it really is'
%I&.ERT' I a5 (ot >uite sure' !erha3s I 5ay ad5it it a)ter su33er' There is a subtle
i()lue(ce i( su33er'
THE CRITIC AS ARTIST;;WITH SOME REMARKS !O" THE IM!ORTA"CE O# $ISCSSI"%
E?ER9THI"%
A $IA&O%E: !art II' !erso(s: the sa5e' Sce(e: the sa5e'
ER"EST' The ortola(s 1ere deli-ht)ul* a(d the Cha5berti( 3er)ect* a(d (o1 let us retur(
to the 3oi(t at issue'
%I&.ERT' Ah6 do(<t let us do that' Co(+ersatio( should touch e+erythi(-* but should
co(ce(trate itsel) o( (othi(-' &et us tal, about Moral I(di-(atio(* its Cause a(d Cure* a
sub4ect o( 1hich I thi(, o) 1riti(-: or about The Sur+i+al o) Thersites* as sho1( by the
E(-lish co5ic 3a3ers7 or about a(y to3ic that 5ay tur( u3'
ER"EST' "o7 I 1a(t to discuss the critic a(d criticis5' 9ou ha+e told 5e that the hi-hest
criticis5 deals 1ith art* (ot as e83ressi+e* but as i53ressi+e 3urely* a(d is co(se>ue(tly
both creati+e a(d i(de3e(de(t* is i( )act a( art by itsel)* occu3yi(- the sa5e relatio( to
creati+e 1or, that creati+e 1or, does to the +isible 1orld o) )or5 a(d colour* or the
u(see( 1orld o) 3assio( a(d o) thou-ht' Well* (o1* tell 5e* 1ill (ot the critic be
so5eti5es a real i(ter3reter2
%I&.ERT' 9es7 the critic 1ill be a( i(ter3reter* i) he chooses' He ca( 3ass )ro5 his sy(thetic
i53ressio( o) the 1or, o) art as a 1hole* to a( a(alysis or e83ositio( o) the 1or, itsel)*
a(d i( this lo1er s3here* as I hold it to be* there are 5a(y deli-ht)ul thi(-s to be said a(d
do(e' 9et his ob4ect 1ill (ot al1ays be to e83lai( the 1or, o) art' He 5ay see, rather to
dee3e( its 5ystery* to raise rou(d it* a(d rou(d its 5a,er* that 5ist o) 1o(der 1hich is
dear to both -ods a(d 1orshi33ers ali,e' Ordi(ary 3eo3le are <terribly at ease i( Bio('<
They 3ro3ose to 1al, ar5 i( ar5 1ith the 3oets* a(d ha+e a -lib i-(ora(t 1ay o) sayi(-*
<Why should 1e read 1hat is 1ritte( about Sha,es3eare a(d Milto(2 We ca( read the 3lays
a(d the 3oe5s' That is e(ou-h'< .ut a( a33reciatio( o) Milto( is* as the late Rector o)
&i(col( re5ar,ed o(ce* the re1ard o) co(su55ate scholarshi3' A(d he 1ho desires to
u(dersta(d Sha,es3eare truly 5ust u(dersta(d the relatio(s i( 1hich Sha,es3eare stood
to the Re(aissa(ce a(d the Re)or5atio(* to the a-e o) Eli:abeth a(d the a-e o) =a5es7 he
5ust be )a5iliar 1ith the history o) the stru--le )or su3re5acy bet1ee( the old classical
)or5s a(d the (e1 s3irit o) ro5a(ce* bet1ee( the school o) Sid(ey* a(d $a(iel* a(d
=oh(so(* a(d the school o) Marlo1e a(d Marlo1e<s -reater so(7 he 5ust ,(o1 the
5aterials that 1ere at Sha,es3eare<s dis3osal* a(d the 5ethod i( 1hich he used the5*
a(d the co(ditio(s o) theatric 3rese(tatio( i( the si8tee(th a(d se+e(tee(th ce(tury* their
li5itatio(s a(d their o33ortu(ities )or )reedo5* a(d the literary criticis5 o) Sha,es3eare<s
day* its ai5s a(d 5odes a(d ca(o(s7 he 5ust study the E(-lish la(-ua-e i( its 3ro-ress*
a(d bla(, or rhy5ed +erse i( its +arious de+elo35e(ts7 he 5ust study the %ree, dra5a*
a(d the co((ectio( bet1ee( the art o) the creator o) the A-a5e5(o( a(d the art o) the
creator o) Macbeth7 i( a 1ord* he 5ust be able to bi(d Eli:abetha( &o(do( to the Athe(s
o) !ericles* a(d to lear( Sha,es3eare<s true 3ositio( i( the history o) Euro3ea( dra5a a(d
the dra5a o) the 1orld' The critic 1ill certai(ly be a( i(ter3reter* but he 1ill (ot treat Art
as a riddli(- S3hi(8* 1hose shallo1 secret 5ay be -uessed a(d re+ealed by o(e 1hose
)eet are 1ou(ded a(d 1ho ,(o1s (ot his (a5e' Rather* he 1ill loo, u3o( Art as a -oddess
1hose 5ystery it is his 3ro+i(ce to i(te(si)y* a(d 1hose 5a4esty his 3ri+ile-e to 5a,e
5ore 5ar+ellous i( the eyes o) 5e('
A(d here* Er(est* this stra(-e thi(- ha33e(s' The critic 1ill i(deed be a( i(ter3reter* but
he 1ill (ot be a( i(ter3reter i( the se(se o) o(e 1ho si53ly re3eats i( a(other )or5 a
5essa-e that has bee( 3ut i(to his li3s to say' #or* 4ust as it is o(ly by co(tact 1ith the art
o) )orei-( (atio(s that the art o) a cou(try -ai(s that i(di+idual a(d se3arate li)e that 1e
call (atio(ality* so* by curious i(+ersio(* it is o(ly by i(te(si)yi(- his o1( 3erso(ality that
the critic ca( i(ter3ret the 3erso(ality a(d 1or, o) others* a(d the 5ore stro(-ly this
3erso(ality e(ters i(to the i(ter3retatio( the 5ore real the i(ter3retatio( beco5es* the
5ore satis)yi(-* the 5ore co(+i(ci(-* a(d the 5ore true'
ER"EST' I 1ould ha+e said that 3erso(ality 1ould ha+e bee( a disturbi(- ele5e(t'
%I&.ERT' "o7 it is a( ele5e(t o) re+elatio(' I) you 1ish to u(dersta(d others you 5ust
i(te(si)y your o1( i(di+idualis5'
ER"EST' What* the(* is the result2
%I&.ERT' I 1ill tell you* a(d 3erha3s I ca( tell you best by de)i(ite e8a53le' It see5s to
5e that* 1hile the literary critic sta(ds o) course )irst* as ha+i(- the 1ider ra(-e* a(d
lar-er +isio(* a(d (obler 5aterial* each o) the arts has a critic* as it 1ere* assi-(ed to it'
The actor is a critic o) the dra5a' He sho1s the 3oet<s 1or, u(der (e1 co(ditio(s* a(d by
a 5ethod s3ecial to hi5sel)' He ta,es the 1ritte( 1ord* a(d actio(* -esture a(d +oice
beco5e the 5edia o) re+elatio(' The si(-er or the 3layer o( lute a(d +iol is the critic o)
5usic' The etcher o) a 3icture robs the 3ai(ti(- o) its )air colours* but sho1s us by the use
o) a (e1 5aterial its true colour;>uality* its to(es a(d +alues* a(d the relatio(s o) its
5asses* a(d so is* i( his 1ay* a critic o) it* )or the critic is he 1ho e8hibits to us a 1or, o)
art i( a )or5 di))ere(t )ro5 that o) the 1or, itsel)* a(d the e53loy5e(t o) a (e1 5aterial
is a critical as 1ell as a creati+e ele5e(t' Scul3ture* too* has its critic* 1ho 5ay be either
the car+er o) a -e5* as he 1as i( %ree, days* or so5e 3ai(ter li,e Ma(te-(a* 1ho sou-ht
to re3roduce o( ca(+as the beauty o) 3lastic li(e a(d the sy53ho(ic di-(ity o)
3rocessio(al bas;relie)' A(d i( the case o) all these creati+e critics o) art it is e+ide(t that
3erso(ality is a( absolute esse(tial )or a(y real i(ter3retatio(' Whe( Rubi(stei( 3lays to us
the So(ata A33assio(ata o) .eetho+e(* he -i+es us (ot 5erely .eetho+e(* but also
hi5sel)* a(d so -i+es us .eetho+e( absolutely;;.eetho+e( re;i(ter3reted throu-h a rich
artistic (ature* a(d 5ade +i+id a(d 1o(der)ul to us by a (e1 a(d i(te(se 3erso(ality'
Whe( a -reat actor 3lays Sha,es3eare 1e ha+e the sa5e e83erie(ce' His o1( i(di+iduality
beco5es a +ital 3art o) the i(ter3retatio(' !eo3le so5eti5es say that actors -i+e us their
o1( Ha5lets* a(d (ot Sha,es3eare<s7 a(d this )allacy;;)or it is a )allacy;;is* I re-ret to say*
re3eated by that char5i(- a(d -race)ul 1riter 1ho has lately deserted the tur5oil o)
literature )or the 3eace o) the House o) Co55o(s* I 5ea( the author o) Obiter $icta' I(
3oi(t o) )act* there is (o such thi(- as Sha,es3eare<s Ha5let' I) Ha5let has so5ethi(- o)
the de)i(ite(ess o) a 1or, o) art* he has also all the obscurity that belo(-s to li)e' There
are as 5a(y Ha5lets as there are 5ela(cholies'
ER"EST' As 5a(y Ha5lets as there are 5ela(cholies2
%I&.ERT' 9es: a(d as art s3ri(-s )ro5 3erso(ality* so it is o(ly to 3erso(ality that it ca( be
re+ealed* a(d )ro5 the 5eeti(- o) the t1o co5es ri-ht i(ter3retati+e criticis5'
ER"EST' The critic* the(* co(sidered as the i(ter3reter* 1ill -i+e (o less tha( he recei+es*
a(d le(d as 5uch as he borro1s2
%I&.ERT' He 1ill be al1ays sho1i(- us the 1or, o) art i( so5e (e1 relatio( to our a-e' He
1ill al1ays be re5i(di(- us that -reat 1or,s o) art are li+i(- thi(-s;;are* i( )act* the o(ly
thi(-s that li+e' So 5uch* i(deed* 1ill he )eel this* that I a5 certai( that* as ci+ilisatio(
3ro-resses a(d 1e beco5e 5ore hi-hly or-a(ised* the elect s3irits o) each a-e* the critical
a(d cultured s3irits* 1ill -ro1 less a(d less i(terested i( actual li)e* a(d WI&& SEEK TO
%AI" THEIR IM!RESSIO"S A&MOST E"TIRE&9 #ROM WHAT ART HAS TOCHE$' #or li)e is
terribly de)icie(t i( )or5' Its catastro3hes ha33e( i( the 1ro(- 1ay a(d to the 1ro(-
3eo3le' There is a -rotes>ue horror about its co5edies* a(d its tra-edies see5 to
cul5i(ate i( )arce' O(e is al1ays 1ou(ded 1he( o(e a33roaches it' Thi(-s last either too
lo(-* or (ot lo(- e(ou-h'
ER"EST' !oor li)e6 !oor hu5a( li)e6 Are you (ot e+e( touched by the tears that the Ro5a(
3oet tells us are 3art o) its esse(ce'
%I&.ERT' Too >uic,ly touched by the5* I )ear' #or 1he( o(e loo,s bac, u3o( the li)e that
1as so +i+id i( its e5otio(al i(te(sity* a(d )illed 1ith such )er+e(t 5o5e(ts o) ecstasy or
o) 4oy* it all see5s to be a drea5 a(d a( illusio(' What are the u(real thi(-s* but the
3assio(s that o(ce bur(ed o(e li,e )ire2 What are the i(credible thi(-s* but the thi(-s that
o(e has )aith)ully belie+ed2 What are the i53robable thi(-s2 The thi(-s that o(e has do(e
o(esel)' "o* Er(est7 li)e cheats us 1ith shado1s* li,e a 3u33et; 5aster' We as, it )or
3leasure' It -i+es it to us* 1ith bitter(ess a(d disa33oi(t5e(t i( its trai(' We co5e across
so5e (oble -rie) that 1e thi(, 1ill le(d the 3ur3le di-(ity o) tra-edy to our days* but it
3asses a1ay )ro5 us* a(d thi(-s less (oble ta,e its 3lace* a(d o( so5e -rey 1i(dy da1(*
or odorous e+e o) sile(ce a(d o) sil+er* 1e )i(d oursel+es loo,i(- 1ith callous 1o(der* or
dull heart o) sto(e* at the tress o) -old;)lec,ed hair that 1e had o(ce so 1ildly 1orshi33ed
a(d so 5adly ,issed'
ER"EST' &i)e the( is a )ailure2
%I&.ERT' #ro5 the artistic 3oi(t o) +ie1* certai(ly' A(d the chie) thi(- that 5a,es li)e a
)ailure )ro5 this artistic 3oi(t o) +ie1 is the thi(- that le(ds to li)e its sordid security* the
)act that o(e ca( (e+er re3eat e8actly the sa5e e5otio(' Ho1 di))ere(t it is i( the 1orld o)
Art6 O( a shel) o) the boo,case behi(d you sta(ds the $i+i(e Co5edy* a(d I ,(o1 that* i) I
o3e( it at a certai( 3lace* I shall be )illed 1ith a )ierce hatred o) so5e o(e 1ho has (e+er
1ro(-ed 5e* or stirred by a -reat lo+e )or so5e o(e 1ho5 I shall (e+er see' There is (o
5ood or 3assio( that Art ca((ot -i+e us* a(d those o) us 1ho ha+e disco+ered her secret
ca( settle be)oreha(d 1hat our e83erie(ces are -oi(- to be' We ca( choose our day a(d
select our hour' We ca( say to oursel+es* <To; 5orro1* at da1(* 1e shall 1al, 1ith -ra+e
?ir-il throu-h the +alley o) the shado1 o) death*< a(d lo6 the da1( )i(ds us i( the obscure
1ood* a(d the Ma(tua( sta(ds by our side' We 3ass throu-h the -ate o) the le-e(d )atal
to ho3e* a(d 1ith 3ity or 1ith 4oy behold the horror o) a(other 1orld' The hy3ocrites -o
by* 1ith their 3ai(ted )aces a(d their co1ls o) -ilded lead' Out o) the ceaseless 1i(ds that
dri+e the5* the car(al loo, at us* a(d 1e 1atch the heretic re(di(- his )lesh* a(d the
-lutto( lashed by the rai(' We brea, the 1ithered bra(ches )ro5 the tree i( the -ro+e o)
the Har3ies* a(d each dull;hued 3oiso(ous t1i- bleeds 1ith red blood be)ore us* a(d cries
