Contents
TheRhythmofLifeDecivilisedARemembranceTheSunTheFlowerUnstableEquilibriumTheUnitoftheWorldBytheRailwaySidePocketVocabulariesPathosThePointofHonourComposureDr。OliverWendellHolmesJamesRussellLowellDomusAngustaRejectionTheLessonofLandscapeMr。CoventryPatmore’sOdesInnocenceandExperiencePenultimateCaricatureTHERHYTHMOFLIFE
Iflifeisnotalwayspoetical，itisatleastmetrical。
Periodicityrulesoverthementalexperienceofman，accordingtothepathoftheorbitofhisthoughts。Distancesarenotgauged，ellipsesnotmeasured，velocitiesnotascertained，timesnotknown。
Nevertheless，therecurrenceissure。Whatthemindsufferedlastweek，orlastyear，itdoesnotsuffernow；butitwillsufferagainnextweekornextyear。Happinessisnotamatterofevents；itdependsuponthetidesofthemind。Diseaseismetrical，closinginatshorterandshorterperiodstowardsdeath，sweepingabroadatlongerandlongerintervalstowardsrecovery。Sorrowforonecausewasintolerableyesterday，andwillbeintolerabletomorrow；todayitiseasytobear，butthecausehasnotpassed。Eventheburdenofaspiritualdistressunsolvedisboundtoleavethehearttoatemporarypeace；andremorseitselfdoesnotremain——itreturns。
Gaietytakesusbyadearsurprise。Ifwehadmadeacourseofnotesofitsvisits，wemighthavebeenonthewatch，andwouldhavehadanexpectationinsteadofadiscovery。Noonemakessuchobservations；inallthediariesofstudentsoftheinteriorworld，therehavenevercometolighttherecordsoftheKeplerofsuchcycles。ButThomaseKempisknewoftherecurrences，ifhedidnotmeasurethem。Inhiscellalonewiththeelements——’Whatwouldstthoumorethanthese？foroutofthesewereallthingsmade’——helearntthestaytobefoundinthedepthofthehourofbitterness，andtheremembrancethatrestrainsthesoulatthecomingofthemomentofdelight，givingitamoreconsciouswelcome，butpresagingforitaninexorableflight。And’rarely，rarelycomestthou，’
sighedShelley，nottoDelightmerely，buttotheSpiritofDelight。
Delightcanbecompelledbeforehand，called，andconstrainedtoourservice——Arielcanbeboundtoadailytask；butsuchartificialviolencethrowslifeoutofmetre，anditisnotthespiritthatisthuscompelled。THATflitsuponanorbitellipticallyorparabolicallyorhyperbolicallycurved，keepingnomanknowswhattrystswithTime。
ItseemsfitthatShelleyandtheauthoroftheIMITATIONshouldbothhavebeenkeenandsimpleenoughtoperceivetheseflights，andtoguessattheorderofthisperiodicity。Bothsoulswereinclosetouchwiththespiritsoftheirseveralworlds，andnodeliberatehumanrules，noinfractionsofthelibertyandlawoftheuniversalmovement，keptfromthemtheknowledgeofrecurrences。Eppursimuove。Theyknewthatpresencedoesnotexistwithoutabsence；theyknewthatwhatisjustuponitsflightoffarewellisalreadyonitslongpathofreturn。Theyknewthatwhatisapproachingtotheverytouchishasteningtowardsdeparture。’Owind，’criedShelley，inautumn，’Owind，Ifwintercomes，canspringbefarbehind？’
Theyknewthatthefluxisequaltothereflux；thattointerruptwithunlawfulrecurrences，outoftime，istoweakentheimpulseofonsetandretreat；thesweepandimpetusofmovement。Toliveinconstanteffortsafteranequallife，whethertheequalitybesoughtinmentalproduction，orinspiritualsweetness，orinthejoyofthesenses，istolivewithouteitherrestorfullactivity。Thesoulsofcertainofthesaints，beingsingularlysimpleandsingle，havebeeninthemostcompletesubjectiontothelawofperiodicity。
Ecstasyanddesolationvisitedthembyseasons。Theyendured，duringspacesofvacanttime，theinteriorlossofallforwhichtheyhadsacrificedtheworld。Theyrejoicedintheuncovenantedbeatitudeofsweetnessalightingintheirhearts。Likethemarethepoetswhom，threetimesortentimesinthecourseofalonglife，theMusehasapproached，touched，andforsaken。Andyethardlylikethem；notalwayssodocile，norsowhollypreparedforthedeparture，thebrevity，ofthegoldenandirrevocablehour。FewpoetshavefullyrecognisedthemetricalabsenceoftheirMuse。Forfullrecognitionisexpressedinoneonlyway——silence。
IthasbeenfoundthatseveraltribesinAfricaandinAmericaworshipthemoon，andnotthesun；agreatnumberworshipboth；butnotribesareknowntoadorethesun，andnotthemoon。Fortheperiodicityofthesunisstillinpartasecret；butthatofthemoonismodestlyapparent，perpetuallyinfluential。Onherdependthetides；andsheisSelene，motherofHerse，bringerofthedewsthatrecurrentlyirrigatelandswhererainisrare。MorethananyothercompanionofearthisshetheMeasurer。EarlyIndo-Germaniclanguagesknewherbythatname。Hermetricalphasesarethesymboloftheorderofrecurrence。Constancyinapproachandindepartureisthereasonofherinconstancies。Julietwillnotreceiveavowspokenininvocationofthemoon；butJulietdidnotlivetoknowthatloveitselfhastidaltimes——lapsesandebbswhichareduetothemetricalruleoftheinteriorheart，butwhichthelovervainlyandunkindlyattributestosomeoutwardalterationinthebeloved。
Forman——exceptthoseelectalreadynamed——ishardlyawareofperiodicity。Theindividualmaneitherneverlearnsitfully，orlearnsitlate。Andhelearnsitsolate，becauseitisamatterofcumulativeexperienceuponwhichcumulativeevidenceislacking。Itisintheafter-partofeachlifethatthelawislearntsodefinitelyastodoawaywiththehopeorfearofcontinuance。Thatyoungsorrowcomessoneartodespairisaresultofthisyoungignorance。Soistheearlyhopeofgreatachievement。Lifeseemssolong，anditscapacitysogreat，toonewhoknowsnothingofalltheintervalsitneedsmusthold——intervalsbetweenaspirations，betweenactions，pausesasinevitableasthepausesofsleep。Andlifelooksimpossibletotheyoungunfortunate，unawareoftheinevitableandunfailingrefreshment。Itwouldbefortheirpeacetolearnthatthereisatideintheaffairsofmen，inasensemoresubtle——ifitisnottooaudacioustoaddameaningtoShakespeare——
