ADIALOGUE。Persons：CyrilandVivian。Scene：theLibraryofacountryhouseinNottinghamshire。
CYRIL（cominginthroughtheopenwindowfromtheterrace）。MydearVivian，don’tcoopyourselfupalldayinthelibrary。Itisaperfectlylovelyafternoon。Theairisexquisite。Thereisamistuponthewoods，likethepurplebloomuponaplum。LetusgoandlieonthegrassandsmokecigarettesandenjoyNature。
VIVIAN。EnjoyNature！IamgladtosaythatIhaveentirelylostthatfaculty。PeopletellusthatArtmakesusloveNaturemorethanwelovedherbefore；thatitrevealshersecretstous；andthatafteracarefulstudyofCorotandConstableweseethingsinherthathadescapedourobservation。MyownexperienceisthatthemorewestudyArt，thelesswecareforNature。WhatArtreallyrevealstousisNature’slackofdesign，hercuriouscrudities，herextraordinarymonotony，herabsolutelyunfinishedcondition。Naturehasgoodintentions，ofcourse，but，asAristotleoncesaid，shecannotcarrythemout。WhenIlookatalandscapeIcannothelpseeingallitsdefects。Itisfortunateforus，however，thatNatureissoimperfect，asotherwiseweshouldhavenoartatall。Artisourspiritedprotest，ourgallantattempttoteachNatureherproperplace。AsfortheinfinitevarietyofNature，thatisapuremyth。ItisnottobefoundinNatureherself。Itresidesintheimagination，orfancy，orcultivatedblindnessofthemanwholooksather。
CYRIL。Well，youneednotlookatthelandscape。Youcanlieonthegrassandsmokeandtalk。
VIVIAN。ButNatureissouncomfortable。Grassishardandlumpyanddamp，andfullofdreadfulblackinsects。Why，evenMorris’spoorestworkmancouldmakeyouamorecomfortableseatthanthewholeofNaturecan。Naturepalesbeforethefurnitureof’thestreetwhichfromOxfordhasborroweditsname，’asthepoetyoulovesomuchoncevilelyphrasedit。Idon’tcomplain。IfNaturehadbeencomfortable，mankindwouldneverhaveinventedarchitecture，andIpreferhousestotheopenair。Inahouseweallfeeloftheproperproportions。Everythingissubordinatedtous，fashionedforouruseandourpleasure。Egotismitself，whichissonecessarytoapropersenseofhumandignity，isentirelytheresultofindoorlife。Outofdoorsonebecomesabstractandimpersonal。One’sindividualityabsolutelyleavesone。AndthenNatureissoindifferent，sounappreciative。WheneverIamwalkingintheparkhere，IalwaysfeelthatIamnomoretoherthanthecattlethatbrowseontheslope，ortheburdockthatbloomsintheditch。NothingismoreevidentthanthatNaturehatesMind。
Thinkingisthemostunhealthythingintheworld，andpeopledieofitjustastheydieofanyotherdisease。Fortunately，inEnglandatanyrate，thoughtisnotcatching。Oursplendidphysiqueasapeopleisentirelyduetoournationalstupidity。I
onlyhopeweshallbeabletokeepthisgreathistoricbulwarkofourhappinessformanyyearstocome；butIamafraidthatwearebeginningtobeover-educated；atleasteverybodywhoisincapableoflearninghastakentoteaching-thatisreallywhatourenthusiasmforeducationhascometo。Inthemeantime，youhadbettergobacktoyourwearisomeuncomfortableNature，andleavemetocorrectmyproofs。
CYRIL。Writinganarticle！Thatisnotveryconsistentafterwhatyouhavejustsaid。
VIVIAN。Whowantstobeconsistent？Thedullardandthedoctrinaire，thetediouspeoplewhocarryouttheirprinciplestothebitterendofaction，totheREDUCTIOADABSURDUMofpractice。
NotI。LikeEmerson，Iwriteoverthedoorofmylibrarytheword’Whim。’Besides，myarticleisreallyamostsalutaryandvaluablewarning。Ifitisattendedto，theremaybeanewRenaissanceofArt。
CYRIL。Whatisthesubject？
VIVIAN。Iintendtocallit’TheDecayofLying：AProtest。’
CYRIL。Lying！Ishouldhavethoughtthatourpoliticianskeptupthathabit。