aloud 1ith bitter cries' Out o) a hor( o) )ire Odysseus s3ea,s to us* a(d 1he( )ro5 his
se3ulchre o) )la5e the -reat %hibelli(e rises* the 3ride that triu53hs o+er the torture o)
that bed beco5es ours )or a 5o5e(t' Throu-h the di5 3ur3le air )ly those 1ho ha+e
stai(ed the 1orld 1ith the beauty o) their si(* a(d i( the 3it o) loathso5e disease* dro3sy;
stric,e( a(d s1olle( o) body i(to the se5bla(ce o) a 5o(strous lute* lies Ada5o di
.rescia* the coi(er o) )alse coi(' He bids us liste( to his 5isery7 1e sto3* a(d 1ith dry a(d
-a3i(- li3s he tells us ho1 he drea5s day a(d (i-ht o) the broo,s o) clear 1ater that i(
cool de1y cha((els -ush do1( the -ree( Case(ti(e hills' Si(o(* the )alse %ree, o) Troy*
5oc,s at hi5' He s5ites hi5 i( the )ace* a(d they 1ra(-le' We are )asci(ated by their
sha5e* a(d loiter* till ?ir-il chides us a(d leads us a1ay to that city turreted by -ia(ts
1here -reat "i5rod blo1s his hor(' Terrible thi(-s are i( store )or us* a(d 1e -o to 5eet
the5 i( $a(te<s rai5e(t a(d 1ith $a(te<s heart' We tra+erse the 5arshes o) the Sty8* a(d
Ar-e(ti s1i5s to the boat throu-h the sli5y 1a+es' He calls to us* a(d 1e re4ect hi5'
Whe( 1e hear the +oice o) his a-o(y 1e are -lad* a(d ?ir-il 3raises us )or the bitter(ess
o) our scor(' We tread u3o( the cold crystal o) Cocytus* i( 1hich traitors stic, li,e stra1s
i( -lass' Our )oot stri,es a-ai(st the head o) .occa' He 1ill (ot tell us his (a5e* a(d 1e
tear the hair i( ha(d)uls )ro5 the screa5i(- s,ull' Alberi-o 3rays us to brea, the ice u3o(
his )ace that he 5ay 1ee3 a little' We 3led-e our 1ord to hi5* a(d 1he( he has uttered
his dolorous tale 1e de(y the 1ord that 1e ha+e s3o,e(* a(d 3ass )ro5 hi57 such cruelty
bei(- courtesy i(deed* )or 1ho 5ore base tha( he 1ho has 5ercy )or the co(de5(ed o)
%od2 I( the 4a1s o) &uci)er 1e see the 5a( 1ho sold Christ* a(d i( the 4a1s o) &uci)er the
5e( 1ho sle1 Caesar' We tre5ble* a(d co5e )orth to re;behold the stars'
I( the la(d o) !ur-atio( the air is )reer* a(d the holy 5ou(tai( rises i(to the 3ure li-ht o)
day' There is 3eace )or us* a(d )or those 1ho )or a seaso( abide i( it there is so5e 3eace
also* thou-h* 3ale )ro5 the 3oiso( o) the Mare55a* Mado((a !ia 3asses be)ore us* a(d
Is5e(e* 1ith the sorro1 o) earth still li(-eri(- about her* is there' Soul a)ter soul 5a,es
us share i( so5e re3e(ta(ce or so5e 4oy' He 1ho5 the 5our(i(- o) his 1ido1 tau-ht to
dri(, the s1eet 1or51ood o) 3ai(* tells us o) "ella 3rayi(- i( her lo(ely bed* a(d 1e lear(
)ro5 the 5outh o) .uo(co(te ho1 a si(-le tear 5ay sa+e a dyi(- si((er )ro5 the )ie(d'
Sordello* that (oble a(d disdai()ul &o5bard* eyes us )ro5 a)ar li,e a coucha(t lio(' Whe(
he lear(s that ?ir-il is o(e o) Ma(tua<s citi:e(s* he )alls u3o( his (ec,* a(d 1he( he lear(s
that he is the si(-er o) Ro5e he )alls be)ore his )eet' I( that +alley 1hose -rass a(d
)lo1ers are )airer tha( cle)t e5erald a(d I(dia( 1ood* a(d bri-hter tha( scarlet a(d sil+er*
they are si(-i(- 1ho i( the 1orld 1ere ,i(-s7 but the li3s o) Rudol3h o) Ha3sbur- do (ot
5o+e to the 5usic o) the others* a(d !hili3 o) #ra(ce beats his breast a(d He(ry o)
E(-la(d sits alo(e' O( a(d o( 1e -o* cli5bi(- the 5ar+ellous stair* a(d the stars beco5e
lar-er tha( their 1o(t* a(d the so(- o) the ,i(-s -ro1s )ai(t* a(d at le(-th 1e reach the
se+e( trees o) -old a(d the -arde( o) the Earthly !aradise' I( a -ri))i(;dra1( chariot
a33ears o(e 1hose bro1s are bou(d 1ith oli+e* 1ho is +eiled i( 1hite* a(d 5a(tled i(
-ree(* a(d robed i( a +esture that is coloured li,e li+e )ire' The a(cie(t )la5e 1a,es 1ithi(
us' Our blood >uic,e(s throu-h terrible 3ulses' We reco-(ise her' It is .eatrice* the 1o5a(
1e ha+e 1orshi33ed' The ice co(-ealed about our heart 5elts' Wild tears o) a(-uish brea,
)ro5 us* a(d 1e bo1 our )orehead to the -rou(d* )or 1e ,(o1 that 1e ha+e si((ed' Whe(
1e ha+e do(e 3e(a(ce* a(d are 3uri)ied* a(d ha+e dru(, o) the )ou(tai( o) &ethe a(d
bathed i( the )ou(tai( o) Eu(oe* the 5istress o) our soul raises us to the !aradise o)
Hea+e(' Out o) that eter(al 3earl* the 5oo(* the )ace o) !iccarda $o(ati lea(s to us' Her
beauty troubles us )or a 5o5e(t* a(d 1he(* li,e a thi(- that )alls throu-h 1ater* she
3asses a1ay* 1e -a:e a)ter her 1ith 1ist)ul eyes' The s1eet 3la(et o) ?e(us is )ull o)
lo+ers' Cu(i::a* the sister o) E::eli(* the lady o) Sordello<s heart* is there* a(d #olco* the
3assio(ate si(-er o) !ro+e(ce* 1ho i( sorro1 )or A:alais )orsoo, the 1orld* a(d the
Ca(aa(itish harlot 1hose soul 1as the )irst that Christ redee5ed' =oachi5 o) #lora sta(ds
i( the su(* a(d* i( the su(* A>ui(as recou(ts the story o) St' #ra(cis a(d .o(a+e(ture the
story o) St' $o5i(ic' Throu-h the bur(i(- rubies o) Mars* Caccia-uida a33roaches' He tells
us o) the arro1 that is shot )ro5 the bo1 o) e8ile* a(d ho1 salt tastes the bread o)
a(other* a(d ho1 stee3 are the stairs i( the house o) a stra(-er' I( Satur( the soul si(-s
(ot* a(d e+e( she 1ho -uides us dare (ot s5ile' O( a ladder o) -old the )la5es rise a(d
)all' At last* 1e see the 3a-ea(t o) the Mystical Rose' .eatrice )i8es her eyes u3o( the )ace
o) %od to tur( the5 (ot a-ai(' The beati)ic +isio( is -ra(ted to us7 1e ,(o1 the &o+e that
5o+es the su( a(d all the stars'
9es* 1e ca( 3ut the earth bac, si8 hu(dred courses a(d 5a,e oursel+es o(e 1ith the
-reat #lore(ti(e* ,(eel at the sa5e altar 1ith hi5* a(d share his ra3ture a(d his scor('
A(d i) 1e -ro1 tired o) a( a(ti>ue ti5e* a(d desire to realise our o1( a-e i( all its
1eari(ess a(d si(* are there (ot boo,s that ca( 5a,e us li+e 5ore i( o(e si(-le hour tha(
li)e ca( 5a,e us li+e i( a score o) sha5e)ul years2 Close to your ha(d lies a little +olu5e*
bou(d i( so5e "ile;-ree( s,i( that has bee( 3o1dered 1ith -ilded (e(u3hars a(d
s5oothed 1ith hard i+ory' It is the boo, that %autier lo+ed* it is .audelaire<s 5aster3iece'
O3e( it at that sad 5adri-al that be-i(s
@ue 5<i53orte >ue tu sois sa-e2
Sois belle6 et sois triste6
a(d you 1ill )i(d yoursel) 1orshi33i(- sorro1 as you ha+e (e+er 1orshi33ed 4oy' !ass o(
to the 3oe5 o( the 5a( 1ho tortures hi5sel)* let its subtle 5usic steal i(to your brai( a(d
colour your thou-hts* a(d you 1ill beco5e )or a 5o5e(t 1hat he 1as 1ho 1rote it7 (ay*
(ot )or a 5o5e(t o(ly* but )or 5a(y barre( 5oo(lit (i-hts a(d su(less sterile days 1ill a
des3air that is (ot your o1( 5a,e its d1elli(- 1ithi( you* a(d the 5isery o) a(other -(a1
your heart a1ay' Read the 1hole boo,* su))er it to tell e+e( o(e o) its secrets to your soul*
a(d your soul 1ill -ro1 ea-er to ,(o1 5ore* a(d 1ill )eed u3o( 3oiso(ous ho(ey* a(d see,
to re3e(t o) stra(-e cri5es o) 1hich it is -uiltless* a(d to 5a,e ato(e5e(t )or terrible
3leasures that it has (e+er ,(o1(' A(d the(* 1he( you are tired o) these )lo1ers o) e+il*
tur( to the )lo1ers that -ro1 i( the -arde( o) !erdita* a(d i( their de1;dre(ched chalices
cool your )e+ered bro1* a(d let their lo+eli(ess heal a(d restore your soul7 or 1a,e )ro5
his )or-otte( to5b the s1eet Syria(* Melea-er* a(d bid the lo+er o) Heliodore 5a,e you
5usic* )or he too has )lo1ers i( his so(-* red 3o5e-ra(ate blosso5s* a(d irises that s5ell
o) 5yrrh* ri(-ed da))odils a(d dar, blue hyaci(ths* a(d 5ar4ora5 a(d cri(,led o8;eyes'
$ear to hi5 1as the 3er)u5e o) the bea(;)ield at e+e(i(-* a(d dear to hi5 the odorous
eared;s3i,e(ard that -re1 o( the Syria( hills* a(d the )resh -ree( thy5e* the 1i(e;cu3<s
char5' The )eet o) his lo+e as she 1al,ed i( the -arde( 1ere li,e lilies set u3o( lilies'
So)ter tha( slee3;lade( 3o33y 3etals 1ere her li3s* so)ter tha( +iolets a(d as sce(ted' The
)la5e;li,e crocus s3ra(- )ro5 the -rass to loo, at her' #or her the sli5 (arcissus stored
the cool rai(7 a(d )or her the a(e5o(es )or-ot the Sicilia( 1i(ds that 1ooed the5' A(d
(either crocus* (or a(e5o(e* (or (arcissus 1as as )air as she 1as'
It is a stra(-e thi(-* this tra(s)ere(ce o) e5otio(' We sic,e( 1ith the sa5e 5aladies as
the 3oets* a(d the si(-er le(ds us his 3ai(' $ead li3s ha+e their 5essa-e )or us* a(d
hearts that ha+e )alle( to dust ca( co55u(icate their 4oy' We ru( to ,iss the bleedi(-
5outh o) #a(ti(e* a(d 1e )ollo1 Ma(o( &escaut o+er the 1hole 1orld' Ours is the lo+e;
5ad(ess o) the Tyria(* a(d the terror o) Orestes is ours also' There is (o 3assio( that 1e
ca((ot )eel* (o 3leasure that 1e 5ay (ot -rati)y* a(d 1e ca( choose the ti5e o) our
i(itiatio( a(d the ti5e o) our )reedo5 also' &i)e6 &i)e6 $o(<t let us -o to li)e )or our
)ul)il5e(t or our e83erie(ce' It is a thi(- (arro1ed by circu5sta(ces* i(cohere(t i( its
uttera(ce* a(d 1ithout that )i(e corres3o(de(ce o) )or5 a(d s3irit 1hich is the o(ly thi(-
that ca( satis)y the artistic a(d critical te53era5e(t' It 5a,es us 3ay too hi-h a 3rice )or
its 1ares* a(d 1e 3urchase the 5ea(est o) its secrets at a cost that is 5o(strous a(d
i()i(ite'
ER"EST' Must 1e -o* the(* to Art )or e+erythi(-2
%I&.ERT' #or e+erythi(-' .ecause Art does (ot hurt us' The tears that 1e shed at a 3lay
are a ty3e o) the e8>uisite sterile e5otio(s that it is the )u(ctio( o) Art to a1a,e(' We
1ee3* but 1e are (ot 1ou(ded' We -rie+e* but our -rie) is (ot bitter' I( the actual li)e o)
5a(* sorro1* as S3i(o:a says so5e1here* is a 3assa-e to a lesser 3er)ectio(' .ut the
sorro1 1ith 1hich Art )ills us both 3uri)ies a(d i(itiates* i) I 5ay >uote o(ce 5ore )ro5 the
-reat art critic o) the %ree,s' It is throu-h Art* a(d throu-h Art o(ly* that 1e ca( realise
our 3er)ectio(7 throu-h Art* a(d throu-h Art o(ly* that 1e ca( shield oursel+es )ro5 the
sordid 3erils o) actual e8iste(ce' This results (ot 5erely )ro5 the )act that (othi(- that
o(e ca( i5a-i(e is 1orth doi(-* a(d that o(e ca( i5a-i(e e+erythi(-* but )ro5 the subtle
la1 that e5otio(al )orces* li,e the )orces o) the 3hysical s3here* are li5ited i( e8te(t a(d
e(er-y' O(e ca( )eel so 5uch* a(d (o 5ore' A(d ho1 ca( it 5atter 1ith 1hat 3leasure li)e
tries to te53t o(e* or 1ith 1hat 3ai( it see,s to 5ai5 a(d 5ar o(e<s soul* i) i( the
s3ectacle o) the li+es o) those 1ho ha+e (e+er e8isted o(e has )ou(d the true secret o) 4oy*
a(d 1e3t a1ay o(e<s tears o+er their deaths 1ho* li,e Cordelia a(d the dau-hter o)
.raba(tio* ca( (e+er die2
ER"EST' Sto3 a 5o5e(t' It see5s to 5e that i( e+erythi(- that you ha+e said there is
so5ethi(- radically i55oral'
%I&.ERT' All art is i55oral'
ER"EST' All art2
%I&.ERT' 9es' #or e5otio( )or the sa,e o) e5otio( is the ai5 o) art* a(d e5otio( )or the
sa,e o) actio( is the ai5 o) li)e* a(d o) that 3ractical or-a(isatio( o) li)e that 1e call
society' Society* 1hich is the be-i((i(- a(d basis o) 5orals* e8ists si53ly )or the
co(ce(tratio( o) hu5a( e(er-y* a(d i( order to e(sure its o1( co(ti(ua(ce a(d healthy