thanthephrasewasmeanttocontain。Theirjoyisflyingawayfromthemonitswayhome；theirlifewillwaxandwane；andiftheywouldbewise，theymustwakeandrestinitsphases，knowingthattheyareruledbythelawthatcommandsallthings——asun’srevolutionsandtherhythmicpangsofmaternity。
DECIVILISED
Thedifficultyofdealing——inthecourseofanycriticalduty——withdecivilisedmanliesinthis：whenyouaccusehimofvulgarity——
sparinghimnodoubttheword——hedefendshimselfagainstthechargeofbarbarism。Especiallyfromnewsoil——transatlantic，colonial——hefacesyou，bronzed，withahalfconvictionofsavagery，partlypersuadedofhisownyouthfulnessofrace。Hewrites，andrecites，poemsaboutranchesandcanyons；theyaredesignedtobetraytherecklessnessofhisnatureandtorevealthegoodthatlurksinthelawlesswaysofayoungsociety。Heistheretoexplainhimself，voluble，withaglossaryforhisownartlessslang。Buthiscolonialismisonlyprovincialismveryarticulate。Thenewairdoesbutmakeolddecadencesseemmorestale；theyoungsoildoesbutsetintofreshconditionstheready-made，theuncostly，therefusefeelingofaracedecivilising。Americanfancyplayedlongthispatteringpartofyouth。TheNew-Englanderhastenedtoassureyouwithsoself-denyingafacehedidnotwearwar-paintandfeathers，thatitbecamedoublydifficulttocommunicatetohimthatyouhadsuspectedhimofnothingwilderthanasecond-handdresscoat。Andwhenitwasaquestionnotofrebuke，butofpraise，theAmericanwasill-contentwiththewordofthejudiciouswholaudedhimforsomedelicatesuccessesincontinuingsomethingoftheliteratureofEngland，somethingoftheartofFrance；hewasmoreeagerfortheapplausethatstimulatedhimtowriteromancesandtopaintpanoramiclandscape，afterbrieftraininginacademiesofnativeinspiration。EvennowEnglishvoices，withviolentcommonplace，areconstantlycallinguponAmericatobegin——tobegin，fortheworldisexpectant。Whereasthereisnobeginningforher，butinsteadacontinuitywhichonlyaconstantcarecanguideintosustainedrefinementandcansavefromdecivilisation。
Butdecivilisedmanisnotpeculiartonewsoil。TheEnglishtown，too，knowshiminallhisdailiness。InEngland，too，hehasaliterature，anart，amusic，allhisown——derivedfrommanyandvariousthingsofprice。Trash，inthefulnessofitsinsimplicityandcheapness，isimpossiblewithoutabeautifulpast。Itschiefcharacteristic——whichisfutility，notfailure——couldnotbeachievedbutbythelongabuse，therotatoryreproduction，thequotidiandisgrace，oftheutterancesofArt，especiallytheutterancebywords。Gaiety，vigour，vitality，theorganicquality，purity，simplicity，precision——alltheseareamongtheantecedentsoftrash。Itisafterthem；itisalso，alas，becauseofthem。Andnothingcanbemuchsadderthansuchaproofofwhatmaypossiblybethefailureofderivation。
Evidentlywecannotchooseourposterity。Reversingthestepsoftime，wemay，indeed，choosebackwards。Wemaygiveourthoughtsnobleforefathers。Wellbegotten，wellbornourfanciesmustbe；
theyshallbealsowellderived。Wehaveavoiceindecreeingourinheritance，andnotourinheritanceonly，butourheredity。Ourmindsmaytraceupwardsandfollowtheirwaystothebestwell-headsofthearts。Theveryhabitofourthoughtsmaybepersuadedonewayunawaresbytheirantenatalhistory。Theircompanionsmustbelovely，butneedbenolovelierthantheirancestors；andbeingsofatheredandsohusbanded，ourthoughtsmaybeintrustedtokeepthecounselsofliterature。
Suchisourconfidenceinadescentweknow。But，ofasequelwhichofusissure？Whichofusissecuredagainstthedangersofsubsequentdepreciation？And，moreover，whichofusshalltracethecontemporarytendencies，theonetowardshonour，theothertowardsdishonour？Orwhoshalldiscoverwhyderivationbecomesdegeneration，andwhereandwhenandhowthebastardybefalls？Thedecivilisedhaveeverygraceastheantecedentoftheirvulgarities，everydistinctionastheprecedentoftheirmediocrities。Noballad-concertsong，feignitsigh，frolic，orlaugh，buthastheexcusethatthefeintwassuggested，wasmadeeasy，bysomelivingsweetnessonce。Norarethedecivilisedtoblameashavingintheirownpersonspossessedcivilisationandmarredit。Theydidnotpossessit；theywerebornintosometendencytoderogation，intoaninclinationforthingsmentallyinexpensive。Andthetendencycanhardlydootherthancontinue。Nothingcanlookdullerthanthefutureofthissecond-handandmultiplyingworld。Menneednotbecommonmerelybecausetheyaremany；buttheinfectionofcommonnessoncebeguninthemany，whatdulnessintheirfuture！Totheeyethathasreluctantlydiscoveredthistruth——thatthevulgarisedarenotUNcivilised，andthatthereisnogrowthforthem——itdoesnotlooklikeafutureatall。Moreballad-concerts，morequaintEnglish，morerobustiousbarytonesongs，morepiecemealpictures，moreanxiousdecoration，morecolonialpoetry，moreyoungnationswithwitheredtraditions。Yetitisbeforethisprospectthattheprovincialoverseasliftsuphisvoiceinaboastorapromisecommonenoughamongtheincapableyoung，butpardonableonlyinsenility。Hepromisestheworldaliterature，anart，thatshallbenewbecausehisforestisuntrackedandhistownjustbuilt。Butwhatthenewnessistobehecannottell。Certainwordsweredreadfulonceinthemouthofdesperateoldage。Dreadfulandpitiableasthethreatofanimpotentking，whatshallwenamethemwhentheyarethepromiseofanimpotentpeople？’Iwilldosuchthings：whattheyareyetIknownot。’
AREMEMBRANCE
Whenthememoriesoftwoorthreepersonsnowuponearthshallberolledupandsealedwiththeirrecordswithinthem，therewillbenoremembranceleftopen，exceptthis，ofamanwhosesilenceseemsbetterworthinterpretingthanthespeechofmanyanother。Ofhimselfhehasleftnovestiges。Itwasacommonreproachagainsthimthatheneveracknowledgedtheobligationtoanykindofrestlessness。Thekingdomofheavensufferethviolence，butashedidnonetherewasnothingforitbutthatthekingdomofheavenshouldyieldtohisleisure。Thedelicate，theabstinent，thereticentgraceswerehisintheheroicdegree。WhereshallIfindapenfastidiousenoughtodefineandlimitandenforcesomanysignificantnegatives？Wordsseemtooffendbytoomuchassertion，andtocheckthesuggestionsofhisreserve。Thatreservewaslife-