VIVIAN。Iassureyouthattheydonot。Theyneverrisebeyondthelevelofmisrepresentation，andactuallycondescendtoprove，todiscuss，toargue。Howdifferentfromthetemperofthetrueliar，withhisfrank，fearlessstatements，hissuperbirresponsibility，hishealthy，naturaldisdainofproofofanykind！Afterall，whatisafinelie？Simplythatwhichisitsownevidence。Ifamanissufficientlyunimaginativetoproduceevidenceinsupportofalie，hemightjustaswellspeakthetruthatonce。No，thepoliticianswon’tdo。Somethingmay，perhaps，beurgedonbehalfoftheBar。
ThemantleoftheSophisthasfallenonitsmembers。Theirfeignedardoursandunrealrhetoricaredelightful。Theycanmaketheworseappearthebettercause，asthoughtheywerefreshfromLeontineschools，andhavebeenknowntowrestfromreluctantjuriestriumphantverdictsofacquittalfortheirclients，evenwhenthoseclients，asoftenhappens，wereclearlyandunmistakeablyinnocent。Buttheyarebriefedbytheprosaic，andarenotashamedtoappealtoprecedent。Inspiteoftheirendeavours，thetruthwillout。Newspapers，even，havedegenerated。Theymaynowbeabsolutelyreliedupon。Onefeelsitasonewadesthroughtheircolumns。Itisalwaystheunreadablethatoccurs。Iamafraidthatthereisnotmuchtobesaidinfavourofeitherthelawyerorthejournalist。Besides，whatIampleadingforisLyinginart。ShallIreadyouwhatIhavewritten？Itmightdoyouagreatdealofgood。
CYRIL。Certainly，ifyougivemeacigarette。Thanks。Bytheway，whatmagazinedoyouintenditfor？
VIVIAN。FortheRETROSPECTIVEREVIEW。IthinkItoldyouthattheelecthadrevivedit。
CYRIL。Whomdoyoumeanby’theelect’？
VIVIAN。Oh，TheTiredHedonists，ofcourse。ItisaclubtowhichIbelong。Wearesupposedtowearfadedrosesinourbutton-holeswhenwemeet，andtohaveasortofcultforDomitian。Iamafraidyouarenoteligible。Youaretoofondofsimplepleasures。
CYRIL。Ishouldbeblack-balledonthegroundofanimalspirits，I
suppose？
VIVIAN。Probably。Besides，youarealittletooold。Wedon’tadmitanybodywhoisoftheusualage。
CYRIL。Well，Ishouldfancyyouareallagooddealboredwitheachother。
VIVIAN。Weare。Thisisoneoftheobjectsoftheclub。Now，ifyoupromisenottointerrupttoooften，Iwillreadyoumyarticle。
CYRIL。Youwillfindmeallattention。
VIVIAN（readinginaveryclear，musicalvoice）。THEDECAYOF
LYING：APROTEST-OneofthechiefcausesthatcanbeassignedforthecuriouslycommonplacecharacterofmostoftheliteratureofourageisundoubtedlythedecayofLyingasanart，ascience，andasocialpleasure。Theancienthistoriansgaveusdelightfulfictionintheformoffact；themodemnovelistpresentsuswithdullfactsundertheguiseoffiction。TheBlue-Bookisrapidlybecominghisidealbothformethodandmanner。HehashistediousDOCUMENTHUMAIN，hismiserablelittleCOINDELACREATION，intowhichhepeerswithhismicroscope。HeistobefoundattheLibrairieNationale，orattheBritishMuseum，shamelesslyreadinguphissubject。Hehasnoteventhecourageofotherpeople’sideas，butinsistsongoingdirectlytolifeforeverything，andultimately，betweenencyclopaediasandpersonalexperience，hecomestotheground，havingdrawnhistypesfromthefamilycircleorfromtheweeklywasherwoman，andhavingacquiredanamountofusefulinformationfromwhichnever，eveninhismostmeditativemoments，canhethoroughlyfreehimself。
’Thelosethatresultstoliteratureingeneralfromthisfalseidealofourtimecanhardlybeoverestimated。Peoplehaveacarelesswayoftalkingabouta\"bornliar，\"justastheytalkabouta\"bornpoet。\"Butinbothcasestheyarewrong。Lyingandpoetryarearts-arts，asPintosaw，notunconnectedwitheachother-andtheyrequirethemostcarefulstudy，themostdisinteresteddevotion。Indeed，theyhavetheirtechnique，justasthemorematerialartsofpaintingandsculpturehave，theirsubtlesecretsofformandcolour，theircraft-mysteries，theirdeliberateartisticmethods。Asoneknowsthepoetbyhisfinemusic，soonecanrecognisetheliarbyhisrichrhythmicutterance，andinneithercasewillthecasualinspirationofthemomentsuffice。