stability it de5a(ds* a(d (o doubt ri-htly de5a(ds* o) each o) its citi:e(s that he should
co(tribute so5e )or5 o) 3roducti+e labour to the co55o( 1eal* a(d toil a(d tra+ail that
the day<s 1or, 5ay be do(e' Society o)te( )or-i+es the cri5i(al7 it (e+er )or-i+es the
drea5er' The beauti)ul sterile e5otio(s that art e8cites i( us are hate)ul i( its eyes* a(d so
co53letely are 3eo3le do5i(ated by the tyra((y o) this dread)ul social ideal that they are
al1ays co5i(- sha5elessly u3 to o(e at !ri+ate ?ie1s a(d other 3laces that are o3e( to
the -e(eral 3ublic* a(d sayi(- i( a loud ste(toria( +oice* <What are you doi(-2< 1hereas
<What are you thi(,i(-2< is the o(ly >uestio( that a(y si(-le ci+ilised bei(- should e+er be
allo1ed to 1his3er to a(other' They 5ea( 1ell* (o doubt* these ho(est bea5i(- )ol,'
!erha3s that is the reaso( 1hy they are so e8cessi+ely tedious' .ut so5e o(e should teach
the5 that 1hile* i( the o3i(io( o) society* Co(te53latio( is the -ra+est si( o) 1hich a(y
citi:e( ca( be -uilty* i( the o3i(io( o) the hi-hest culture it is the 3ro3er occu3atio( o)
5a('
ER"EST' Co(te53latio(2
%I&.ERT' Co(te53latio(' I said to you so5e ti5e a-o that it 1as )ar 5ore di))icult to tal,
about a thi(- tha( to do it' &et 5e say to you (o1 that to do (othi(- at all is the 5ost
di))icult thi(- i( the 1orld* the 5ost di))icult a(d the 5ost i(tellectual' To !lato* 1ith his
3assio( )or 1isdo5* this 1as the (oblest )or5 o) e(er-y' To Aristotle* 1ith his 3assio( )or
,(o1led-e* this 1as the (oblest )or5 o) e(er-y also' It 1as to this that the 3assio( )or
holi(ess led the sai(t a(d the 5ystic o) 5ediae+al days'
ER"EST' We e8ist* the(* to do (othi(-2
%I&.ERT' It is to do (othi(- that the elect e8ist' Actio( is li5ited a(d relati+e' (li5ited
a(d absolute is the +isio( o) hi5 1ho sits at ease a(d 1atches* 1ho 1al,s i( lo(eli(ess
a(d drea5s' .ut 1e 1ho are bor( at the close o) this 1o(der)ul a-e are at o(ce too
cultured a(d too critical* too i(tellectually subtle a(d too curious o) e8>uisite 3leasures* to
acce3t a(y s3eculatio(s about li)e i( e8cha(-e )or li)e itsel)' To us the citta di+i(a is
colourless* a(d the )ruitio $ei 1ithout 5ea(i(-' Meta3hysics do (ot satis)y our
te53era5e(ts* a(d reli-ious ecstasy is out o) date' The 1orld throu-h 1hich the Acade5ic
3hiloso3her beco5es <the s3ectator o) all ti5e a(d o) all e8iste(ce< is (ot really a( ideal
1orld* but si53ly a 1orld o) abstract ideas' Whe( 1e e(ter it* 1e star+e a5idst the chill
5athe5atics o) thou-ht' The courts o) the city o) %od are (ot o3e( to us (o1' Its -ates
are -uarded by I-(ora(ce* a(d to 3ass the5 1e ha+e to surre(der all that i( our (ature is
5ost di+i(e' It is e(ou-h that our )athers belie+ed' They ha+e e8hausted the )aith;)aculty
o) the s3ecies' Their le-acy to us is the sce3ticis5 o) 1hich they 1ere a)raid' Had they 3ut
it i(to 1ords* it 5i-ht (ot li+e 1ithi( us as thou-ht' "o* Er(est* (o' We ca((ot -o bac, to
the sai(t' There is )ar 5ore to be lear(ed )ro5 the si((er' We ca((ot -o bac, to the
3hiloso3her* a(d the 5ystic leads us astray' Who* as Mr' !ater su--ests so5e1here* 1ould
e8cha(-e the cur+e o) a si(-le rose;lea) )or that )or5less i(ta(-ible .ei(- 1hich !lato
rates so hi-h2 What to us is the Illu5i(atio( o) !hilo* the Abyss o) Ec,hart* the ?isio( o)
.oh5e* the 5o(strous Hea+e( itsel) that 1as re+ealed to S1ede(bor-<s bli(ded eyes2
Such thi(-s are less tha( the yello1 tru53et o) o(e da))odil o) the )ield* )ar less tha( the
5ea(est o) the +isible arts* )or* 4ust as "ature is 5atter stru--li(- i(to 5i(d* so Art is
5i(d e83ressi(- itsel) u(der the co(ditio(s o) 5atter* a(d thus* e+e( i( the lo1liest o) her
5a(i)estatio(s* she s3ea,s to both se(se a(d soul ali,e' To the aesthetic te53era5e(t the
+a-ue is al1ays re3elle(t' The %ree,s 1ere a (atio( o) artists* because they 1ere s3ared
the se(se o) the i()i(ite' &i,e Aristotle* li,e %oethe a)ter he had read Ka(t* 1e desire the
co(crete* a(d (othi(- but the co(crete ca( satis)y us'
ER"EST' What the( do you 3ro3ose2
%I&.ERT' It see5s to 5e that 1ith the de+elo35e(t o) the critical s3irit 1e shall be able to
realise* (ot 5erely our o1( li+es* but the collecti+e li)e o) the race* a(d so to 5a,e
oursel+es absolutely 5oder(* i( the true 5ea(i(- o) the 1ord 5oder(ity' #or he to 1ho5
the 3rese(t is the o(ly thi(- that is 3rese(t* ,(o1s (othi(- o) the a-e i( 1hich he li+es' To
realise the (i(etee(th ce(tury* o(e 5ust realise e+ery ce(tury that has 3receded it a(d
that has co(tributed to its 5a,i(-' To ,(o1 a(ythi(- about o(esel) o(e 5ust ,(o1 all
about others' There 5ust be (o 5ood 1ith 1hich o(e ca((ot sy53athise* (o dead 5ode
o) li)e that o(e ca((ot 5a,e ali+e' Is this i53ossible2 I thi(, (ot' .y re+eali(- to us the
absolute 5echa(is5 o) all actio(* a(d so )reei(- us )ro5 the sel); i53osed a(d
tra55elli(- burde( o) 5oral res3o(sibility* the scie(ti)ic 3ri(ci3le o) Heredity has beco5e*
as it 1ere* the 1arra(t )or the co(te53lati+e li)e' It has sho1( us that 1e are (e+er less
)ree tha( 1he( 1e try to act' It has he55ed us rou(d 1ith the (ets o) the hu(ter* a(d
1ritte( u3o( the 1all the 3ro3hecy o) our doo5' We 5ay (ot 1atch it* )or it is 1ithi( us'
We 5ay (ot see it* sa+e i( a 5irror that 5irrors the soul' It is "e5esis 1ithout her 5as,'
It is the last o) the #ates* a(d the 5ost terrible' It is the o(ly o(e o) the %ods 1hose real
(a5e 1e ,(o1'
A(d yet* 1hile i( the s3here o) 3ractical a(d e8ter(al li)e it has robbed e(er-y o) its
)reedo5 a(d acti+ity o) its choice* i( the sub4ecti+e s3here* 1here the soul is at 1or,* it
co5es to us* this terrible shado1* 1ith 5a(y -i)ts i( its ha(ds* -i)ts o) stra(-e
te53era5e(ts a(d subtle susce3tibilities* -i)ts o) 1ild ardours a(d chill 5oods o)
i(di))ere(ce* co53le8 5ulti)or5 -i)ts o) thou-hts that are at +aria(ce 1ith each other* a(d
3assio(s that 1ar a-ai(st the5sel+es' A(d so* it is (ot our o1( li)e that 1e li+e* but the
li+es o) the dead* a(d the soul that d1ells 1ithi( us is (o si(-le s3iritual e(tity* 5a,i(- us
3erso(al a(d i(di+idual* created )or our ser+ice* a(d e(teri(- i(to us )or our 4oy' It is
so5ethi(- that has d1elt i( )ear)ul 3laces* a(d i( a(cie(t se3ulchres has 5ade its abode'
It is sic, 1ith 5a(y 5aladies* a(d has 5e5ories o) curious si(s' It is 1iser tha( 1e are*
a(d its 1isdo5 is bitter' It )ills us 1ith i53ossible desires* a(d 5a,es us )ollo1 1hat 1e
,(o1 1e ca((ot -ai(' O(e thi(-* ho1e+er* Er(est* it ca( do )or us' It ca( lead us a1ay
)ro5 surrou(di(-s 1hose beauty is di55ed to us by the 5ist o) )a5iliarity* or 1hose
i-(oble u-li(ess a(d sordid clai5s are 5arri(- the 3er)ectio( o) our de+elo35e(t' It ca(
hel3 us to lea+e the a-e i( 1hich 1e 1ere bor(* a(d to 3ass i(to other a-es* a(d )i(d
oursel+es (ot e8iled )ro5 their air' It ca( teach us ho1 to esca3e )ro5 our e83erie(ce* a(d
to realise the e83erie(ces o) those 1ho are -reater tha( 1e are' The 3ai( o) &eo3ardi
cryi(- out a-ai(st li)e beco5es our 3ai(' Theocritus blo1s o( his 3i3e* a(d 1e lau-h 1ith
the li3s o) (y53h a(d she3herd' I( the 1ol)s,i( o) !ierre ?idal 1e )lee be)ore the hou(ds*
a(d i( the ar5our o) &a(celot 1e ride )ro5 the bo1er o) the @uee(' We ha+e 1his3ered
the secret o) our lo+e be(eath the co1l o) Abelard* a(d i( the stai(ed rai5e(t o) ?illo(
ha+e 3ut our sha5e i(to so(-' We ca( see the da1( throu-h Shelley<s eyes* a(d 1he( 1e
1a(der 1ith E(dy5io( the Moo( -ro1s a5orous o) our youth' Ours is the a(-uish o) Atys*
a(d ours the 1ea, ra-e a(d (oble sorro1s o) the $a(e' $o you thi(, that it is the
i5a-i(atio( that e(ables us to li+e these cou(tless li+es2 9es: it is the i5a-i(atio(7 a(d
the i5a-i(atio( is the result o) heredity' It is si53ly co(ce(trated race;e83erie(ce'
ER"EST' .ut 1here i( this is the )u(ctio( o) the critical s3irit2
%I&.ERT' The culture that this tra(s5issio( o) racial e83erie(ces 5a,es 3ossible ca( be
5ade 3er)ect by the critical s3irit alo(e* a(d i(deed 5ay be said to be o(e 1ith it' #or 1ho
is the true critic but he 1ho bears 1ithi( hi5sel) the drea5s* a(d ideas* a(d )eeli(-s o)
5yriad -e(eratio(s* a(d to 1ho5 (o )or5 o) thou-ht is alie(* (o e5otio(al i53ulse
obscure2 A(d 1ho the true 5a( o) culture* i) (ot he 1ho by )i(e scholarshi3 a(d )astidious
re4ectio( has 5ade i(sti(ct sel);co(scious a(d i(telli-e(t* a(d ca( se3arate the 1or, that
has disti(ctio( )ro5 the 1or, that has it (ot* a(d so by co(tact a(d co53ariso( 5a,es
hi5sel) 5aster o) the secrets o) style a(d school* a(d u(dersta(ds their 5ea(i(-s* a(d
liste(s to their +oices* a(d de+elo3s that s3irit o) disi(terested curiosity 1hich is the real
root* as it is the real )lo1er* o) the i(tellectual li)e* a(d thus attai(s to i(tellectual clarity*
a(d* ha+i(- lear(ed <the best that is ,(o1( a(d thou-ht i( the 1orld*< li+es;;it is (ot
)a(ci)ul to say so;;1ith those 1ho are the I55ortals'
9es* Er(est: the co(te53lati+e li)e* the li)e that has )or its ai5 (ot $OI"% but .EI"%* a(d
(ot .EI"% 5erely* but .ECOMI"%;;that is 1hat the critical s3irit ca( -i+e us' The -ods li+e
thus: either broodi(- o+er their o1( 3er)ectio(* as Aristotle tells us* or* as E3icurus
)a(cied* 1atchi(- 1ith the cal5 eyes o) the s3ectator the tra-ico5edy o) the 1orld that
they ha+e 5ade' We* too* 5i-ht li+e li,e the5* a(d set oursel+es to 1it(ess 1ith
a33ro3riate e5otio(s the +aried sce(es that 5a( a(d (ature a))ord' We 5i-ht 5a,e
oursel+es s3iritual by detachi(- oursel+es )ro5 actio(* a(d beco5e 3er)ect by the
re4ectio( o) e(er-y' It has o)te( see5ed to 5e that .ro1(i(- )elt so5ethi(- o) this'
Sha,es3eare hurls Ha5let i(to acti+e li)e* a(d 5a,es hi5 realise his 5issio( by e))ort'
.ro1(i(- 5i-ht ha+e -i+e( us a Ha5let 1ho 1ould ha+e realised his 5issio( by thou-ht'
I(cide(t a(d e+e(t 1ere to hi5 u(real or u(5ea(i(-' He 5ade the soul the 3rota-o(ist o)
li)e<s tra-edy* a(d loo,ed o( actio( as the o(e u(dra5atic ele5e(t o) a 3lay' To us* at a(y
rate* the [%ree, te8t 1hich ca((ot be re3roduced] is the true ideal' #ro5 the hi-h to1er o)
Thou-ht 1e ca( loo, out at the 1orld' Cal5* a(d sel);ce(tred* a(d co53lete* the aesthetic
critic co(te53lates li)e* a(d (o arro1 dra1( at a +e(ture ca( 3ierce bet1ee( the 4oi(ts o)
his har(ess' He at least is sa)e' He has disco+ered ho1 to li+e'
Is such a 5ode o) li)e i55oral2 9es: all the arts are i55oral* e8ce3t those baser )or5s o)
se(sual or didactic art that see, to e8cite to actio( o) e+il or o) -ood' #or actio( o) e+ery
,i(d belo(-s to the s3here o) ethics' The ai5 o) art is si53ly to create a 5ood' Is such a
5ode o) li)e u(3ractical2 Ah6 it is (ot so easy to be u(3ractical as the i-(ora(t !hilisti(e
i5a-i(es' It 1ere 1ell )or E(-la(d i) it 1ere so' There is (o cou(try i( the 1orld so 5uch
i( (eed o) u(3ractical 3eo3le as this cou(try o) ours' With us* Thou-ht is de-raded by its