long。Lovingliterature，heneverliftedapenexcepttowritealetter。Hewasnotinarticulate，hewasonlysilent。Hehadanexquisitestylefromwhichtorefrain。Thethingsheabstainedfromwereallexquisite。Theywerebroughtfromfartoundergohisjudgment，ifhaplyhemighthaveselectedthem。Thingsignobleneverapproachednearenoughforhisrefusal；theyhadnotwithhimsomuchasthatnegativeconnexion。IfIhadtoequipanauthorI
shouldasknobetterthantoarmhimandinvesthimwithpreciselytherichesthatwererenouncedbythemanwhoseintellect，byintegrity，hadbecomeapresence-chamber。
Itwasbyholdingsessionamongsomanyimplicitsafeguardsthathetaught，ratherthanbyprecepts。Fewweretheseinhisspeech，buthispersonalitymadelawsforme。Itwasasubtleeducation，foritpersuadedinsensiblytoaconceptionofmyown。How，ifhewouldnotdefine，couldIknowwhatthingswereandwhatwerenotworthyofhisgentleandimplacablejudgment？Imustneedsjudgethemformyself，yetheconstrainedmeinthejudging。Withinthatconstraintandunderthatstimulus，whichseemedtotouchtheultimatespringsofthoughtsbeforetheysprang，Ibegantodiscernallthingsinliteratureandinlife——inthechastityoflettersandinthehonouroflife——thatIwasboundtolove。Notthethingsofonecharacteronly，butexcellentthingsofeverycharacter。Therewasnotyrannyinsuchamethod。Hisidlenessjustifieditselfbytheliberalityitpermittedtohistaste。Neverhavingmadehisloveoflettersfurtherasecondarypurpose，neverhavingboundtheliterarygenius——thatdelicateAriel——toanykindofservitude，neverhavingsomuchaspermittedhimselfaprejudicewherebysomeofhisdelightsshouldbestintedwhileotherswereindulgedbeyondthesanctionsofmodestreason，hebarelytoleratedhisownpreferences，whichlaysomewhatonthehithersideoffulleffectivenessofstyle。Thesetherangeofhisreadingconfessedbycertainexclusions。Neverthelessitwasnotofdeficienciesthathewaspatient：hedidbutrespectthepowerofpause，andhedislikedviolencechieflybecauseviolenceisapttoconfessitsownlimits。
Perhaps，indeed，hisownfinenegativesmadehimonlythemoresensibleofanylackofthoseliteraryqualitiesthatareboundintheirfullcomplementtoholdthemselvesatthedisposaloftheconsummateauthor——tostandandwait，iftheymaydonomore。
MensaidthatheledaDILETTANTElife。Theyreproachedhimwiththeselflessnessthatmadehimsomewhatlanguid。Others，theyseemedtoaver，wereamateursatthisartorthat；hewasanamateuratliving。Soitwas，inthesensethathenevergraspedathappiness，andthatmanyofthethingshehadheldslippedfromhisdisinterestedhands。Soitwas，too，inthisunintendedsense；helovedlife。Howshouldhenothavelovedalifethathislivingmadehonourable？Howshouldhenothavelovedallarts，inwhichhischoicewasdelicate，liberal，instructed，studious，docile，austere？Anamateurmanhemighthavebeencalled，too，becausehewasnotdiscomposedbyhisownexperiences，orshakenbythediscoverywhichlifebringstous-thatthenegativequalityofwhichBuddhismseemstoaccuseallgoodispartakenbyourhappiness。Hehadalwaysprayedtemperateprayersandharbouredprobablewishes。
Hissensibilitywasextreme，buthisthoughtwasgeneralised。Whenhehadjoyhetempereditnotinthecommonwaybymeditationuponthegeneralsorrowbutbyarecollectionofthegeneralpleasure。
Itwashisfinestdistinctiontodesirenodifferences，noremembrance，butlossamongtheinnumerableforgotten。Andwhenhesuffered，itwaswithsoquickanerveandyetsowideanapprehensionthattheraceseemedtosufferinhim。Hepitiednothimselfsotenderlyasmankind，ofwhosecapacityforpainhewasthenfeelinglypersuaded。Hisdarkeningeyessaidintheextremehour：’Ihavecompassiononthemultitude。’
THESUN
Nowhereelsedoesthegreaterlightsoruletheday，someasure，sodivide，soreign，makesoimperiallaws，sovisiblykindle，soimmediatelyquicken，sosuddenlyefface，sobanish，sorestore，asinaplainlikethisofSuffolkwithitsenormoussky。Thecurioushaveaninsufficientmotiveforgoingtothemountainsiftheydoittoseethesunrise。Thesunthatleapsfromamountainpeakisasunpastthedewofhisbirth；hehaswalkedsomewaytowardsthecommonfiresofnoon。Butontheflatcountrytheuprisingisearlyandfresh，thearciswide，thecareerislong。Themostdistantclouds，converginginthebeautifulandlittle-studiedorderofcloud-perspective（formostpainterstreatcloudsasthoughtheyformedperpendicularandnothorizontalscenery），arethosethatgatheratthecentralpointofsunrise。Ontheplain，andthereonly，cantheconstruction——butthatistoolittlevitalaword；I
shouldrathersaytheorganism——theunity，thedesign，ofaskybeunderstood。Thelightwindthathasbeenmovingallnightisseentohavenotworkedatrandom。Ithasshepherdedsomesmallflocksofcloudafieldandfoldedothers。There’shusbandryinHeaven。
Andtheorderhas，orseemstohave，thesunforitsmidst。Notaline，notacurve，butconfessesitsmembershipinadesigndeclaredfromhorizontohorizon。