Here，aselsewhere，practicemust，precedeperfection。Butinmoderndayswhilethefashionofwritingpoetryhasbecomefartoocommon，andshould，ifpossible，bediscouraged，thefashionoflyinghasalmostfallenintodisrepute。Manyayoungmanstartsinlifewithanaturalgiftforexaggerationwhich，ifnurturedincongenialandsympatheticsurroundings，orbytheimitationofthebestmodels，mightgrowintosomethingreallygreatandwonderful。
But，asarule，hecomestonothing。Heeitherfallsintocarelesshabitsofaccuracy-’
CYRIL。Mydearfellow！
VIVIAN。Pleasedon’tinterruptinthemiddleofasentence。’Heeitherfallsintocarelesshabitsofaccuracy，ortakestofrequentingthesocietyoftheagedandthewell-informed。Boththingsareequallyfataltohisimagination，asindeedtheywouldbefataltotheimaginationofanybody，andinashorttimehedevelopsamorbidandunhealthyfacultyoftruth-telling，beginstoverifyallstatementsmadeinhispresence，hasnohesitationincontradictingpeoplewhoaremuchyoungerthanhimself，andoftenendsbywritingnovelswhicharesolifelikethatnoonecanpossiblybelieveintheirprobability。Thisisnoisolatedinstancethatwearegiving。Itissimplyoneexampleoutofmany；
andifsomethingcannotbedonetocheck，oratleasttomodify，ourmonstrousworshipoffacts，Artwillbecomesterile，andbeautywillpassawayfromtheland。
’EvenMr。RobertLouisStevenson，thatdelightfulmasterofdelicateandfancifulprose，istaintedwiththismodernvice，forweknowpositivelynoothernameforit。Thereissuchathingasrobbingastoryofitsrealitybytryingtomakeittootrue，andTHEBLACKARROWissoinartisticasnottocontainasingleanachronismtoboastof，whilethetransformationofDr。JekyllreadsdangerouslylikeanexperimentoutoftheLANCET。AsforMr。
RiderHaggard，whoreallyhas，orhadonce，themakingsofaperfectlymagnificentliar，heisnowsoafraidofbeingsuspectedofgeniusthatwhenhedoestellusanythingmarvellous，hefeelsboundtoinventapersonalreminiscence，andtoputitintoafootnoteasakindofcowardlycorroboration。Norareourothernovelistsmuchbetter。Mr。HenryJameswritesfictionasifitwereapainfulduty，andwastesuponmeanmotivesandimperceptible’pointsofview\"hisneatliterarystyle，hisfelicitousphrases，hisswiftandcausticsatire。Mr。HallCaine，itistrue，aimsatthegrandiose，butthenhewritesatthetopofhisvoice。Heissoloudthatonecannotbearwhathesays。Mr。JamesPaynisanadeptintheartofconcealingwhatisnotworthfinding。Hehuntsdowntheobviouswiththeenthusiasmofashort-sighteddetective。
Asoneturnsoverthepages，thesuspenseoftheauthorbecomesalmostunbearable。ThehorsesofMr。WilliamBlack’sphaetondonotsoartowardsthesun。Theymerelyfrightentheskyateveningintoviolentchromolithographiceffects。Onseeingthemapproach，thepeasantstakerefugeindialect。Mrs。Oliphantprattlespleasantlyaboutcurates，lawn-tennisparties，domesticity，andotherwearisomethings。Mr。MarionCrawfordhasimmolatedhimselfuponthealtaroflocalcolour。HeisliketheladyintheFrenchcomedywhokeepstalkingabout\"lebeaucield’Italie。\"Besides，hehasfallenintothebadhabitofutteringmoralplatitudes。Heisalwaystellingusthattobegoodistobegood，andthattobebadistobewicked。Attimesheisalmostedifying。ROBERT