co(sta(t associatio( 1ith 3ractice' Who that 5o+es i( the stress a(d tur5oil o) actual
e8iste(ce* (oisy 3oliticia(* or bra1li(- social re)or5er* or 3oor (arro1;5i(ded 3riest
bli(ded by the su))eri(-s o) that u(i53orta(t sectio( o) the co55u(ity a5o(- 1ho5 he
has cast his lot* ca( seriously clai5 to be able to )or5 a disi(terested i(tellectual 4ud-5e(t
about a(y o(e thi(-2 Each o) the 3ro)essio(s 5ea(s a 3re4udice' The (ecessity )or a
career )orces e+ery o(e to ta,e sides' We li+e i( the a-e o) the o+er1or,ed* a(d the
u(der; educated7 the a-e i( 1hich 3eo3le are so i(dustrious that they beco5e absolutely
stu3id' A(d* harsh thou-h it 5ay sou(d* I ca((ot hel3 sayi(- that such 3eo3le deser+e
their doo5' The sure 1ay o) ,(o1i(- (othi(- about li)e is to try to 5a,e o(esel) use)ul'
ER"EST' A char5i(- doctri(e* %ilbert'
%I&.ERT' I a5 (ot sure about that* but it has at least the 5i(or 5erit o) bei(- true' That
the desire to do -ood to others 3roduces a 3le(ti)ul cro3 o) 3ri-s is the least o) the e+ils o)
1hich it is the cause' The 3ri- is a +ery i(teresti(- 3sycholo-ical study* a(d thou-h o) all
3oses a 5oral 3ose is the 5ost o))e(si+e* still to ha+e a 3ose at all is so5ethi(-' It is a
)or5al reco-(itio( o) the i53orta(ce o) treati(- li)e )ro5 a de)i(ite a(d reaso(ed
sta(d3oi(t' That Hu5a(itaria( Sy53athy 1ars a-ai(st "ature* by securi(- the sur+i+al o)
the )ailure* 5ay 5a,e the 5a( o) scie(ce loathe its )acile +irtues' The 3olitical eco(o5ist
5ay cry out a-ai(st it )or 3utti(- the i53ro+ide(t o( the sa5e le+el as the 3ro+ide(t* a(d
so robbi(- li)e o) the stro(-est* because 5ost sordid* i(ce(ti+e to i(dustry' .ut* i( the
eyes o) the thi(,er* the real har5 that e5otio(al sy53athy does is that it li5its
,(o1led-e* a(d so 3re+e(ts us )ro5 sol+i(- a(y si(-le social 3roble5' We are tryi(- at
3rese(t to sta+e o)) the co5i(- crisis* the co5i(- re+olutio( as 5y )rie(ds the #abia(ists
call it* by 5ea(s o) doles a(d al5s' Well* 1he( the re+olutio( or crisis arri+es* 1e shall be
3o1erless* because 1e shall ,(o1 (othi(-' A(d so* Er(est* let us (ot be decei+ed' E(-la(d
1ill (e+er be ci+ilised till she has added to3ia to her do5i(io(s' There is 5ore tha( o(e
o) her colo(ies that she 5i-ht 1ith ad+a(ta-e surre(der )or so )air a la(d' What 1e 1a(t
are u(3ractical 3eo3le 1ho see beyo(d the 5o5e(t* a(d thi(, beyo(d the day' Those 1ho
try to lead the 3eo3le ca( o(ly do so by )ollo1i(- the 5ob' It is throu-h the +oice o) o(e
cryi(- i( the 1ilder(ess that the 1ays o) the -ods 5ust be 3re3ared'
.ut 3erha3s you thi(, that i( beholdi(- )or the 5ere 4oy o) beholdi(-* a(d co(te53lati(-
)or the sa,e o) co(te53latio(* there is so5ethi(- that is e-otistic' I) you thi(, so* do (ot
say so' It ta,es a thorou-hly sel)ish a-e* li,e our o1(* to dei)y sel); sacri)ice' It ta,es a
thorou-hly -ras3i(- a-e* such as that i( 1hich 1e li+e* to set abo+e the )i(e i(tellectual
+irtues* those shallo1 a(d e5otio(al +irtues that are a( i55ediate 3ractical be(e)it to
itsel)' They 5iss their ai5* too* these 3hila(thro3ists a(d se(ti5e(talists o) our day* 1ho
are al1ays chatteri(- to o(e about o(e<s duty to o(e<s (ei-hbour' #or the de+elo35e(t o)
the race de3e(ds o( the de+elo35e(t o) the i(di+idual* a(d 1here sel); culture has ceased
to be the ideal* the i(tellectual sta(dard is i(sta(tly lo1ered* a(d* o)te(* ulti5ately lost' I)
you 5eet at di((er a 5a( 1ho has s3e(t his li)e i( educati(- hi5sel);;a rare ty3e i( our
ti5e* I ad5it* but still o(e occasio(ally to be 5et 1ith;;you rise )ro5 table richer* a(d
co(scious that a hi-h ideal has )or a 5o5e(t touched a(d sa(cti)ied your days' .ut oh6 5y
dear Er(est* to sit (e8t to a 5a( 1ho has s3e(t his li)e i( tryi(- to educate others6 What a
dread)ul e83erie(ce that is6 Ho1 a33alli(- is that i-(ora(ce 1hich is the i(e+itable result
o) the )atal habit o) i53arti(- o3i(io(s6 Ho1 li5ited i( ra(-e the creature<s 5i(d 3ro+es to
be6 Ho1 it 1earies us* a(d 5ust 1eary hi5sel)* 1ith its e(dless re3etitio(s a(d sic,ly
reiteratio(6 Ho1 lac,i(- it is i( a(y ele5e(t o) i(tellectual -ro1th6 I( 1hat a +icious circle
it al1ays 5o+es6
ER"EST' 9ou s3ea, 1ith stra(-e )eeli(-* %ilbert' Ha+e you had this dread)ul e83erie(ce* as
you call it* lately2
%I&.ERT' #e1 o) us esca3e it' !eo3le say that the school5aster is abroad' I 1ish to
-ood(ess he 1ere' .ut the ty3e o) 1hich* a)ter all* he is o(ly o(e* a(d certai(ly the least
i53orta(t* o) the re3rese(tati+es* see5s to 5e to be really do5i(ati(- our li+es7 a(d 4ust
as the 3hila(thro3ist is the (uisa(ce o) the ethical s3here* so the (uisa(ce o) the
i(tellectual s3here is the 5a( 1ho is so occu3ied i( tryi(- to educate others* that he has
(e+er had a(y ti5e to educate hi5sel)' "o* Er(est* sel);culture is the true ideal o) 5a('
%oethe sa1 it* a(d the i55ediate debt that 1e o1e to %oethe is -reater tha( the debt 1e
o1e to a(y 5a( si(ce %ree, days' The %ree,s sa1 it* a(d ha+e le)t us* as their le-acy to
5oder( thou-ht* the co(ce3tio( o) the co(te53lati+e li)e as 1ell as the critical 5ethod by
1hich alo(e ca( that li)e be truly realised' It 1as the o(e thi(- that 5ade the Re(aissa(ce
-reat* a(d -a+e us Hu5a(is5' It is the o(e thi(- that could 5a,e our o1( a-e -reat also7
)or the real 1ea,(ess o) E(-la(d lies* (ot i( i(co53lete ar5a5e(ts or u()orti)ied coasts*
(ot i( the 3o+erty that cree3s throu-h su(less la(es* or the dru(,e((ess that bra1ls i(
loathso5e courts* but si53ly i( the )act that her ideals are e5otio(al a(d (ot i(tellectual'
I do (ot de(y that the i(tellectual ideal is di))icult o) attai(5e(t* still less that it is* a(d
3erha3s 1ill be )or years to co5e* u(3o3ular 1ith the cro1d' It is so easy )or 3eo3le to
ha+e sy53athy 1ith su))eri(-' It is so di))icult )or the5 to ha+e sy53athy 1ith thou-ht'
I(deed* so little do ordi(ary 3eo3le u(dersta(d 1hat thou-ht really is* that they see5 to
i5a-i(e that* 1he( they ha+e said that a theory is da(-erous* they ha+e 3ro(ou(ced its
co(de5(atio(* 1hereas it is o(ly such theories that ha+e a(y true i(tellectual +alue' A(
idea that is (ot da(-erous is u(1orthy o) bei(- called a( idea at all'
ER"EST' %ilbert* you be1ilder 5e' 9ou ha+e told 5e that all art is* i( its esse(ce* i55oral'
Are you -oi(- to tell 5e (o1 that all thou-ht is* i( its esse(ce* da(-erous2
%I&.ERT' 9es* i( the 3ractical s3here it is so' The security o) society lies i( custo5 a(d
u(co(scious i(sti(ct* a(d the basis o) the stability o) society* as a healthy or-a(is5* is the
co53lete abse(ce o) a(y i(telli-e(ce a5o(-st its 5e5bers' The -reat 5a4ority o) 3eo3le
bei(- )ully a1are o) this* ra(, the5sel+es (aturally o( the side o) that s3le(did syste5
that ele+ates the5 to the di-(ity o) 5achi(es* a(d ra-e so 1ildly a-ai(st the i(trusio( o)
the i(tellectual )aculty i(to a(y >uestio( that co(cer(s li)e* that o(e is te53ted to de)i(e
5a( as a ratio(al a(i5al 1ho al1ays loses his te53er 1he( he is called u3o( to act i(
accorda(ce 1ith the dictates o) reaso(' .ut let us tur( )ro5 the 3ractical s3here* a(d say
(o 5ore about the 1ic,ed 3hila(thro3ists* 1ho* i(deed* 5ay 1ell be le)t to the 5ercy o)
the al5o(d;eyed sa-e o) the 9ello1 Ri+er Chua(- Tsu the 1ise* 1ho has 3ro+ed that such
1ell;5ea(i(- a(d o))e(si+e busybodies ha+e destroyed the si53le a(d s3o(ta(eous +irtue
that there is i( 5a(' They are a 1eariso5e to3ic* a(d I a5 a(8ious to -et bac, to the
s3here i( 1hich criticis5 is )ree'
ER"EST' The s3here o) the i(tellect2
%I&.ERT' 9es' 9ou re5e5ber that I s3o,e o) the critic as bei(- i( his o1( 1ay as creati+e
as the artist* 1hose 1or,* i(deed* 5ay be 5erely o) +alue i( so )ar as it -i+es to the critic
a su--estio( )or so5e (e1 5ood o) thou-ht a(d )eeli(- 1hich he ca( realise 1ith e>ual*
or 3erha3s -reater* disti(ctio( o) )or5* a(d* throu-h the use o) a )resh 5ediu5 o)
e83ressio(* 5a,e di))ere(tly beauti)ul a(d 5ore 3er)ect' Well* you see5ed to be a little
sce3tical about the theory' .ut 3erha3s I 1ro(-ed you2
ER"EST' I a5 (ot really sce3tical about it* but I 5ust ad5it that I )eel +ery stro(-ly that
such 1or, as you describe the critic 3roduci(-;;a(d creati+e such 1or, 5ust u(doubtedly
be ad5itted to be;;is* o) (ecessity* 3urely sub4ecti+e* 1hereas the -reatest 1or, is
ob4ecti+e al1ays* ob4ecti+e a(d i53erso(al'
%I&.ERT' The di))ere(ce bet1ee( ob4ecti+e a(d sub4ecti+e 1or, is o(e o) e8ter(al )or5
5erely' It is accide(tal* (ot esse(tial' All artistic creatio( is absolutely sub4ecti+e' The +ery
la(dsca3e that Corot loo,ed at 1as* as he said hi5sel)* but a 5ood o) his o1( 5i(d7 a(d
those -reat )i-ures o) %ree, or E(-lish dra5a that see5 to us to 3ossess a( actual
e8iste(ce o) their o1(* a3art )ro5 the 3oets 1ho sha3ed a(d )ashio(ed the5* are* i( their
ulti5ate a(alysis* si53ly the 3oets the5sel+es* (ot as they thou-ht they 1ere* but as they
thou-ht they 1ere (ot7 a(d by such thi(,i(- ca5e i( stra(-e 5a((er* thou-h but )or a
5o5e(t* really so to be' #or out o) oursel+es 1e ca( (e+er 3ass* (or ca( there be i(
creatio( 1hat i( the creator 1as (ot' "ay* I 1ould say that the 5ore ob4ecti+e a creatio(
a33ears to be* the 5ore sub4ecti+e it really is' Sha,es3eare 5i-ht ha+e 5et Rose(cra(t:
a(d %uilde(ster( i( the 1hite streets o) &o(do(* or see( the ser+i(-;5e( o) ri+al houses
bite their thu5bs at each other i( the o3e( s>uare7 but Ha5let ca5e out o) his soul* a(d
Ro5eo out o) his 3assio(' They 1ere ele5e(ts o) his (ature to 1hich he -a+e +isible )or5*
i53ulses that stirred so stro(-ly 1ithi( hi5 that he had* as it 1ere 3er)orce* to su))er
the5 to realise their e(er-y* (ot o( the lo1er 3la(e o) actual li)e* 1here they 1ould ha+e
bee( tra55elled a(d co(strai(ed a(d so 5ade i53er)ect* but o( that i5a-i(ati+e 3la(e o)
art 1here &o+e ca( i(deed )i(d i( $eath its rich )ul)il5e(t* 1here o(e ca( stab the
ea+esdro33er behi(d the arras* a(d 1restle i( a (e1;5ade -ra+e* a(d 5a,e a -uilty ,i(-
dri(, his o1( hurt* a(d see o(e<s )ather<s s3irit* be(eath the -li53ses o) the 5oo(*
stal,i(- i( co53lete steel )ro5 5isty 1all to 1all' Actio( bei(- li5ited 1ould ha+e le)t
Sha,es3eare u(satis)ied a(d u(e83ressed7 a(d* 4ust as it is because he did (othi(- that
he has bee( able to achie+e e+erythi(-* so it is because he (e+er s3ea,s to us o) hi5sel)
i( his 3lays that his 3lays re+eal hi5 to us absolutely* a(d sho1 us his true (ature a(d
te53era5e(t )ar 5ore co53letely tha( do those stra(-e a(d e8>uisite so((ets* e+e(* i(
1hich he bares to crystal eyes the secret closet o) his heart' 9es* the ob4ecti+e )or5 is the
5ost sub4ecti+e i( 5atter' Ma( is least hi5sel) 1he( he tal,s i( his o1( 3erso(' %i+e hi5
a 5as,* a(d he 1ill tell you the truth'