ToseethesystemofaskyinfragmentsistomisswhatIlearntolookforinallachievedworksofNatureandart：theorganismthatisunityandlife。Itistheunityandlifeofpainting。TheEarlyVictorianpicture——（theschoolisstillinfullcareer，butessentiallyitbelongstothattriumphalperiod）——isbutadullsumofthingsputtogether，inconcourse，notinrelation；butthetruepictureisONE，howevermultitudinousitmaybe，foritiscomposedofrelationsgatheredtogetherintheunityofperception，ofintention，andoflight。Itisorganic。Moreover，howtrulyrelationistheconditionoflifemaybeunderstoodfromtheextinctstateoftheEnglishstage，whichresemblesnothingsomuchasaRoyalAcademypicture。Eventhoughtheactorsmaybeaddedtogetherwithsomethinglikevivacity（thoughthatisrare），theyhavenovitalityincommon。Theyarenotmembersoneofanother。IftheChurchandStageGuildbestillinexistence，itwoulddomuchfortheartbyteachingthatScripturalmaxim。Ithink，furthermore，thatthelifeofourbodieshasneverbeendefinedsosuggestivelyasbyonewhonameditalivingrelationoflifelessatoms。Couldthevalueofrelationbemorecuriouslysetforth？Andonemightpenetratesomewaytowardsaconsiderationofthevascularorganismofatrueliterarystyleinwhichthereisavitalrelationofotherwiselifelesswordwithword。AndwhereinliestheprogressofarchitecturefromthestupidityofthepyramidandthedeadweightoftheCyclopeanwalltothespringandtheflightoftheogivalarch，butinaquasi-organicrelation？Butthewayofsuchthoughtsmightbeintricate，andthesunrulesmetosimplicity。
Hereignsascentrallyintheblueskyasintheclouds。OneOctoberoflatehaddaysabsolutelycloudless。Ishouldnothavecertainlyknownithadtherebeenahillinsight。Thegradationsoftheblueareincalculable，infinite，andtheydeepenfromthecentralfire。Astotheearthlyscenery，therearebuttwo’views’
ontheplain；fortheaspectofthelightisthewholelandscape。
Tolookwiththesunoragainstthesun——thisisthealternativesplendour。Tolookwiththesunistofaceagoldencountry，shadowless，serene，nobleandstronginlight，withacertainlackofreliefthatsuggests——tothosewhodreamoflandscape——thecountryofadream。Theserriedpines，andthelightedfields，andthegoldenricksofthefarmsaredyedwiththesunasonemightpaintwithacolour。Brightasitis，theglowisratherthedyeofsunlightthanitsluminosity。Forbyakindofparadoxtheluminouslandscapeisthatwhichisfullofshadows——thelandscapebeforeyouwhenyouturnandfacethesun。Notonlyeveryreedandrushofthesaltmarshes，everyuncertainaspen-leafofthefewtrees，buteveryparticleoftheOctoberairshowsashadowandmakesamysteryofthelight。Thereisnothingbutshadowandsun；colourisabsorbedandthelandscapeisreducedtoashiningsimplicity。Thusisthedominantsunsufficientforhisday。Hispassagekindlestounconsumingfiresandquenchesintolivingashes。Noincidentssaveofhiscausing，nodelightsaveofhisgiving：fromthesunrise，whenthelarks，notforpairing，butforplay，singtheonlyvirginalsongoftheyear——aheartyoungerthanSpring’sintheseasonofdecline——eventothesunset，whentheheronsscreamtogetherintheshallows。Andthesundominatesbyhisabsence，compellingthelowcountrytosadnessinthemelancholynight。
THEFLOWER
Thereisaformofoppressionthathasnotuntilnowbeenconfessedbythosewhosufferfromitorwhoareparticipants，asmerewitnesses，initstyranny。Itistheobsessionofmanbytheflower。Intheshapeoftheflowerhisownpaltrinessrevisitshim——
histriviality，hissloth，hischeapness，hiswholesalehabitualness，hisslatternlyostentation。Thesereturntohimandwreakuponhimtheirdullrevenges。Whatthetyrannyreallyhadgrowntocanbegaugednowheresowellasincountrylodgings，wherethemostordinarythingsofdesignanddecorationhavesifteddownandgatheredtogether，sothatfoolishornamentgainsacumulativeforceandachievesaconspicuouscommonness。Stemandpetalandleaf——thefluentformsthatamanhasnotbyheartbutcertainlybyrote——arewoven，printed，cast，andstampedwhereverrestlessnessandinsimplicityhavefearedtoleaveplainspaces。Themostuglyofallimaginablerooms，whichisprobablytheparlourofafarm-
housearrayedforthosewhomAmericanscallsummer-boarders，isbesetwithflowers。Itblooms，adry，woollen，papery，cast-irongarden。Thefloorflourisheswithblossomsadust，poorlyconventionalisedintoakindoforder；thetable-coverisablazewithamorerealisticflorescence；thewall-paperissetwithbunches；therigidmachine-lacecurtainisallofrosesandliliesinitsveryconstruction，overthemuslinblindsanimpotentsprigisscattered。Intheworstedrosettesofthebell-ropes，intheplasterpicture-frames，inthepaintedtea-trayandonthecups，inthepedimentofthesideboard，intheornamentthatcrownsthebarometer，inthefinialsofsofaandarm-chair，inthefinger-
platesofthe’grained’door，istobeseentheineffectualportraitortobetracedthestaleinspirationoftheflower。Andwhatisthisbossinessaroundthegratebutsomeblunt，black-leadedgarland？Therecitaliswearisome，buttheretributionoftheflowerispreciselyweariness。Itisthepersecutionofman，thehauntingofhistrivialvisions，andtheoppressionofhisinconsiderablebrain。
Themansopossessedsuffersthelotoftheweakling——subjectiontothesmallestofthethingshehasabused。Thedesignerofcheappatternsisnomoreinevitablyriddenbytheflowerthanisthevainandtransitoryauthorbythephrase。ButIhadratherlearnmydecorationoftheJapanese，andplaceagainsttheblankwallonepotplainfromthewheel，holdingonesingularbranchinblossom，intheattitudeandaccidentofgrowth。AndIcouldwishabstentiontoexist，andeventobeevident，inmywords。Inliteratureasinallelsemanmeritshissubjectiontotrivialitiesbyakindofeconomicalgreed。Aconditionforusingjustlyandgailyanydecorationwouldseemtobeacertainreluctance。Ornament——strangeasthedoctrinesoundsinaworlddecivilised——wasinthebeginningintendedtobesomethingjocund；andjocunditywasnevertobeachievedbutbypostponement，deference，andmodesty。NorcantheprodigalityofthemeadowsinMaybequotedindispute。ForNaturehassomethingevenmoreseverethanmoderation：shehasaninnumerablesingleness。Herbutter-cupmeadowsarenotprodigal；
theyshowmultitude，butnotmultiplicity，andmultiplicityisexactlythedisgraceofdecoration。Whohasevermultipliedorrepeatedhisdelights？orwhohasevergainedthegrantingofthemostfoolishofhiswishes——theprayerforreiteration？ItisacuriousslighttogenerousFatethatmanshould，likeachild，askforonethingmanytimes。Heranswereverytimeisaresemblingbutnewandsinglegift；untilthedaywhensheshallmaketheonetremendousdifferenceamonghergifts——andmakeitperhapsinsecret——bynamingoneofthemtheultimate。What，fornovelty，what，forsingleness，what，forseparateness，canequalthelast？