ELSMEREisofcourseamasterpiece-amasterpieceofthe\"genreennuyeux，\"theoneformofliteraturethattheEnglishpeopleseemsthoroughlytoenjoy。AthoughtfulyoungfriendofoursoncetoldusthatitremindedhimofthesortofconversationthatgoesonatameatteainthehouseofaseriousNonconformistfamily，andwecanquitebelieveit。IndeeditisonlyinEnglandthatsuchabookcouldbeproduced。Englandisthehomeoflostideas。AsforthatgreatanddailyincreasingschoolofnovelistsforwhomthesunalwaysrisesintheEast-End，theonlythingthatcanbesaidaboutthemisthattheyfindlifecrude，andleaveitraw。
’InFrance，thoughnothingsodeliberatelytediousasROBERT
ELSMEREhasbeenproduced，thingsarenotmuchbetter。M。GuydeMaupassant，withhiskeenmordantironyandhishardvividstyle，stripslifeofthefewpoorragsthatstillcoverher，andshowsusfoulsoreandfesteringwound。Hewritesluridlittletragediesinwhicheverybodyisridiculous；bittercomediesatwhichonecannotlaughforverytears。M。Zola，truetotheloftyprinciplethathelaysdowninoneofhispronunciamientosonliterature，\"L’hommedegenien’ajamaisd’esprit，\"isdeterminedtoshowthat，ifhehasnotgotgenius，hecanatleastbedull。Andhowwellhesucceeds！
Heisnotwithoutpower。Indeedattimes，asinGERMINAL，thereissomethingalmostepicinhiswork。Buthisworkisentirelywrongfrombeginningtoend，andwrongnotonthegroundofmorals，butonthegroundofart。Fromanyethicalstandpointitisjustwhatitshouldbe。Theauthorisperfectlytruthful，anddescribesthingsexactlyastheyhappen。Whatmorecananymoralistdesire？
WehavenosympathyatallwiththemoralindignationofourtimeagainstM。Zola。ItissimplytheindignationofTartuffeonbeingexposed。Butfromthestandpointofart，whatcanbesaidinfavouroftheauthorofL’ASSOMMOIR，NANAandPOT-BOUILLE？
Nothing。Mr。RuskinoncedescribedthecharactersinGeorgeEliot’snovelsasbeinglikethesweepingsofaPentonvilleomnibus，butM。Zola’scharactersaremuchworse。Theyhavetheirdrearyvices，andtheirdreariervirtues。Therecordoftheirlivesisabsolutelywithoutinterest。Whocareswhathappenstothem？Inliteraturewerequiredistinction，charm，beautyandimaginativepower。Wedon’twanttobeharrowedanddisgustedwithanaccountofthedoingsofthelowerorders。M。Daudetisbetter。
Hehaswit，alighttouchandanamusingstyle。Buthehaslatelycommittedliterarysuicide。NobodycanpossiblycareforDelobellewithhis\"Ilfautlutterpourl’art，\"orforValmajourwithhiseternalrefrainaboutthenightingale，orforthepoetinJACKwithhis\"motscruels，\"nowthatwehavelearnedfromVINGTANSDEMA
VIELITTERAIREthatthesecharactersweretakendirectlyfromlife。
Toustheyseemtohavesuddenlylostalltheirvitality，allthefewqualitiestheyeverpossessed。Theonlyrealpeoplearethepeoplewhoneverexisted，andifanovelistisbaseenoughtogotolifeforhispersonagesheshouldatleastpretendthattheyarecreations，andnotboastofthemascopies。Thejustificationofacharacterinanovelisnotthatotherpersonsarewhattheyare，butthattheauthoriswhatheis。Otherwisethenovelisnotaworkofart。AsforM。PaulBourget，themasteroftheROMAN
PSYCHOLOGIQUE，hecommitstheerrorofimaginingthatthemenandwomenofmodernlifearecapableofbeinginfinitelyanalysedforaninnumerableseriesofchapters。Inpointoffactwhatisinterestingaboutpeopleingoodsociety-andM。BourgetrarelymovesoutoftheFaubourgSt。Germain，excepttocometoLondon，-
isthemaskthateachoneofthemwears，nottherealitythatliesbehindthemask。Itisahumiliatingconfession，butweareallofusmadeoutofthesamestuff。InFalstaffthereissomethingofHamlet，inHamletthereisnotalittleofFalstaff。Thefatknighthashismoodsofmelancholy，andtheyoungprincehismomentsofcoarsehumour。Wherewedifferfromeachotherispurelyinaccidentals：indress，manner，toneofvoice，religiousopinions，personalappearance，tricksofhabitandthelike。Themoreoneanalysespeople，themoreallreasonsforanalysisdisappear。Soonerorlateronecomestothatdreadfuluniversalthingcalledhumannature。Indeed，asanyonewhohaseverworkedamongthepoorknowsonlytoowell，thebrotherhoodofmanisnomerepoet’sdream，itisamostdepressingandhumiliatingreality；