ER"EST' The critic* the(* bei(- li5ited to the sub4ecti+e )or5* 1ill (ecessarily be less able
)ully to e83ress hi5sel) tha( the artist* 1ho has al1ays at his dis3osal the )or5s that are
i53erso(al a(d ob4ecti+e'
%I&.ERT' "ot (ecessarily* a(d certai(ly (ot at all i) he reco-(ises that each 5ode o)
criticis5 is* i( its hi-hest de+elo35e(t* si53ly a 5ood* a(d that 1e are (e+er 5ore true to
oursel+es tha( 1he( 1e are i(co(siste(t' The aesthetic critic* co(sta(t o(ly to the
3ri(ci3le o) beauty i( all thi(-s* 1ill e+er be loo,i(- )or )resh i53ressio(s* 1i((i(- )ro5
the +arious schools the secret o) their char5* bo1i(-* it 5ay be* be)ore )orei-( altars* or
s5ili(-* i) it be his )a(cy* at stra(-e (e1 -ods' What other 3eo3le call o(e<s 3ast has* (o
doubt* e+erythi(- to do 1ith the5* but has absolutely (othi(- to do 1ith o(esel)' The 5a(
1ho re-ards his 3ast is a 5a( 1ho deser+es to ha+e (o )uture to loo, )or1ard to' Whe(
o(e has )ou(d e83ressio( )or a 5ood* o(e has do(e 1ith it' 9ou lau-h7 but belie+e 5e it is
so' 9esterday it 1as Realis5 that char5ed o(e' O(e -ai(ed )ro5 it that (ou+eau )risso(
1hich it 1as its ai5 to 3roduce' O(e a(alysed it* e83lai(ed it* a(d 1earied o) it' At su(set
ca5e the &u5i(iste i( 3ai(ti(-* a(d the Sy5boliste i( 3oetry* a(d the s3irit o)
5ediae+alis5* that s3irit 1hich belo(-s (ot to ti5e but to te53era5e(t* 1o,e sudde(ly i(
1ou(ded Russia* a(d stirred us )or a 5o5e(t by the terrible )asci(atio( o) 3ai(' To;day
the cry is )or Ro5a(ce* a(d already the lea+es are tre5ulous i( the +alley* a(d o( the
3ur3le hill;to3s 1al,s .eauty 1ith sli5 -ilded )eet' The old 5odes o) creatio( li(-er* o)
course' The artists re3roduce either the5sel+es or each other* 1ith 1eariso5e iteratio('
.ut Criticis5 is al1ays 5o+i(- o(* a(d the critic is al1ays de+elo3i(-'
"or* a-ai(* is the critic really li5ited to the sub4ecti+e )or5 o) e83ressio(' The 5ethod o)
the dra5a is his* as 1ell as the 5ethod o) the e3os' He 5ay use dialo-ue* as he did 1ho
set Milto( tal,i(- to Mar+el o( the (ature o) co5edy a(d tra-edy* a(d 5ade Sid(ey a(d
&ord .roo,e discourse o( letters be(eath the !e(shurst oa,s7 or ado3t (arratio(* as Mr'
!ater is )o(d o) doi(-* each o) 1hose I5a-i(ary !ortraits;;is (ot that the title o) the
boo,2;;3rese(ts to us* u(der the )a(ci)ul -uise o) )ictio(* so5e )i(e a(d e8>uisite 3iece o)
criticis5* o(e o( the 3ai(ter Watteau* a(other o( the 3hiloso3hy o) S3i(o:a* a third o( the
!a-a( ele5e(ts o) the early Re(aissa(ce* a(d the last* a(d i( so5e res3ects the 5ost
su--esti+e* o( the source o) that Au),laru(-* that e(li-hte(i(- 1hich da1(ed o( %er5a(y
i( the last ce(tury* a(d to 1hich our o1( culture o1es so -reat a debt' $ialo-ue* certai(ly*
that 1o(der)ul literary )or5 1hich* )ro5 !lato to &ucia(* a(d )ro5 &ucia( to %iorda(o
.ru(o* a(d )ro5 .ru(o to that -ra(d old !a-a( i( 1ho5 Carlyle too, such deli-ht* the
creati+e critics o) the 1orld ha+e al1ays e53loyed* ca( (e+er lose )or the thi(,er its
attractio( as a 5ode o) e83ressio(' .y its 5ea(s he ca( both re+eal a(d co(ceal hi5sel)*
a(d -i+e )or5 to e+ery )a(cy* a(d reality to e+ery 5ood' .y its 5ea(s he ca( e8hibit the
ob4ect )ro5 each 3oi(t o) +ie1* a(d sho1 it to us i( the rou(d* as a scul3tor sho1s us
thi(-s* -ai(i(- i( this 5a((er all the rich(ess a(d reality o) e))ect that co5es )ro5 those
side issues that are sudde(ly su--ested by the ce(tral idea i( its 3ro-ress* a(d really
illu5i(e the idea 5ore co53letely* or )ro5 those )elicitous a)ter;thou-hts that -i+e a )uller
co53lete(ess to the ce(tral sche5e* a(d yet co(+ey so5ethi(- o) the delicate char5 o)
cha(ce'
ER"EST' .y its 5ea(s* too* he ca( i(+e(t a( i5a-i(ary a(ta-o(ist* a(d co(+ert hi5 1he(
he chooses by so5e absurdly so3histical ar-u5e(t'
%I&.ERT' Ah6 it is so easy to co(+ert others' It is so di))icult to co(+ert o(esel)' To arri+e at
1hat o(e really belie+es* o(e 5ust s3ea, throu-h li3s di))ere(t )ro5 o(e<s o1(' To ,(o1
the truth o(e 5ust i5a-i(e 5yriads o) )alsehoods' #or 1hat is Truth2 I( 5atters o)
reli-io(* it is si53ly the o3i(io( that has sur+i+ed' I( 5atters o) scie(ce* it is the ulti5ate
se(satio(' I( 5atters o) art* it is o(e<s last 5ood' A(d you see (o1* Er(est* that the critic
has at his dis3osal as 5a(y ob4ecti+e )or5s o) e83ressio( as the artist has' Rus,i( 3ut his
criticis5 i(to i5a-i(ati+e 3rose* a(d is su3erb i( his cha(-es a(d co(tradictio(s7 a(d
.ro1(i(- 3ut his i(to bla(, +erse a(d 5ade 3ai(ter a(d 3oet yield us their secret7 a(d M'
Re(a( uses dialo-ue* a(d Mr' !ater )ictio(* a(d Rossetti tra(slated i(to so((et;5usic the
colour o) %ior-io(e a(d the desi-( o) I(-res* a(d his o1( desi-( a(d colour also* )eeli(-*
1ith the i(sti(ct o) o(e 1ho had 5a(y 5odes o) uttera(ce7 that the ulti5ate art is
literature* a(d the )i(est a(d )ullest 5ediu5 that o) 1ords'
ER"EST' Well* (o1 that you ha+e settled that the critic has at his dis3osal all ob4ecti+e
)or5s* I 1ish you 1ould tell 5e 1hat are the >ualities that should characterise the true
critic'
%I&.ERT' What 1ould you say they 1ere2
ER"EST' Well* I should say that a critic should abo+e all thi(-s be )air'
%I&.ERT' Ah6 (ot )air' A critic ca((ot be )air i( the ordi(ary se(se o) the 1ord' It is o(ly
about thi(-s that do (ot i(terest o(e that o(e ca( -i+e a really u(biassed o3i(io(* 1hich is
(o doubt the reaso( 1hy a( u(biassed o3i(io( is al1ays absolutely +alueless' The 5a(
1ho sees both sides o) a >uestio(* is a 5a( 1ho sees absolutely (othi(- at all' Art is a
3assio(* a(d* i( 5atters o) art* Thou-ht is i(e+itably coloured by e5otio(* a(d so is )luid
rather tha( )i8ed* a(d* de3e(di(- u3o( )i(e 5oods a(d e8>uisite 5o5e(ts* ca((ot be
(arro1ed i(to the ri-idity o) a scie(ti)ic )or5ula or a theolo-ical do-5a' It is to the soul
that Art s3ea,s* a(d the soul 5ay be 5ade the 3riso(er o) the 5i(d as 1ell as o) the body'
O(e should* o) course* ha+e (o 3re4udices7 but* as a -reat #re(ch5a( re5ar,ed a hu(dred
years a-o* it is o(e<s busi(ess i( such 5atters to ha+e 3re)ere(ces* a(d 1he( o(e has
3re)ere(ces o(e ceases to be )air' It is o(ly a( auctio(eer 1ho ca( e>ually a(d i53artially
ad5ire all schools o) Art' "o7 )air(ess is (ot o(e o) the >ualities o) the true critic' It is (ot
e+e( a co(ditio( o) criticis5' Each )or5 o) Art 1ith 1hich 1e co5e i( co(tact do5i(ates us
)or the 5o5e(t to the e8clusio( o) e+ery other )or5' We 5ust surre(der oursel+es
absolutely to the 1or, i( >uestio(* 1hate+er it 5ay be* i) 1e 1ish to -ai( its secret' #or
the ti5e* 1e 5ust thi(, o) (othi(- else* ca( thi(, o) (othi(- else* i(deed'
ER"EST' The true critic 1ill be ratio(al* at a(y rate* 1ill he (ot2
%I&.ERT' Ratio(al2 There are t1o 1ays o) disli,i(- art* Er(est' O(e is to disli,e it' The
other* to li,e it ratio(ally' #or Art* as !lato sa1* a(d (ot 1ithout re-ret* creates i( liste(er
a(d s3ectator a )or5 o) di+i(e 5ad(ess' It does (ot s3ri(- )ro5 i(s3iratio(* but it 5a,es
others i(s3ired' Reaso( is (ot the )aculty to 1hich it a33eals' I) o(e lo+es Art at all* o(e
5ust lo+e it beyo(d all other thi(-s i( the 1orld* a(d a-ai(st such lo+e* the reaso(* i) o(e
liste(ed to it* 1ould cry out' There is (othi(- sa(e about the 1orshi3 o) beauty' It is too
s3le(did to be sa(e' Those o) 1hose li+es it )or5s the do5i(a(t (ote 1ill al1ays see5 to
the 1orld to be 3ure +isio(aries'
ER"EST' Well* at least* the critic 1ill be si(cere'
%I&.ERT' A little si(cerity is a da(-erous thi(-* a(d a -reat deal o) it is absolutely )atal'
The true critic 1ill* i(deed* al1ays be si(cere i( his de+otio( to the 3ri(ci3le o) beauty* but
he 1ill see, )or beauty i( e+ery a-e a(d i( each school* a(d 1ill (e+er su))er hi5sel) to be
li5ited to a(y settled custo5 o) thou-ht or stereoty3ed 5ode o) loo,i(- at thi(-s' He 1ill
realise hi5sel) i( 5a(y )or5s* a(d by a thousa(d di))ere(t 1ays* a(d 1ill e+er be curious
o) (e1 se(satio(s a(d )resh 3oi(ts o) +ie1' Throu-h co(sta(t cha(-e* a(d throu-h
co(sta(t cha(-e alo(e* he 1ill )i(d his true u(ity' He 1ill (ot co(se(t to be the sla+e o) his
o1( o3i(io(s' #or 1hat is 5i(d but 5otio( i( the i(tellectual s3here2 The esse(ce o)
thou-ht* as the esse(ce o) li)e* is -ro1th' 9ou 5ust (ot be )ri-hte(ed by 1ord* Er(est'
What 3eo3le call i(si(cerity is si53ly a 5ethod by 1hich 1e ca( 5ulti3ly our 3erso(alities'
ER"EST' I a5 a)raid I ha+e (ot bee( )ortu(ate i( 5y su--estio(s'
%I&.ERT' O) the three >uali)icatio(s you 5e(tio(ed* t1o* si(cerity a(d )air(ess* 1ere* i)
(ot actually 5oral* at least o( the borderla(d o) 5orals* a(d the )irst co(ditio( o) criticis5
is that the critic should be able to reco-(ise that the s3here o) Art a(d the s3here o) Ethics
are absolutely disti(ct a(d se3arate' Whe( they are co()used* Chaos has co5e a-ai('
They are too o)te( co()used i( E(-la(d (o1* a(d thou-h our 5oder( !urita(s ca((ot
destroy a beauti)ul thi(-* yet* by 5ea(s o) their e8traordi(ary 3rurie(ce* they ca( al5ost
tai(t beauty )or a 5o5e(t' It is chie)ly* I re-ret to say* throu-h 4our(alis5 that such
3eo3le )i(d e83ressio(' I re-ret it because there is 5uch to be said i( )a+our o) 5oder(
4our(alis5' .y -i+i(- us the o3i(io(s o) the u(educated* it ,ee3s us i( touch 1ith the
i-(ora(ce o) the co55u(ity' .y care)ully chro(icli(- the curre(t e+e(ts o) co(te53orary
li)e* it sho1s us o) 1hat +ery little i53orta(ce such e+e(ts really are' .y i(+ariably
discussi(- the u((ecessary it 5a,es us u(dersta(d 1hat thi(-s are re>uisite )or culture*
a(d 1hat are (ot' .ut it should (ot allo1 3oor Tartu))e to 1rite articles u3o( 5oder( art'
Whe( it does this it stulti)ies itsel)' A(d yet Tartu))e<s articles a(d Chadba(d<s (otes do this
-ood* at least' They ser+e to sho1 ho1 e8tre5ely li5ited is the area o+er 1hich ethics*
a(d ethical co(sideratio(s* ca( clai5 to e8ercise i()lue(ce' Scie(ce is out o) the reach o)
5orals* )or her eyes are )i8ed u3o( eter(al truths' Art is out o) the reach o) 5orals* )or her
eyes are )i8ed u3o( thi(-s beauti)ul a(d i55ortal a(d e+er;cha(-i(-' To 5orals belo(-
the lo1er a(d less i(tellectual s3heres' Ho1e+er* let these 5outhi(- !urita(s 3ass7 they
ha+e their co5ic side' Who ca( hel3 lau-hi(- 1he( a( ordi(ary 4our(alist seriously
3ro3oses to li5it the sub4ect;5atter at the dis3osal o) the artist2 So5e li5itatio( 5i-ht
1ell* a(d 1ill soo(* I ho3e* be 3laced u3o( so5e o) our (e1s3a3ers a(d (e1s3a3er
1riters' #or they -i+e us the bald* sordid* dis-usti(- )acts o) li)e' They chro(icle* 1ith
de-radi(- a+idity* the si(s o) the seco(d;rate* a(d 1ith the co(scie(tious(ess o) the
illiterate -i+e us accurate a(d 3rosaic details o) the doi(-s o) 3eo3le o) absolutely (o
i(terest 1hatsoe+er' .ut the artist* 1ho acce3ts the )acts o) li)e* a(d yet tra(s)or5s the5
i(to sha3es o) beauty* a(d 5a,es the5 +ehicles o) 3ity or o) a1e* a(d sho1s their colour;