Ofmanythousandkissesthepoorlast——buteventhekissesofyourmouthareallnumbered。
UNSTABLEEQUILIBRIUM
Itisprincipallyforthesakeofthelegthatachangeinthedressofmanissomuchtobedesired。Theleg，completingasitdoestheformofman，shouldmakeagreatpartofthathumanscenerywhichisatleastasimportantasthesceneryofgeologicalstructure，orthesceneryofarchitecture，orthesceneryofvegetation，butwhichtheloversofmountainsandthepreserversofancientbuildingshaveconsentedtoignore。Thelegisthebestpartofthefigure，inasmuchasithasthefinestlinesandtherewiththoseslender，diminishingformswhich，comingatthebaseofthehumanstructure，showittobeathingoflifebyitsunstableequilibrium。A
lifelessstructureisinstableequilibrium；thebody，springing，poised，uponitsfineanklesandnarrowfeet，neverstandswithoutimplyingandexpressinglife。Itisthelegthatfirstsuggestedthephantasyofflight。Weimaginewingstothefigurethatiserectuponthevitalandtenselegsofman；andtheheraldMercury，becauseofhisstation，looksnew-lighted。Allthisistrueofthebestleg，andthebestlegistheman’s。Thatoftheyoungchild，inwhichtheItalianschoolsofpaintingdelighted，hasneithermovementnorsupportingstrength。Inthecaseofthewoman’sfigureitisthefoot，withitsextremeproportionalsmallness，thatgivesthepreciousinstability，thespringandbalancethataresoorganic。Butmanshouldnolongerdisguisethelonglines，thestrongforms，inthoselengthsofpipingortubingthatareofallgarmentsthemoststupid。Inexpressiveofwhattheyclotheasnokindofconcealingdraperycouldeverbe，theyareneitherimplicitlynorexplicitlygoodraiment。Itishardlypossibletoerrbyviolenceindenouncingthem。Why，whenabadwriterispraisedfor’clothinghisthought，’itistomodernraimentthatone’snimblefancyflies——fainofcompletingthebeautifulmetaphor！
Thehumanscenery：yes，costumecouldmakeacrowdsomethingotherthanthemassofsootycolour——darkwithoutdepth——andthemultiplicationofundignifiedformsthatfillthestreets，anddemonstrate，andstrike，andlistentothedemocrat。Fortheundistinguishedareveryimportantbytheirnumbers。Thesearetheywhomakethelookoftheartificialworld。Theyaremangeneralised；asunitstheyinevitablylacksomethingofinterest；
allthemorehavetheycumulativeeffect。Itwouldbewellifwecouldpersuadetheaveragemantotakeonacertainhumandignityintheclothingofhisaveragebody。Unfortunatelyhewillbeslowtobechanged。Andastothepoorerpartofthemass，sowretchedaretheirnationalcustoms——andthewretchedestofthemallthewearingofothermen’soldraiment——thattheymustwaitforreformuntilthereformeddress，whichthereformershavenotyetputon，shallhaveturnedsecond-hand。
THEUNITOFTHEWORLD
ThequarrelofArtwithNaturegoesonapace。Thepaintershavelongbeentalkingofselecting，thenofrejecting，oreven，withMr。
Whistler，ofsupplanting。AndthenMr。OscarWilde，inthewittyanddelicateseriesofinversionswhichheheaded’TheDecayofLying，’declaredwarwithalltheirresponsibilitynaturallyattendinganactsoserious。HeseemstoaffirmthatNatureislessproportionatetomanthanisarchitecture；thatthehouseisbuiltandthesofaismademeasurablebytheunitmeasureofthebody；butthatthelandscapeissettosomeotherscale。’Ipreferhousestotheopenair。Inahouseweallfeeloftheproperproportions。
Egotismitself，whichissonecessarytoapropersenseofhumandignity，isabsolutelytheresultofindoorlife。’Nevertheless，beforeitistoolate，letmeassertthatthoughnatureisnotalwaysclearlyandobviouslymadetoman’smeasure，heisyettheunitbywhichsheismeasurable。Theproportionmaybefartoseekattimes，buttheproportionisthere。Man’sfarmsaboutthelowerAlps，hissummerpasturesaloft，havetheirrelationtothewholeconstructionoftherange；andtherangeisgreatbecauseitisgreatinregardtothevillagelodgedinasteepvalleyinthefoothills。Therelationofflowerandfruittohishandsandmouth，tohiscapacityandsenses（Iamdealingwithsize，andnothingelse），isaverycommonplaceofourconditionsintheworld。Thearmofmanissufficienttodigjustasdeepastheharvestistobesown。
Andifsomeofthecheerfullittleevidencesofthemorepopularformsofteleologyareapttobebaffled，orindefinitelypostponed，bytheretortsthatsuggestthemselvestothemodernchild，thereremainsthesubtleandindisputablewitnessbornebyartitself：
thebodyofmancomposeswiththemassandthedetailoftheworld。
Thepictureisirrefutable，andthepicturearrangesthefigureamongstitsnaturalaccessoriesinthelandscape，andwouldnothavethemotherwise。
Butthereisoneconspicuousthingintheworldtowhichmanhasnotservedasaunitofproportion，andthatonethingisapopularlyreveredtriumphofthatveryartofarchitectureinwhichMr。OscarWildehasconfidenceforkeepingthingsinscale。HumaningenuityindesigningSt。Peter’sontheVatican，hasachievedthisoneexceptiontotheuniversalharmony——aharmonyenrichedbydiscords，butalwaysononecertainscaleofnotes——whichthebodymakeswiththedetailsoftheearth。Itisnotinthelandscape，whereMr。
OscarWildehastoorashlylookedforcontemptandcontumely，butintheartheholdspreciousastheministertoman’segotism，thatman’sEgoisdefied。St。Peter’sisnotnecessarilytoolarge（thoughonothergroundsitssizemightbeliabletocorrection）；itissimplyoutofrelationtothemostvitalthingontheearth——thethingwhichhassuppliedsomesecretrodtomeasurethewaveswithal，andthewhales，thesea-wallcliffs，theearsofwheat，thecedar-branches，pinesanddiamondsandapples。Now，Emersonwouldcertainlynothavefeltthesoftshockandstimulusofdelighttowhichheconfesseshimselftobeliableatthefirsttouchofcertainphrases，hadnotthewordsineverycaseenclosedapromiseoffurthertruthandofasecondpleasure。Oneoftheseswiftandfruitfulexperiencesvisitedhimwiththesaying——grownpopularthroughhim——thatanarchitectshouldhaveaknowledgeofanatomy。