andifawriterinsistsuponanalysingtheupperclasses，hemightjustaswellwriteofmatch-girlsandcostermongersatonce。’
However，mydearCyril，Iwillnotdetainyouanyfurtherjusthere。Iquiteadmitthatmodernnovelshavemanygoodpoints。AllIinsistonisthat，asaclass，theyarequiteunreadable。
CYRIL。Thatiscertainlyaverygravequalification，butImustsaythatIthinkyouareratherunfairinsomeofyourstrictures。
IlikeTHEDEEMSTER，andTHEDAUGHTEROFHETH，andLEDISCIPLE，andMR。ISAACS，andasforROBERTELSMERE，Iamquitedevotedtoit。
NotthatIcanlookuponitasaseriouswork。AsastatementoftheproblemsthatconfronttheearnestChristianitisridiculousandantiquated。ItissimplyArnold’sLITERATUREANDDOGMAwiththeliteratureleftout。ItisasmuchbehindtheageasPaley’sEVIDENCES，orColenso’smethodofBiblicalexegesis。Norcouldanythingbelessimpressivethantheunfortunateherogravelyheraldingadawnthatroselongago，andsocompletelymissingitstruesignificancethatheproposestocarryonthebusinessoftheoldfirmunderthenewname。Ontheotherhand，itcontainsseveralclevercaricatures，andaheapofdelightfulquotations，andGreen’sphilosophyverypleasantlysugarsthesomewhatbitterpilloftheauthor’sfiction。Ialsocannothelpexpressingmysurprisethatyouhavesaidnothingaboutthetwonovelistswhomyouarealwaysreading，BalzacandGeorgeMeredith。Surelytheyarerealists，bothofthem？
VIVIAN。Ah！Meredith！Whocandefinehim？Hisstyleischaosilluminedbyflashesoflightning。Asawriterhehasmasteredeverythingexceptlanguage：asanovelisthecandoeverything，excepttellastory：asanartistheiseverythingexceptarticulate。SomebodyinShakespeare-Touchstone，Ithink-talksaboutamanwhoisalwaysbreakinghisshinsoverhisownwit，anditseemstomethatthismightserveasthebasisforacriticismofMeredith’smethod。Butwhateverheis，heisnotarealist。OrratherIwouldsaythatheisachildofrealismwhoisnotonspeakingtermswithhisfather。Bydeliberatechoicehehasmadehimselfaromanticist。HehasrefusedtobowthekneetoBaal，andafterall，eveniftheman’sfinespiritdidnotrevoltagainstthenoisyassertionsofrealism，hisstylewouldbequitesufficientofitselftokeeplifeatarespectfuldistance。Byitsmeanshehasplantedroundhisgardenahedgefullofthorns，andredwithwonderfulroses。AsforBalzac，hewasamostremarkablecombinationoftheartistictemperamentwiththescientificspirit。
Thelatterhebequeathedtohisdisciples。Theformerwasentirelyhisown。ThedifferencebetweensuchabookasM。Zola’sL’ASSOMMOIRandBalzac’sILLUSIONSPERDUESisthedifferencebetweenunimaginativerealismandimaginativereality。’AllBalzac’scharacters；’saidBaudelaire，’aregiftedwiththesameardouroflifethatanimatedhimself。Allhisfictionsareasdeeplycolouredasdreams。Eachmindisaweaponloadedtothemuzzlewithwill。Theveryscullionshavegenius。’AsteadycourseofBalzacreducesourlivingfriendstoshadows，andouracquaintancestotheshadowsofshades。Hischaractershaveakindofferventfiery-colouredexistence。Theydominateus，anddefyscepticism。OneofthegreatesttragediesofmylifeisthedeathofLuciendeRubempre。ItisagrieffromwhichIhaveneverbeenablecompletelytoridmyself。Ithauntsmeinmymomentsofpleasure。IrememberitwhenIlaugh。ButBalzacisnomorearealistthanHolbeinwas。Hecreatedlife，hedidnotcopyit。I