ele5e(t* a(d their 1o(der* a(d their true ethical i53ort also* a(d builds out o) the5 a
1orld 5ore real tha( reality itsel)* a(d o) lo)tier a(d 5ore (oble i53ort;;1ho shall set
li5its to hi52 "ot the a3ostles o) that (e1 =our(alis5 1hich is but the old +ul-arity <1rit
lar-e'< "ot the a3ostles o) that (e1 !urita(is5* 1hich is but the 1hi(e o) the hy3ocrite*
a(d is both 1rit a(d s3o,e( badly' The 5ere su--estio( is ridiculous' &et us lea+e these
1ic,ed 3eo3le* a(d 3roceed to the discussio( o) the artistic >uali)icatio(s (ecessary )or the
true critic'
ER"EST' A(d 1hat are they2 Tell 5e yoursel)'
%I&.ERT' Te53era5e(t is the 3ri5ary re>uisite )or the critic;;a te53era5e(t e8>uisitely
susce3tible to beauty* a(d to the +arious i53ressio(s that beauty -i+es us' (der 1hat
co(ditio(s* a(d by 1hat 5ea(s* this te53era5e(t is e(-e(dered i( race or i(di+idual* 1e
1ill (ot discuss at 3rese(t' It is su))icie(t to (ote that it e8ists* a(d that there is i( us a
beauty;se(se* se3arate )ro5 the other se(ses a(d abo+e the5* se3arate )ro5 the reaso(
a(d o) (obler i53ort* se3arate )ro5 the soul a(d o) e>ual +alue;;a se(se that leads so5e
to create* a(d others* the )i(er s3irits as I thi(,* to co(te53late 5erely' .ut to be 3uri)ied
a(d 5ade 3er)ect* this se(se re>uires so5e )or5 o) e8>uisite e(+iro(5e(t' Without this it
star+es* or is dulled' 9ou re5e5ber that lo+ely 3assa-e i( 1hich !lato describes ho1 a
you(- %ree, should be educated* a(d 1ith 1hat i(siste(ce he d1ells u3o( the i53orta(ce
o) surrou(di(-s* telli(- us ho1 the lad is to be brou-ht u3 i( the 5idst o) )air si-hts a(d
sou(ds* so that the beauty o) 5aterial thi(-s 5ay 3re3are his soul )or the rece3tio( o) the
beauty that is s3iritual' I(se(sibly* a(d 1ithout ,(o1i(- the reaso( 1hy* he is to de+elo3
that real lo+e o) beauty 1hich* as !lato is (e+er 1eary o) re5i(di(- us* is the true ai5 o)
educatio(' .y slo1 de-rees there is to be e(-e(dered i( hi5 such a te53era5e(t as 1ill
lead hi5 (aturally a(d si53ly to choose the -ood i( 3re)ere(ce to the bad* a(d* re4ecti(-
1hat is +ul-ar a(d discorda(t* to )ollo1 by )i(e i(sti(cti+e taste all that 3ossesses -race
a(d char5 a(d lo+eli(ess' lti5ately* i( its due course* this taste is to beco5e critical a(d
sel);co(scious* but at )irst it is to e8ist 3urely as a culti+ated i(sti(ct* a(d <he 1ho has
recei+ed this true culture o) the i((er 5a( 1ill 1ith clear a(d certai( +isio( 3ercei+e the
o5issio(s a(d )aults i( art or (ature* a(d 1ith a taste that ca((ot err* 1hile he 3raises*
a(d )i(ds his 3leasure i( 1hat is -ood* a(d recei+es it i(to his soul* a(d so beco5es -ood
a(d (oble* he 1ill ri-htly bla5e a(d hate the bad* (o1 i( the days o) his youth* e+e(
be)ore he is able to ,(o1 the reaso( 1hy<: a(d so* 1he(* later o(* the critical a(d sel);
co(scious s3irit de+elo3s i( hi5* he <1ill reco-(ise a(d salute it as a )rie(d 1ith 1ho5 his
educatio( has 5ade hi5 lo(- )a5iliar'< I (eed hardly say* Er(est* ho1 )ar 1e i( E(-la(d
ha+e )alle( short o) this ideal* a(d I ca( i5a-i(e the s5ile that 1ould illu5i(ate the -lossy
)ace o) the !hilisti(e i) o(e +e(tured to su--est to hi5 that the true ai5 o) educatio( 1as
the lo+e o) beauty* a(d that the 5ethods by 1hich educatio( should 1or, 1ere the
de+elo35e(t o) te53era5e(t* the culti+atio( o) taste* a(d the creatio( o) the critical
s3irit'
9et* e+e( )or us* there is le)t so5e lo+eli(ess o) e(+iro(5e(t* a(d the dul(ess o) tutors
a(d 3ro)essors 5atters +ery little 1he( o(e ca( loiter i( the -rey cloisters at Ma-dale(*
a(d liste( to so5e )lute;li,e +oice si(-i(- i( Way()leete<s cha3el* or lie i( the -ree(
5eado1* a5o(- the stra(-e s(a,e;s3otted )ritillaries* a(d 1atch the su(bur(t (oo( s5ite
to a )i(er -old the to1er<s -ilded +a(es* or 1a(der u3 the Christ Church staircase be(eath
the +aulted ceili(-<s shado1y )a(s* or 3ass throu-h the scul3tured -ate1ay o) &aud<s
buildi(- i( the Colle-e o) St' =oh(' "or is it 5erely at O8)ord* or Ca5brid-e* that the se(se
o) beauty ca( be )or5ed a(d trai(ed a(d 3er)ected' All o+er E(-la(d there is a
Re(aissa(ce o) the decorati+e Arts' -li(ess has had its day' E+e( i( the houses o) the rich
there is taste* a(d the houses o) those 1ho are (ot rich ha+e bee( 5ade -racious a(d
co5ely a(d s1eet to li+e i(' Caliba(* 3oor (oisy Caliba(* thi(,s that 1he( he has ceased
to 5a,e 5o1s at a thi(-* the thi(- ceases to e8ist' .ut i) he 5oc,s (o lo(-er* it is
because he has bee( 5et 1ith 5oc,ery* s1i)ter a(d ,ee(er tha( his o1(* a(d )or a
5o5e(t has bee( bitterly schooled i(to that sile(ce 1hich should seal )or e+er his u(couth
distorted li3s' What has bee( do(e u3 to (o1* has bee( chie)ly i( the cleari(- o) the 1ay'
It is al1ays 5ore di))icult to destroy tha( it is to create* a(d 1he( 1hat o(e has to destroy
is +ul-arity a(d stu3idity* the tas, o) destructio( (eeds (ot 5erely coura-e but also
co(te53t' 9et it see5s to 5e to ha+e bee(* i( a 5easure* do(e' We ha+e -ot rid o) 1hat
1as bad' We ha+e (o1 to 5a,e 1hat is beauti)ul' A(d thou-h the 5issio( o) the aesthetic
5o+e5e(t is to lure 3eo3le to co(te53late* (ot to lead the5 to create* yet* as the
creati+e i(sti(ct is stro(- i( the Celt* a(d it is the Celt 1ho leads i( art* there is (o reaso(
1hy i( )uture years this stra(-e Re(aissa(ce should (ot beco5e al5ost as 5i-hty i( its
1ay as 1as that (e1 birth o) Art that 1o,e 5a(y ce(turies a-o i( the cities o) Italy'
Certai(ly* )or the culti+atio( o) te53era5e(t* 1e 5ust tur( to the decorat
+e arts: to the arts that touch us* (ot to the arts that teach us' Moder( 3ictures are* (o
doubt* deli-ht)ul to loo, at' At least* so5e o) the5 are' .ut they are >uite i53ossible to
li+e 1ith7 they are too cle+er* too asserti+e* too i(tellectual' Their 5ea(i(- is too ob+ious*
a(d their 5ethod too clearly de)i(ed' O(e e8hausts 1hat they ha+e to say i( a +ery short
ti5e* a(d the( they beco5e as tedious as o(e<s relatio(s' I a5 +ery )o(d o) the 1or, o)
5a(y o) the I53ressio(ist 3ai(ters o) !aris a(d &o(do(' Subtlety a(d disti(ctio( ha+e (ot
yet le)t the school' So5e o) their arra(-e5e(ts a(d har5o(ies ser+e to re5i(d o(e o) the
u(a33roachable beauty o) %autier<s i55ortal Sy53ho(ie e( .la(c Ma4eur* that )la1less
5aster3iece o) colour a(d 5usic 1hich 5ay ha+e su--ested the ty3e as 1ell as the titles
o) 5a(y o) their best 3ictures' #or a class that 1elco5es the i(co53ete(t 1ith
sy53athetic ea-er(ess* a(d that co()uses the bi:arre 1ith the beauti)ul* a(d +ul-arity 1ith
truth* they are e8tre5ely acco53lished' They ca( do etchi(-s that ha+e the brillia(cy o)
e3i-ra5s* 3astels that are as )asci(ati(- as 3arado8es* a(d as )or their 3ortraits* 1hate+er
the co55o(3lace 5ay say a-ai(st the5* (o o(e ca( de(y that they 3ossess that u(i>ue
a(d 1o(der)ul char5 1hich belo(-s to 1or,s o) 3ure )ictio(' .ut e+e( the I53ressio(ists*
ear(est a(d i(dustrious as they are* 1ill (ot do' I li,e the5' Their 1hite ,ey(ote* 1ith its
+ariatio(s i( lilac* 1as a( era i( colour' Thou-h the 5o5e(t does (ot 5a,e the 5a(* the
5o5e(t certai(ly 5a,es the I53ressio(ist* a(d )or the 5o5e(t i( art* a(d the <5o5e(t<s
5o(u5e(t*< as Rossetti 3hrased it* 1hat 5ay (ot be said2 They are su--esti+e also' I)
they ha+e (ot o3e(ed the eyes o) the bli(d* they ha+e at least -i+e( -reat e(coura-e5e(t
to the short;si-hted* a(d 1hile their leaders 5ay ha+e all the i(e83erie(ce o) old a-e* their
you(- 5e( are )ar too 1ise to be e+er se(sible' 9et they 1ill i(sist o( treati(- 3ai(ti(- as
i) it 1ere a 5ode o) autobio-ra3hy i(+e(ted )or the use o) the illiterate* a(d are al1ays
3rati(- to us o( their coarse -ritty ca(+ases o) their u((ecessary sel+es a(d their
u((ecessary o3i(io(s* a(d s3oili(- by a +ul-ar o+er;e53hasis that )i(e co(te53t o) (ature
1hich is the best a(d o(ly 5odest thi(- about the5' O(e tires* at the e(d* o) the 1or, o)
i(di+iduals 1hose i(di+iduality is al1ays (oisy* a(d -e(erally u(i(teresti(-' There is )ar
5ore to be said i( )a+our o) that (e1er school at !aris* the Archaicistes* as they call
the5sel+es* 1ho* re)usi(- to lea+e the artist e(tirely at the 5ercy o) the 1eather* do (ot
)i(d the ideal o) art i( 5ere at5os3heric e))ect* but see, rather )or the i5a-i(ati+e beauty
o) desi-( a(d the lo+eli(ess o) )air colour* a(d re4ecti(- the tedious realis5 o) those 1ho
5erely 3ai(t 1hat they see* try to see so5ethi(- 1orth seei(-* a(d to see it (ot 5erely
1ith actual a(d 3hysical +isio(* but 1ith that (obler +isio( o) the soul 1hich is as )ar 1ider
i( s3iritual sco3e as it is )ar 5ore s3le(did i( artistic 3ur3ose' They* at a(y rate* 1or,
u(der those decorati+e co(ditio(s that each art re>uires )or its 3er)ectio(* a(d ha+e
su))icie(t aesthetic i(sti(ct to re-ret those sordid a(d stu3id li5itatio(s o) absolute
5oder(ity o) )or5 1hich ha+e 3ro+ed the rui( o) so 5a(y o) the I53ressio(ists' Still* the
art that is )ra(,ly decorati+e is the art to li+e 1ith' It is* o) all our +isible arts* the o(e art
that creates i( us both 5ood a(d te53era5e(t' Mere colour* u(s3oiled by 5ea(i(-* a(d
u(allied 1ith de)i(ite )or5* ca( s3ea, to the soul i( a thousa(d di))ere(t 1ays' The
har5o(y that resides i( the delicate 3ro3ortio(s o) li(es a(d 5asses beco5es 5irrored i(
the 5i(d' The re3etitio(s o) 3atter( -i+e us rest' The 5ar+els o) desi-( stir the
i5a-i(atio(' I( the 5ere lo+eli(ess o) the 5aterials e53loyed there are late(t ele5e(ts o)
culture' "or is this all' .y its deliberate re4ectio( o) "ature as the ideal o) beauty* as 1ell
as o) the i5itati+e 5ethod o) the ordi(ary 3ai(ter* decorati+e art (ot 5erely 3re3ares the
soul )or the rece3tio( o) true i5a-i(ati+e 1or,* but de+elo3s i( it that se(se o) )or5 1hich
is the basis o) creati+e (o less tha( o) critical achie+e5e(t' #or the real artist is he 1ho
3roceeds* (ot )ro5 )eeli(- to )or5* but )ro5 )or5 to thou-ht a(d 3assio(' He does (ot
)irst co(cei+e a( idea* a(d the( say to hi5sel)* <I 1ill 3ut 5y idea i(to a co53le8 5etre o)
)ourtee( li(es*< but* realisi(- the beauty o) the so((et;sche5e* he co(cei+es certai(
5odes o) 5usic a(d 5ethods o) rhy5e* a(d the 5ere )or5 su--ests 1hat is to )ill it a(d
5a,e it i(tellectually a(d e5otio(ally co53lete' #ro5 ti5e to ti5e the 1orld cries out
a-ai(st so5e char5i(- artistic 3oet* because* to use its hac,(eyed a(d silly 3hrase* he
has <(othi(- to say'< .ut i) he had so5ethi(- to say* he 1ould 3robably say it* a(d the
result 1ould be tedious' It is 4ust because he has (o (e1 5essa-e* that he ca( do
beauti)ul 1or,' He -ai(s his i(s3iratio( )ro5 )or5* a(d )ro5 )or5 3urely* as a( artist
should' A real 3assio( 1ould rui( hi5' Whate+er actually occurs is s3oiled )or art' All bad
3oetry s3ri(-s )ro5 -e(ui(e )eeli(-' To be (atural is to be ob+ious* a(d to be ob+ious is to