Thereisassuredlyagermandapromiseinthephrase。Itdelightsus，first，becauseitseemstorecognisetheorganic，asdistinctfromthemerelyconstructive，characteroffinelycivilisedarchitecture；andnext，itpersuadesusthatVitruviushadintruthdiscoveredthekeytosize——theunitthatissometimessoobscurely，yetalwayssoabsolutely，themeasureofwhatisgreatandsmallamongthingsanimateandinanimate。AndinspiteofthemselvesthearchitectsofSt。Peter’swereconstrainedtotakesomethingfromman；theyrefusedhisheightfortheirscale，buttheytriedtousehisshapefortheirornament。Andsointheblankestdearthoffancythateverbefelarchitectorbuildertheyimaginedhumanbeingsbiggerthanthehumanbeingsofexperience；andbymeansofthese，carvedinstoneandinlaidinmosaic，theysetuparelationoftheirown。Thebasilicawasrelatedtothecolossalfigure（asachurchmorewiselymeasuredwouldhavebeentolivingman），andsoceasedtobelarge；andnothingmoreimportantwasfinallyachievedthantransposalofthewholeworkintoanotherscaleofproportions——
ascaleinwhichthebodyofmanwasnottheunit。ThepileofstonesthatmakeSt。Peter’sisaverylittlethingincomparisonwithSoracte；butman，andman’swife，andtheunequalstaturesofhischildren，areintouchwiththestructureofthemountainratherthanwiththatofthechurchwhichhasbeenconceivedwithoutreferencetothevitalandfundamentalruleofhisinches。
Istherenoegotism，ministeringtohisdignity，thatman，havingthelawoftheorganismoftheworldwritteninhismembers，cantakewithhim，outoftheroomthathasbeenbuilttoaccordwithhim，intothelandscapethatstandsonlyalittlefurtheraway？Hehasdeliberatelymadethesmokingchairandthetable；thereisnothingtosurprisehimintheirministrations。ButwhatprofounderhomageisrenderedbythemultitudinousNaturegoingabouttheinterestsandthebusinessofwhichheknowssolittle，andyetthroughoutconfessinghim！Hiseyeshaveseenherandhisearshaveheard，butitwouldneverhaveenteredintohishearttoconceiveher。Hisisnotthefancythatcouldhaveachievedthesewoods，thislittleflushofsummerfromtheinnumerablefloweringofgrasses，thecyclicrecreationofseasons。Andyetheknowsthatheisimposeduponallhesees。Hisstaturegiveslaws。Hislabouronlyisneedful——notagreaterstrength。Andthesunandtheshowersaremadesufficientforhim。Hisfurnituremustsurelybeadjudgedtopayhimbutacoarseflatteryincomparisonwiththesubjection，yetthealoofness，ofallthiswildworld。Thisisnoflattery。Thegrassislumpy，asMr。OscarWilderemarkswithtruth：Natureisnotman’slacquey，andhasnopreoccupationabouthismorecommonplacecomforts。Thesehegiveshimselfindoors；andwhoprizes，withanyself-respect，thethingscarefullyprovidedbyself-love？ButwhenthatfaroucheNature，whohasneverspokentohim，andtowhomhehasneverhadtheopportunityofhintinghiswishesorhistastes——whensherevealsthesuggestionsofhisformandthedesireofhiseyes，andamongsthernumberlesspurposesletshimsurpriseinherthepurposetoaccordwithhim，andletshimsuspectfurtherharmonieswhichhehasnotyetlearnttounderstand——
thenmanbecomesconsciousofhavingreceivedatokenfromherlowliness，andafavourfromherloveliness，comparedwithwhichthecarewherewithhistailorhimselfhasfittedhimmightleavehisgratitudecool。
BYTHERAILWAYSIDE
MytraindrewneartotheViaReggioplatformonadaybetweentwooftheharvestsofahotSeptember；theseawasburningblue，andtherewereasombrenessandagravityintheveryexcessesofthesunashisfiresbroodeddeeplyovertheserried，hardy，shabby，seasideilex-woods。IhadcomeoutofTuscanyandwasonmywaytotheGenovesato：thesteepcountrywithitsprofiles，baybybay，ofsuccessivemountainsgreywitholive-trees，betweentheflashesoftheMediterraneanandthesky；thecountrythroughthewhichtheresoundsthetwangingGenoeselanguage，athinItalianmingledwithalittleArabic，morePortuguese，andmuchFrench。IwasregretfulatleavingtheelasticTuscanspeech，canorousinitsvowelssetinemphaticL’SandM’Sandthevigoroussoftspringofthedoubleconsonants。ButasthetrainarriveditsnoisesweredrownedbyavoicedeclaiminginthetongueIwasnottohearagainformonths——
goodItalian。Thevoicewassoloudthatonelookedfortheaudience：Whoseearswasitseekingtoreachbytheviolencedonetoeverysyllable，andwhosefeelingswouldittouchbyitsinsincerity？Thetoneswereinsincere，buttherewaspassionbehindthem；andmostoftenpassionactsitsowntruecharacterpoorly，andconsciouslyenoughtomakegoodjudgesthinkitamerecounterfeit。
Hamlet，beingalittlemad，feignedmadness。ItiswhenIamangrythatIpretendtobeangry，soastopresentthetruthinanobviousandintelligibleform。Thusevenbeforethewordsweredistinguishableitwasmanifestthattheywerespokenbyamaninserioustroublewhohadfalseideasastowhatisconvincinginelocution。
Whenthevoicebecameaudiblyarticulate，itprovedtobeshoutingblasphemiesfromthebroadchestofamiddle-agedman——anItalianofthetypethatgrowsstoutandwearswhiskers。ThemanwasinBOURGEOISdress，andhestoodwithhishatoffinfrontofthesmallstationbuilding，shakinghisthickfistatthesky。Noonewasontheplatformwithhimexcepttherailwayofficials，whoseemedindoubtastotheirdutiesinthematter，andtwowomen。Ofoneofthesetherewasnothingtoremarkexceptherdistress。Sheweptasshestoodatthedoorofthewaiting-room。Likethesecondwoman，sheworethedressoftheshopkeepingclassthroughoutEurope，withthelocalblacklaceveilinplaceofabonnetoverherhair。Itisofthesecondwoman——Ounfortunatecreature！——thatthisrecordismade——arecordwithoutsequel，withoutconsequence；butthereisnothingtobedoneinherregardexceptsotorememberher。AndthusmuchIthinkIoweafterhavinglooked，fromthemidstofthenegativehappinessthatisgiventosomanyforaspaceofyears，atsomeminutesofherdespair。Shewashangingontheman’sarminherentreatiesthathewouldstopthedramahewasenacting。Shehadweptsohardthatherfacewasdisfigured。Acrosshernosewasthedarkpurplethatcomeswithoverpoweringfear。HaydonsawitonthefaceofawomanwhosechildhadjustbeenrunoverinaLondonstreet。IrememberedthenoteinhisjournalasthewomanatViaReggio，inherintolerablehour，turnedherheadmyway，hersobsliftingit。Shewasafraidthatthemanwouldthrowhimselfunderthetrain。Shewasafraidthathewouldbedamnedforhisblasphemies；andastothisherfearwasmortalfear。Itwashorrible，too，thatshewashumpbackedandadwarf。
Notuntilthetraindrewawayfromthestationdidwelosetheclamour。Noonehadtriedtosilencethemanortosoothethewoman’shorror。Buthasanyonewhosawitforgottenherface？Tomefortherestofthedayitwasasensibleratherthanamerelymentalimage。Constantlyaredblurrosebeforemyeyesforabackground，andagainstitappearedthedwarf’shead，liftedwithsobs，undertheprovincialblacklaceveil。Andatnightwhatemphasisitgainedontheboundariesofsleep！Closetomyhoteltherewasarooflesstheatrecrammedwithpeople，wheretheyweregivingOffenbach。TheoperasofOffenbachstillexistinItaly，andthelittletownwasplacardedwithannouncementsofLaBellaElena。
Thepeculiarvulgarrhythmofthemusicjiggedaudiblythroughhalfthehotnight，andtheclappingofthetown’s-folkfilledallitspauses。Butthepersistentnoisedidbutaccompany，forme，thepersistentvisionofthosethreefiguresattheViaReggiostationintheprofoundsunshineoftheday。
POCKETVOCABULARIES
Aserviceablesubstituteforstyleinliteraturehasbeenfoundinsuchacollectionoflanguagereadyforuseasmaybelikenedtoaportablevocabulary。Itissuitedtothemannersofadaythathasproducedsalad-dressinginbottles，andmanyotherdevicesforthesavingofprocesses。Fillmesuchawalletfullof’graphic’
things，of’quaint’thingsand’weird，’of’crisp’or’sturdy’
Anglo-Saxon，ofthematerialfor’word-painting’（isnotthatthewayofit？），anditwillservetheturn。EspeciallydidtheTeutonicfuryfillfullthesecommonlittlehoardsoflanguage。Itseemed，doubtless，totheprofessoroftheNewLiteraturethatifanythingcouldconvincehimofhisownsuccessitmustbetheenergyofhisTeutonismsandhisavoidanceoflanguidLatinderivatives，fitonlyforthepedantsoftheeighteenthcentury。Literaturedoubtlessismadeofwords。Whatthenisneedful，heseemstoask，besidesaknackofbeautifulwords？Unluckilyforhim，hehasachieved，notstyle，butslang。Unluckilyforhim，wordsarenotstyle，phrasesarenotstyle。’Themanisstyle。’OgoodFrenchlanguage，cunningandgood，thatletsmereadthesentenceinobverseorconverseasIwill！AndIreaditasdeclaringthatthewholeman，theverywholeofhim，ishisstyle。Theliteratureofamanoflettersworthythenameisrootedinallhisqualities，withlittlefibresrunninginvisiblyintothesmallestqualitieshehas。
Hewhoisnotamanofletters，simplyisnotone；itisnottooaudaciousaparadoxtoaffirmthatdoingwillnotavailhimwhofailsinbeing。’Layyourdeadlydoingdown，’sangoncesomeoldhymnknowntoCalvinists。Certainpoets，acertaintimeago，ransackedthelanguageforwordsfulloflifeandbeauty，madeavocabularyofthem，andoutofwantonnesswrotethemtodeath。Tochangesomewhatthesimile，theyscentedoutaword——anearlyishword，bypreference——ranittoearth，unearthedit，dugitout，andkilledit。Andthentheirfollowersbaggedit。Theverywordthatlives，’neweverymorning，’miraculouslynew，intheliteratureofamanofletters，theykilledandputintotheirbag。And，inlikemanner，theemotionthatshouldhavecausedthewordisdeadforthose，andforthoseonly，whoabuseitsexpression。Forthemakerofaportablevocabularyisnotcontenttoturnhiswordsupthere：
heturnsuphisfeelingsalso，alphabeticallyorotherwise。
WonderfulhowmuchsensibilityisathandinsuchroundwordsastheNewLiteratureloves。Doyouwantagenerousemotion？Pullforththelittlelanguage。Findoutmoonshine，findoutmoonshine！
Take，asaninstance，Mr。Swinburne’s’hell。’Thereis，Ifear，nodoubtwhateverthatMr。Swinburnehasputhis’hell’intoavocabulary，withtheinevitableconsequencestotheword。Andwhentheminormenofhisschoolhaveoccasionfora’hell’（whichmayverywellhappentoanyyoungmanpractisingauthorship），ImustnotbeaccusedofphantasyifIsaythattheyputtheirhandsintoMr。
Swinburne’svocabularyandpickit。Thesevocabulariesaremadeoutofvigorousandbluntlanguage。’Whathempenhomespunshaveweswaggeringhere？’Alas，theyarehomespunsfromthefactory，machine-madeinuncostlyquantities。Obviously，powerneedstomakeuseofnosuchstorage。Thepropertyofpoweristousephrases，whetherstrangeorfamiliar，asthoughitcreatedthem。Butevenmorethanlackofpowerislackofhumourthecauseofalltheranknessandthestaleness，ofalltheAnglo-Saxonofcommerce，ofalltheweary’quaintness’——thatquaintnessofwhichoneismovedtoexclaimwithCassio：’Hithercomesthebauble！’Lackofasenseofhumourbetraysamanintothatperpetualtoo-muchwherebyhetriestomakeamendsforacurrencydebased。Nomorethananyothercanawittywriterdispensewithasenseofhumour。Inhismomentsofsentimentthelackisdistressing；inhismomentsofwititisatleastperceptible。Asenseofhumourcannotbealwayspresent，itmaybeurged。Why，no；itisthelackofitthatis——importunate。
Otherabsences，suchastheabsenceofpassion，theabsenceofdelicacy，are，ifgrievousnegatives，stillmerenegatives。Thesequalitiesmayormaynotbethereatcall，readyforasummons；wearenotobligedtoknow；wearenotmomentarilyaware，unlesstheyoughttobeinaction，whethertheiractionispossible。Butwantofpowerandwantofasenseoftheridiculous：thesearelackswherefromthereisnoescaping，deficienciesthatareall-
influential，defectsthatassertthemselves，vacanciesthatproclaimthemselves，absencesfromthepresencewhereofthereisnoflying；