be i(artistic'
ER"EST' I 1o(der do you really belie+e 1hat you say2
%I&.ERT' Why should you 1o(der2 It is (ot 5erely i( art that the body is the soul' I(
e+ery s3here o) li)e #or5 is the be-i((i(- o) thi(-s' The rhyth5ic har5o(ious -estures o)
da(ci(- co(+ey* !lato tells us* both rhyth5 a(d har5o(y i(to the 5i(d' #or5s are the
)ood o) )aith* cried "e15a( i( o(e o) those -reat 5o5e(ts o) si(cerity that 5a,e us
ad5ire a(d ,(o1 the 5a(' He 1as ri-ht* thou-h he 5ay (ot ha+e ,(o1( ho1 terribly
ri-ht he 1as' The Creeds are belie+ed* (ot because they are ratio(al* but because they are
re3eated' 9es: #or5 is e+erythi(-' It is the secret o) li)e' #i(d e83ressio( )or a sorro1* a(d
it 1ill beco5e dear to you' #i(d e83ressio( )or a 4oy* a(d you i(te(si)y its ecstasy' $o you
1ish to lo+e2 se &o+e<s &ita(y* a(d the 1ords 1ill create the year(i(- )ro5 1hich the
1orld )a(cies that they s3ri(-' Ha+e you a -rie) that corrodes your heart2 Stee3 yoursel) i(
the &a(-ua-e o) -rie)* lear( its uttera(ce )ro5 !ri(ce Ha5let a(d @uee( Co(sta(ce* a(d
you 1ill )i(d that 5ere e83ressio( is a 5ode o) co(solatio(* a(d that #or5* 1hich is the
birth o) 3assio(* is also the death o) 3ai(' A(d so* to retur( to the s3here o) Art* it is #or5
that creates (ot 5erely the critical te53era5e(t* but also the aesthetic i(sti(ct* that
u(erri(- i(sti(ct that re+eals to o(e all thi(-s u(der their co(ditio(s o) beauty' Start 1ith
the 1orshi3 o) )or5* a(d there is (o secret i( art that 1ill (ot be re+ealed to you* a(d
re5e5ber that i( criticis5* as i( creatio(* te53era5e(t is e+erythi(-* a(d that it is* (ot
by the ti5e o) their 3roductio(* but by the te53era5e(ts to 1hich they a33eal* that the
schools o) art should be historically -rou3ed'
ER"EST' 9our theory o) educatio( is deli-ht)ul' .ut 1hat i()lue(ce 1ill your critic* brou-ht
u3 i( these e8>uisite surrou(di(-s* 3ossess2 $o you really thi(, that a(y artist is e+er
a))ected by criticis52
%I&.ERT' The i()lue(ce o) the critic 1ill be the 5ere )act o) his o1( e8iste(ce' He 1ill
re3rese(t the )la1less ty3e' I( hi5 the culture o) the ce(tury 1ill see itsel) realised' 9ou
5ust (ot as, o) hi5 to ha+e a(y ai5 other tha( the 3er)ecti(- o) hi5sel)' The de5a(d o)
the i(tellect* as has bee( 1ell said* is si53ly to )eel itsel) ali+e' The critic 5ay* i(deed*
desire to e8ercise i()lue(ce7 but* i) so* he 1ill co(cer( hi5sel) (ot 1ith the i(di+idual* but
1ith the a-e* 1hich he 1ill see, to 1a,e i(to co(scious(ess* a(d to 5a,e res3o(si+e*
creati(- i( it (e1 desires a(d a33etites* a(d le(di(- it his lar-er +isio( a(d his (obler
5oods' The actual art o) to;day 1ill occu3y hi5 less tha( the art o) to;5orro1* )ar less
tha( the art o) yesterday* a(d as )or this or that 3erso( at 3rese(t toili(- a1ay* 1hat do
the i(dustrious 5atter2 They do their best* (o doubt* a(d co(se>ue(tly 1e -et the 1orst
)ro5 the5' It is al1ays 1ith the best i(te(tio(s that the 1orst 1or, is do(e' A(d besides*
5y dear Er(est* 1he( a 5a( reaches the a-e o) )orty* or beco5es a Royal Acade5icia(* or
is elected a 5e5ber o) the Athe(aeu5 Club* or is reco-(ised as a 3o3ular (o+elist* 1hose
boo,s are i( -reat de5a(d at suburba( rail1ay statio(s* o(e 5ay ha+e the a5use5e(t o)
e83osi(- hi5* but o(e ca((ot ha+e the 3leasure o) re)or5i(- hi5' A(d this is* I dare say*
+ery )ortu(ate )or hi57 )or I ha+e (o doubt that re)or5atio( is a 5uch 5ore 3ai()ul
3rocess tha( 3u(ish5e(t* is i(deed 3u(ish5e(t i( its 5ost a--ra+ated a(d 5oral )or5;;a
)act 1hich accou(ts )or our e(tire )ailure as a co55u(ity to reclai5 that i(teresti(-
3he(o5e(o( 1ho is called the co()ir5ed cri5i(al'
ER"EST' .ut 5ay it (ot be that the 3oet is the best 4ud-e o) 3oetry* a(d the 3ai(ter o)
3ai(ti(-2 Each art 5ust a33eal 3ri5arily to the artist 1ho 1or,s i( it' His 4ud-5e(t 1ill
surely be the 5ost +aluable2
%I&.ERT' The a33eal o) all art is si53ly to the artistic te53era5e(t' Art does (ot address
hersel) to the s3ecialist' Her clai5 is that she is u(i+ersal* a(d that i( all her
5a(i)estatio(s she is o(e' I(deed* so )ar )ro5 its bei(- true that the artist is the best
4ud-e o) art* a really -reat artist ca( (e+er 4ud-e o) other 3eo3le<s 1or, at all* a(d ca(
hardly* i( )act* 4ud-e o) his o1(' That +ery co(ce(tratio( o) +isio( that 5a,es a 5a( a(
artist* li5its by its sheer i(te(sity his )aculty o) )i(e a33reciatio(' The e(er-y o) creatio(
hurries hi5 bli(dly o( to his o1( -oal' The 1heels o) his chariot raise the dust as a cloud
arou(d hi5' The -ods are hidde( )ro5 each other' They ca( reco-(ise their 1orshi33ers'
That is all'
ER"EST' 9ou say that a -reat artist ca((ot reco-(ise the beauty o) 1or, di))ere(t )ro5 his
o1('
%I&.ERT' It is i53ossible )or hi5 to do so' Words1orth sa1 i( E(dy5io( 5erely a 3retty
3iece o) !a-a(is5* a(d Shelley* 1ith his disli,e o) actuality* 1as dea) to Words1orth<s
5essa-e* bei(- re3elled by its )or5* a(d .yro(* that -reat 3assio(ate hu5a( i(co53lete
creature* could a33reciate (either the 3oet o) the cloud (or the 3oet o) the la,e* a(d the
1o(der o) Keats 1as hidde( )ro5 hi5' The realis5 o) Euri3ides 1as hate)ul to So3ho,les'
Those dro33i(-s o) 1ar5 tears had (o 5usic )or hi5' Milto(* 1ith his se(se o) the -ra(d
style* could (ot u(dersta(d the 5ethod o) Sha,es3eare* a(y 5ore tha( could Sir =oshua
the 5ethod o) %ai(sborou-h' .ad artists al1ays ad5ire each other<s 1or,' They call it
bei(- lar-e;5i(ded a(d )ree )ro5 3re4udice' .ut a truly -reat artist ca((ot co(cei+e o) li)e
bei(- sho1(* or beauty )ashio(ed* u(der a(y co(ditio(s other tha( those that he has
selected' Creatio( e53loys all its critical )aculty 1ithi( its o1( s3here' It 5ay (ot use it i(
the s3here that belo(-s to others' It is e8actly because a 5a( ca((ot do a thi(- that he is
the 3ro3er 4ud-e o) it'
ER"EST' $o you really 5ea( that2
%I&.ERT' 9es* )or creatio( li5its* 1hile co(te53latio( 1ide(s* the +isio('
ER"EST' .ut 1hat about tech(i>ue2 Surely each art has its se3arate tech(i>ue2
%I&.ERT' Certai(ly: each art has its -ra55ar a(d its 5aterials' There is (o 5ystery about
either* a(d the i(co53ete(t ca( al1ays be correct' .ut* 1hile the la1s u3o( 1hich Art
rests 5ay be )i8ed a(d certai(* to )i(d their true realisatio( they 5ust be touched by the
i5a-i(atio( i(to such beauty that they 1ill see5 a( e8ce3tio(* each o(e o) the5'
Tech(i>ue is really 3erso(ality' That is the reaso( 1hy the artist ca((ot teach it* 1hy the
3u3il ca((ot lear( it* a(d 1hy the aesthetic critic ca( u(dersta(d it' To the -reat 3oet*
there is o(ly o(e 5ethod o) 5usic;;his o1(' To the -reat 3ai(ter* there is o(ly o(e 5a((er
o) 3ai(ti(-;;that 1hich he hi5sel) e53loys' The aesthetic critic* a(d the aesthetic critic
alo(e* ca( a33reciate all )or5s a(d 5odes' It is to hi5 that Art 5a,es her a33eal'
ER"EST' Well* I thi(, I ha+e 3ut all 5y >uestio(s to you' A(d (o1 I 5ust ad5it ;
%I&.ERT' Ah6 do(<t say that you a-ree 1ith 5e' Whe( 3eo3le a-ree 1ith 5e I al1ays )eel
that I 5ust be 1ro(-'
ER"EST' I( that case I certai(ly 1o(<t tell you 1hether I a-ree 1ith you or (ot' .ut I 1ill
3ut a(other >uestio(' 9ou ha+e e83lai(ed to 5e that criticis5 is a creati+e art' What
)uture has it2
%I&.ERT' It is to criticis5 that the )uture belo(-s' The sub4ect; 5atter at the dis3osal o)
creatio( beco5es e+ery day 5ore li5ited i( e8te(t a(d +ariety' !ro+ide(ce a(d Mr' Walter
.esa(t ha+e e8hausted the ob+ious' I) creatio( is to last at all* it ca( o(ly do so o( the
co(ditio( o) beco5i(- )ar 5ore critical tha( it is at 3rese(t' The old roads a(d dusty
hi-h1ays ha+e bee( tra+ersed too o)te(' Their char5 has bee( 1or( a1ay by 3loddi(-
)eet* a(d they ha+e lost that ele5e(t o) (o+elty or sur3rise 1hich is so esse(tial )or
ro5a(ce' He 1ho 1ould stir us (o1 by )ictio( 5ust either -i+e us a( e(tirely (e1
bac,-rou(d* or re+eal to us the soul o) 5a( i( its i((er5ost 1or,i(-s' The )irst is )or the
5o5e(t bei(- do(e )or us by Mr' Rudyard Ki3li(-' As o(e tur(s o+er the 3a-es o) his !lai(
Tales )ro5 the Hills* o(e )eels as i) o(e 1ere seated u(der a 3al5;tree readi(- li)e by
su3erb )lashes o) +ul-arity' The bri-ht colours o) the ba:aars da::le o(e<s eyes' The 4aded*
seco(d;rate A(-lo;I(dia(s are i( e8>uisite i(co(-ruity 1ith their surrou(di(-s' The 5ere
lac, o) style i( the story;teller -i+es a( odd 4our(alistic realis5 to 1hat he tells us' #ro5
the 3oi(t o) +ie1 o) literature Mr' Ki3li(- is a -e(ius 1ho dro3s his as3irates' #ro5 the
3oi(t o) +ie1 o) li)e* he is a re3orter 1ho ,(o1s +ul-arity better tha( a(y o(e has e+er
,(o1( it' $ic,e(s ,(e1 its clothes a(d its co5edy' Mr' Ki3li(- ,(o1s its esse(ce a(d its
serious(ess' He is our )irst authority o( the seco(d;rate* a(d has see( 5ar+ellous thi(-s
throu-h ,eyholes* a(d his bac,-rou(ds are real 1or,s o) art' As )or the seco(d co(ditio(*
1e ha+e had .ro1(i(-* a(d Meredith is 1ith us' .ut there is still 5uch to be do(e i( the
s3here o) i(tros3ectio(' !eo3le so5eti5es say that )ictio( is -etti(- too 5orbid' As )ar as
3sycholo-y is co(cer(ed* it has (e+er bee( 5orbid e(ou-h' We ha+e 5erely touched the
sur)ace o) the soul* that is all' I( o(e si(-le i+ory cell o) the brai( there are stored a1ay
thi(-s 5ore 5ar+ellous a(d 5ore terrible tha( e+e( they ha+e drea5ed o)* 1ho* li,e the
author o) &e Rou-e et le "oir* ha+e sou-ht to trac, the soul i(to its 5ost secret 3laces* a(d
to 5a,e li)e co()ess its dearest si(s' Still* there is a li5it e+e( to the (u5ber o) u(tried
bac,-rou(ds* a(d it is 3ossible that a )urther de+elo35e(t o) the habit o) i(tros3ectio(
5ay 3ro+e )atal to that creati+e )aculty to 1hich it see,s to su33ly )resh 5aterial' I 5ysel)
a5 i(cli(ed to thi(, that creatio( is doo5ed' It s3ri(-s )ro5 too 3ri5iti+e* too (atural a(
i53ulse' Ho1e+er this 5ay be* it is certai( that the sub4ect; 5atter at the dis3osal o)
creatio( is al1ays di5i(ishi(-* 1hile the sub4ect;5atter o) criticis5 i(creases daily' There
are al1ays (e1 attitudes )or the 5i(d* a(d (e1 3oi(ts o) +ie1' The duty o) i53osi(- )or5
u3o( chaos does (ot -ro1 less as the 1orld ad+a(ces' There 1as (e+er a ti5e 1he(
Criticis5 1as 5ore (eeded tha( it is (o1' It is o(ly by its 5ea(s that Hu5a(ity ca(
beco5e co(scious o) the 3oi(t at 1hich it has arri+ed'
Hours a-o* Er(est* you as,ed 5e the use o) Criticis5' 9ou 5i-ht 4ust as 1ell ha+e as,ed
5e the use o) thou-ht' It is Criticis5* as Ar(old 3oi(ts out* that creates the i(tellectual
at5os3here o) the a-e' It is Criticis5* as I ho3e to 3oi(t out 5ysel) so5e day* that 5a,es
the 5i(d a )i(e i(stru5e(t' We* i( our educatio(al syste5* ha+e burde(ed the 5e5ory
1ith a load o) u(co((ected )acts* a(d laboriously stri+e( to i53art our laboriously;ac>uired
,(o1led-e' We teach 3eo3le ho1 to re5e5ber* 1e (e+er teach the5 ho1 to -ro1' It has