whatotherparadoxescanIadventure？Withoutpower——nostyle。
Withoutapossiblehumour，——nostyle。Theweaklinghasnoconfidenceinhimselftokeephimfromgraspingatwordsthathefanciesholdwithinthemthetruepassionsoftherace，readyfortheusesofhisegoism。Andwithasenseofhumouramanwillnotstealfromashelftheprecioustreasureofthelanguageandputitinhispocket。
PATHOS
Afugitivewriterwrotebutlatelyonthefugitivepageofaminormagazine：’Forourpart，thedrunkentinker[ChristopherSly]isthemostrealpersonageofthepiece，andnotwithoutsomehintsofthepathosthatisworkedoutmorefully，thoughbydifferentways，inBottomandMalvolio。’Hasitindeedcometothis？HavetheZeitgeistandtheWeltschmerzandtheotherthingscomparedtowhich’lespleen’wasgay，donesomuchforus？Istheretobenolaughterleftinliteraturefreefromthepreoccupationofashamreal-life？Soitwouldseem。Evenwhatthegreatmasterhasnotshownusinhiswork，thatyourcriticconvincedofpathosisresolvedtoseeinit。Bythepenetrationofhisintrusivesympathyhewillcomeatit。ItisoflittleusenowtoexplainSnugthejoinertotheaudience：why，itispreciselySnugwhostirstheiremotionssopainfully。Notthelion；theycanseethroughthat：
buttheSnugwithin，thehumanSnug。AndMasterShallowhastheWeltschmerzinthatlatentformwhichisthemoreappealing；anddiscouragingquestionsariseastotheendofoldDouble；andArganinhisnightcapisthetragicfigureofMonomania；andhumannatureshuddersatthepetrifactionoftheintellectofMr。F。’saunt。Etpatati，etpatata。
Itmaybeonlytootruethattheactualworldis’withpathosdelicatelyedged。’ForMalvoliolivingweshouldhavehadlivingsympathies：somuchaspiration，soill-educatedaloveofrefinement；sounarmedacredulity，noblestofweaknesses，betrayedforthelaughterofachambermaid。ByanactualBottomtheWeaverourpitymightbereachedforthesakeofhissingleself-reliance，hisfancyandresourcecondemnedtoburlesqueandignominybytheniggarddoomofcircumstance。Butisnotlifeonethingandisnotartanother？Isitnottheprivilegeofliteraturetomakeselectionandtotreatthingssingly，withouttheafter-thoughtsoflife，withoutthetroublouscompletenessofthemany-sidedworld？
IsnotShakespeare，forthisreason，ourrefuge？Fortunatelyunrealishisworldwhenhewillhaveitso；andtherewemaylaughwithopenheartatagrotesqueman：withoutmisgiving，withoutremorse，withoutreluctance。IfgreatcreatingNaturehasnotassumedforherselfshehasassuredlysecuredtothegreatcreatingpoettherightofpartiality，oflimitation，ofsettingasideandleavingout，oftakingoneimpressionandoneemotionassufficientfortheday。ArtandNatureareseparate，complementary；inrelation，notinconfusion，withoneanother。Andallthisofficiousclevernessinseeingroundthecorner，asitwere，ofathingpresentedbyliteraryartintheflat——（theborrowingofsimilesfromotherartsisofeviltendency；butletthispass，asitisapt）——isbutanothersignofthegenerallackofasenseoftheseparationbetweenNatureandthesentientmirrorinthemind。Insomeofhispersons，indeed，ShakespeareisasNatureherself，all-inclusive；
butinothers——andchieflyincomedy——heispartial，heisimpressionary，herefusestoknowwhatisnottohispurpose，heisanartist。Andinthatgay，wilfulworlditisthathegivesus——orusedtogiveus，foreventheworldisobsolete——thepleasureofOUBLIANCE。
NowthisfugitivewriterhasnotbeensoswiftbutthatIhavecaughthimacloutashewent。Yethewilldoitagain；andthoselike-mindedwillassuredlyalsocontinuetoshowhowmuchmorecompletelyhuman，howmuchmoresensitive，howmuchmoreresponsible，istheartofthecriticthantheworldhaseverdreamttillnow。And，superiorinsomuch，theywillstillcounttheirsuperiorweepingasthechoicestoftheirgifts。AndLepidus，wholovestowonder，canhavenobettersubjectforhisadmirationthanthepathosofthetime。Itisbrednowofyourmudbytheoperationofyoursun。’Tisastrangeserpent；andthetearsofitarewet。
THEPOINTOFHONOUR
NotwithoutsignificanceistheSpanishnationalityofVelasquez。
InSpainwasthePointputuponHonour；andVelasquezwasthefirstImpressionist。AsanImpressionistheclaimed，implicityifnotexplicity，awholeseriesofdelicatetrustsinhistrustworthiness；
hemadeanappealtotheconfidenceofhispeers；hereliedonhisowncandourandaskedthatthecandidshouldrelyuponhim；hekeptthechastityofartwhenothermasterswerecontentwithitshonesty，andwhenotherssavedartisticconsciencehesafeguardedthepointofhonour。Contemporarymastersmoreorlessprovedtheirposition，andconvincedtheworldbysomethingofdemonstration；thefirstImpressionistsimplyaskedthathiswordshouldbeaccepted。
Tothosewhowouldnottakehiswordheoffersnobond。Tothosewhowill，hegrantsthedistinctionofashareinhisresponsibility。Somewhatunrefined，incomparisontohisloftyandsimpleclaimtobebelievedonasuggestion，isthecommonerpainter’sproductionofhiscredentials，hisappealtothesanctionsofordinaryexperience，hisself-defenceagainstthesuspicionofmakingirresponsiblemysteriesinart。’Youcanseeforyourself，’
thelessermanseemstosaytotheworld，’thusthingsare，andI
rendertheminsuchmannerthatyourintelligencemaybesatisfied。’
Thisisanappealtoaverageexperience——atthebestthecumulativeexperience；andwiththeaverage，orwiththesum，artcannotdealwithoutderogation。TheSpaniardseemstosay：’Thusthingsareinmypictorialsight。Trustme，Iapprehendthemso。’Wearenotexcludedfromhiscounsels，butweareaskedtoattributeacertainauthoritytohim，masterofthecraftasheis，masterofthatartofseeingpictoriallywhichisthebeginningandnotfarfromtheend——notfarshortofthewhole——oftheartofpainting。SolittleindeedareweshutoutfromthemysteriesofagreatImpressionist’simpressionthatVelasquezrequiresustobeinsomedegreehiscolleagues。Thusmayeachofustowhomheappealstakepraisefromthepraised：Heleavesmyeducatedeyestodoalittleofthework。