(e+er occurred to us to try a(d de+elo3 i( the 5i(d a 5ore subtle >uality o) a33rehe(sio(
a(d discer(5e(t' The %ree,s did this* a(d 1he( 1e co5e i( co(tact 1ith the %ree, critical
i(tellect* 1e ca((ot but be co(scious that* 1hile our sub4ect; 5atter is i( e+ery res3ect
lar-er a(d 5ore +aried tha( theirs* theirs is the o(ly 5ethod by 1hich this sub4ect;5atter
ca( be i(ter3reted' E(-la(d has do(e o(e thi(-7 it has i(+e(ted a(d established !ublic
O3i(io(* 1hich is a( atte53t to or-a(ise the i-(ora(ce o) the co55u(ity* a(d to ele+ate it
to the di-(ity o) 3hysical )orce' .ut Wisdo5 has al1ays bee( hidde( )ro5 it' Co(sidered as
a( i(stru5e(t o) thou-ht* the E(-lish 5i(d is coarse a(d u(de+elo3ed' The o(ly thi(- that
ca( 3uri)y it is the -ro1th o) the critical i(sti(ct'
It is Criticis5* a-ai(* that* by co(ce(tratio(* 5a,es culture 3ossible' It ta,es the
cu5berso5e 5ass o) creati+e 1or,* a(d distils it i(to a )i(er esse(ce' Who that desires to
retai( a(y se(se o) )or5 could stru--le throu-h the 5o(strous 5ultitudi(ous boo,s that
the 1orld has 3roduced* boo,s i( 1hich thou-ht sta55ers or i-(ora(ce bra1ls2 The
thread that is to -uide us across the 1eariso5e labyri(th is i( the ha(ds o) Criticis5' "ay
5ore* 1here there is (o record* a(d history is either lost* or 1as (e+er 1ritte(* Criticis5
ca( re;create the 3ast )or us )ro5 the +ery s5allest )ra-5e(t o) la(-ua-e or art* 4ust as
surely as the 5a( o) scie(ce ca( )ro5 so5e ti(y bo(e* or the 5ere i53ress o) a )oot u3o(
a roc,* re;create )or us the 1i(-ed dra-o( or Tita( li:ard that o(ce 5ade the earth sha,e
be(eath its tread* ca( call .ehe5oth out o) his ca+e* a(d 5a,e &e+iatha( s1i5 o(ce 5ore
across the startled sea' !rehistoric history belo(-s to the 3hilolo-ical a(d archaeolo-ical
critic' It is to hi5 that the ori-i(s o) thi(-s are re+ealed' The sel);co(scious de3osits o) a(
a-e are (early al1ays 5isleadi(-' Throu-h 3hilolo-ical criticis5 alo(e 1e ,(o1 5ore o)
the ce(turies o) 1hich (o actual record has bee( 3reser+ed* tha( 1e do o) the ce(turies
that ha+e le)t us their scrolls' It ca( do )or us 1hat ca( be do(e (either by 3hysics (or
5eta3hysics' It ca( -i+e us the e8act scie(ce o) 5i(d i( the 3rocess o) beco5i(-' It ca(
do )or us 1hat History ca((ot do' It ca( tell us 1hat 5a( thou-ht be)ore he lear(ed ho1
to 1rite' 9ou ha+e as,ed 5e about the i()lue(ce o) Criticis5' I thi(, I ha+e a(s1ered that
>uestio( already7 but there is this also to be said' It is Criticis5 that 5a,es us
cos5o3olita(' The Ma(chester school tried to 5a,e 5e( realise the brotherhood o)
hu5a(ity* by 3oi(ti(- out the co55ercial ad+a(ta-es o) 3eace' It sou-ht to de-rade the
1o(der)ul 1orld i(to a co55o( 5ar,et;3lace )or the buyer a(d the seller' It addressed
itsel) to the lo1est i(sti(cts* a(d it )ailed' War )ollo1ed u3o( 1ar* a(d the trades5a(<s
creed did (ot 3re+e(t #ra(ce a(d %er5a(y )ro5 clashi(- to-ether i( blood;stai(ed battle'
There are others o) our o1( day 1ho see, to a33eal to 5ere e5otio(al sy53athies* or to
the shallo1 do-5as o) so5e +a-ue syste5 o) abstract ethics' They ha+e their !eace
Societies* so dear to the se(ti5e(talists* a(d their 3ro3osals )or u(ar5ed I(ter(atio(al
Arbitratio(* so 3o3ular a5o(- those 1ho ha+e (e+er read history' .ut 5ere e5otio(al
sy53athy 1ill (ot do' It is too +ariable* a(d too closely co((ected 1ith the 3assio(s7 a(d a
board o) arbitrators 1ho* )or the -e(eral 1el)are o) the race* are to be de3ri+ed o) the
3o1er o) 3utti(- their decisio(s i(to e8ecutio(* 1ill (ot be o) 5uch a+ail' There is o(ly o(e
thi(- 1orse tha( I(4ustice* a(d that is =ustice 1ithout her s1ord i( her ha(d' Whe( Ri-ht
is (ot Mi-ht* it is E+il'
"o: the e5otio(s 1ill (ot 5a,e us cos5o3olita(* a(y 5ore tha( the -reed )or -ai( could
do so' It is o(ly by the culti+atio( o) the habit o) i(tellectual criticis5 that 1e shall be able
to rise su3erior to race;3re4udices' %oethe;;you 1ill (ot 5isu(dersta(d 1hat I say;;1as a
%er5a( o) the %er5a(s' He lo+ed his cou(try;;(o 5a( 5ore so' Its 3eo3le 1ere dear to
hi57 a(d he led the5' 9et* 1he( the iro( hoo) o) "a3oleo( tra53led u3o( +i(eyard a(d
cor()ield* his li3s 1ere sile(t' <Ho1 ca( o(e 1rite so(-s o) hatred 1ithout hati(-2< he said
to Ec,er5a((* <a(d ho1 could I* to 1ho5 culture a(d barbaris5 are alo(e o) i53orta(ce*
hate a (atio( 1hich is a5o(- the 5ost culti+ated o) the earth a(d to 1hich I o1e so -reat
a 3art o) 5y o1( culti+atio(2< This (ote* sou(ded i( the 5oder( 1orld by %oethe )irst* 1ill
beco5e* I thi(,* the starti(- 3oi(t )or the cos5o3olita(is5 o) the )uture' Criticis5 1ill
a((ihilate race;3re4udices* by i(sisti(- u3o( the u(ity o) the hu5a( 5i(d i( the +ariety o)
its )or5s' I) 1e are te53ted to 5a,e 1ar u3o( a(other (atio(* 1e shall re5e5ber that 1e
are see,i(- to destroy a( ele5e(t o) our o1( culture* a(d 3ossibly its 5ost i53orta(t
ele5e(t' As lo(- as 1ar is re-arded as 1ic,ed* it 1ill al1ays ha+e its )asci(atio(' Whe( it
is loo,ed u3o( as +ul-ar* it 1ill cease to be 3o3ular' The cha(-e 1ill o) course be slo1* a(d
3eo3le 1ill (ot be co(scious o) it' They 1ill (ot say <We 1ill (ot 1ar a-ai(st #ra(ce because
her 3rose is 3er)ect*< but because the 3rose o) #ra(ce is 3er)ect* they 1ill (ot hate the
la(d' I(tellectual criticis5 1ill bi(d Euro3e to-ether i( bo(ds )ar closer tha( those that ca(
be )or-ed by sho35a( or se(ti5e(talist' It 1ill -i+e us the 3eace that s3ri(-s )ro5
u(dersta(di(-'
"or is this all' It is Criticis5 that* reco-(isi(- (o 3ositio( as )i(al* a(d re)usi(- to bi(d
itsel) by the shallo1 shibboleths o) a(y sect or school* creates that sere(e 3hiloso3hic
te53er 1hich lo+es truth )or its o1( sa,e* a(d lo+es it (ot the less because it ,(o1s it to
be u(attai(able' Ho1 little 1e ha+e o) this te53er i( E(-la(d* a(d ho1 5uch 1e (eed it6
The E(-lish 5i(d is al1ays i( a ra-e' The i(tellect o) the race is 1asted i( the sordid a(d
stu3id >uarrels o) seco(d;rate 3oliticia(s or third;rate theolo-ia(s' It 1as reser+ed )or a
5a( o) scie(ce to sho1 us the su3re5e e8a53le o) that <s1eet reaso(able(ess< o) 1hich
Ar(old s3o,e so 1isely* a(d* alas6 to so little e))ect' The author o) the Ori-i( o) S3ecies
had* at a(y rate* the 3hiloso3hic te53er' I) o(e co(te53lates the ordi(ary 3ul3its a(d
3lat)or5s o) E(-la(d* o(e ca( but )eel the co(te53t o) =ulia(* or the i(di))ere(ce o)
Mo(tai-(e' We are do5i(ated by the )a(atic* 1hose 1orst +ice is his si(cerity' A(ythi(-
a33roachi(- to the )ree 3lay o) the 5i(d is 3ractically u(,(o1( a5o(-st us' !eo3le cry out
a-ai(st the si((er* yet it is (ot the si()ul* but the stu3id* 1ho are our sha5e' There is (o
si( e8ce3t stu3idity'
ER"EST' Ah6 1hat a( a(ti(o5ia( you are6
%I&.ERT' The artistic critic* li,e the 5ystic* is a( a(ti(o5ia( al1ays' To be -ood* accordi(-
to the +ul-ar sta(dard o) -ood(ess* is ob+iously >uite easy' It 5erely re>uires a certai(
a5ou(t o) sordid terror* a certai( lac, o) i5a-i(ati+e thou-ht* a(d a certai( lo1 3assio(
)or 5iddle;class res3ectability' Aesthetics are hi-her tha( ethics' They belo(- to a 5ore
s3iritual s3here' To discer( the beauty o) a thi(- is the )i(est 3oi(t to 1hich 1e ca( arri+e'
E+e( a colour;se(se is 5ore i53orta(t* i( the de+elo35e(t o) the i(di+idual* tha( a se(se
o) ri-ht a(d 1ro(-' Aesthetics* i( )act* are to Ethics i( the s3here o) co(scious ci+ilisatio(*
1hat* i( the s3here o) the e8ter(al 1orld* se8ual is to (atural selectio(' Ethics* li,e (atural
selectio(* 5a,e e8iste(ce 3ossible' Aesthetics* li,e se8ual selectio(* 5a,e li)e lo+ely a(d
1o(der)ul* )ill it 1ith (e1 )or5s* a(d -i+e it 3ro-ress* a(d +ariety a(d cha(-e' A(d 1he(
1e reach the true culture that is our ai5* 1e attai( to that 3er)ectio( o) 1hich the sai(ts
ha+e drea5ed* the 3er)ectio( o) those to 1ho5 si( is i53ossible* (ot because they 5a,e
the re(u(ciatio(s o) the ascetic* but because they ca( do e+erythi(- they 1ish 1ithout
hurt to the soul* a(d ca( 1ish )or (othi(- that ca( do the soul har5* the soul bei(- a(
e(tity so di+i(e that it is able to tra(s)or5 i(to ele5e(ts o) a richer e83erie(ce* or a )i(er
susce3tibility* or a (e1er 5ode o) thou-ht* acts or 3assio(s that 1ith the co55o( 1ould
be co55o(3lace* or 1ith the u(educated i-(oble* or 1ith the sha5e)ul +ile' Is this
da(-erous2 9es7 it is da(-erous;;all ideas* as I told you* are so' .ut the (i-ht 1earies* a(d
the li-ht )lic,ers i( the la53' O(e 5ore thi(- I ca((ot hel3 sayi(- to you' 9ou ha+e s3o,e(
a-ai(st Criticis5 as bei(- a sterile thi(-' The (i(etee(th ce(tury is a tur(i(- 3oi(t i(
history* si53ly o( accou(t o) the 1or, o) t1o 5e(* $ar1i( a(d Re(a(* the o(e the critic o)
the .oo, o) "ature* the other the critic o) the boo,s o) %od' "ot to reco-(ise this is to
5iss the 5ea(i(- o) o(e o) the 5ost i53orta(t eras i( the 3ro-ress o) the 1orld' Creatio(
is al1ays behi(d the a-e' It is Criticis5 that leads us' The Critical S3irit a(d the World;
S3irit are o(e'
ER"EST' A(d he 1ho is i( 3ossessio( o) this s3irit* or 1ho5 this s3irit 3ossesses* 1ill* I
su33ose* do (othi(-2
%I&.ERT' &i,e the !erse3ho(e o) 1ho5 &a(dor tells us* the s1eet 3e(si+e !erse3ho(e
arou(d 1hose 1hite )eet the as3hodel a(d a5ara(th are bloo5i(-* he 1ill sit co(te(ted <i(
that dee3* 5otio(less >uiet 1hich 5ortals 3ity* a(d 1hich the -ods e(4oy'< He 1ill loo, out
u3o( the 1orld a(d ,(o1 its secret' .y co(tact 1ith di+i(e thi(-s he 1ill beco5e di+i(e'
His 1ill be the 3er)ect li)e* a(d his o(ly'
ER"EST' 9ou ha+e told 5e 5a(y stra(-e thi(-s to;(i-ht* %ilbert' 9ou ha+e told 5e that it
is 5ore di))icult to tal, about a thi(- tha( to do it* a(d that to do (othi(- at all is the 5ost
di))icult thi(- i( the 1orld7 you ha+e told 5e that all Art is i55oral* a(d all thou-ht
da(-erous7 that criticis5 is 5ore creati+e tha( creatio(* a(d that the hi-hest criticis5 is
that 1hich re+eals i( the 1or, o) Art 1hat the artist had (ot 3ut there7 that it is e8actly
because a 5a( ca((ot do a thi(- that he is the 3ro3er 4ud-e o) it7 a(d that the true critic
is u()air* i(si(cere* a(d (ot ratio(al' My )rie(d* you are a drea5er'
%I&.ERT' 9es: I a5 a drea5er' #or a drea5er is o(e 1ho ca( o(ly )i(d his 1ay by
5oo(li-ht* a(d his 3u(ish5e(t is that he sees the da1( be)ore the rest o) the 1orld'
ER"EST' His 3u(ish5e(t2
%I&.ERT' A(d his re1ard' .ut* see* it is da1( already' $ra1 bac, the curtai(s a(d o3e(
the 1i(do1s 1ide' Ho1 cool the 5or(i(- air is6 !iccadilly lies at our )eet li,e a lo(- riba(d
o) sil+er' A )ai(t 3ur3le 5ist ha(-s o+er the !ar,* a(d the shado1s o) the 1hite houses are
3ur3le' It is too late to slee3' &et us -o do1( to Co+e(t %arde( a(d loo, at the roses'
Co5e6 I a5 tired o) thou-ht'
;THE E"$;
Oscar Wilde<s essay: The Critic as Artist
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