admit，however，thathesetfartoohighavalueonmodernityofform，andthat，consequently，thereisnobookofhisthat，asanartisticmasterpiece，canrankwithSALAMMBOorESMOND，orTHE
CLOISTERANDTHEHEARTH，ortheVICOMTEDEBRAGELONNE。
CYRIL。Doyouobjecttomodernityofform，then？
VIVIAN。Yes。Itisahugepricetopayforaverypoorresult。
Puremodernityofformisalwayssomewhatvulgarising。Itcannothelpbeingso。Thepublicimaginethat，becausetheyareinterestedintheirimmediatesurroundings，Artshouldbeinterestedinthemalso，andshouldtakethemashersubject-
matter。ButthemerefactthattheyareinterestedinthesethingsmakesthemunsuitablesubjectsforArt。Theonlybeautifulthings，assomebodyoncesaid，arethethingsthatdonotconcernus。Aslongasathingisusefulornecessarytous，oraffectsusinanyway，eitherforpainorforpleasure，orappealsstronglytooursympathies，orisavitalpartoftheenvironmentinwhichwelive，itisoutsidethepropersphereofart。Toart’ssubject-matterweshouldbemoreorlessindifferent。Weshould，atanyrate，havenopreferences，noprejudices，nopartisanfeelingofanykind。ItisexactlybecauseHecubaisnothingtousthathersorrowsaresuchanadmirablemotiveforatragedy。IdonotknowanythinginthewholehistoryofliteraturesadderthantheartisticcareerofCharlesReade。Hewroteonebeautifulbook，THECLOISTERANDTHE
HEARTH，abookasmuchaboveROMOLAasROMOLAisaboveDANIEL
DERONDA，andwastedtherestofhislifeinafoolishattempttobemodern，todrawpublicattentiontothestateofourconvictprisons，andthemanagementofourprivatelunaticasylums。
CharlesDickenswasdepressingenoughinallconsciencewhenhetriedtoarouseoursympathyforthevictimsofthepoor-lawadministration；butCharlesReade，anartist，ascholar，amanwithatruesenseofbeauty，ragingandroaringovertheabusesofcontemporarylifelikeacommonpamphleteerorasensationaljournalist，isreallyasightfortheangelstoweepover。Believeme，mydearCyril，modernityofformandmodernityofsubject-
matterareentirelyandabsolutelywrong。WehavemistakenthecommonliveryoftheageforthevestureoftheMuses，andspendourdaysinthesordidstreetsandhideoussuburbsofourvilecitieswhenweshouldbeoutonthehillsidewithApollo。
Certainlyweareadegradedrace，andhavesoldourbirthrightforamessoffacts。
CYRIL。Thereissomethinginwhatyousay，andthereisnodoubtthatwhateveramusementwemayfindinreadingapurelymodelnovel，wehaverarelyanyartisticpleasureinre-readingit。Andthisisperhapsthebestroughtestofwhatisliteratureandwhatisnot。Ifonecannotenjoyreadingabookoverandoveragain，thereisnousereadingitatall。ButwhatdoyousayaboutthereturntoLifeandNature？Thisisthepanaceathatisalwaysbeingrecommendedtous。
VIVIAN。IwillreadyouwhatIsayonthatsubject。Thepassagecomeslateroninthearticle，butImayaswellgiveittoyounow：-
’Thepopularcryofourtimeis\"LetusreturntoLifeandNature；
theywillrecreateArtforus，andsendtheredbloodcoursingthroughherveins；theywillshoeherfeetwithswiftnessandmakeherhandstrong。\"But，alas！wearemistakeninouramiableandwell-meaningefforts。Natureisalwaysbehindtheage。AndasforLife，sheisthesolventthatbreaksupArt，theenemythatlayswasteherhouse。’
CYRIL。WhatdoyoumeanbysayingthatNatureisalwaysbehindtheage？
VIVIAN。Well，perhapsthatisrathercryptic。WhatImeanisthis。IfwetakeNaturetomeannaturalsimpleinstinctasopposedtoself-consciousculture，theworkproducedunderthisinfluenceisalwaysold-fashioned，antiquated，andoutofdate。OnetouchofNaturemaymakethewholeworldkin，buttwotouchesofNaturewilldestroyanyworkofArt。If，ontheotherhand，weregardNatureasthecollectionofphenomenaexternaltoman，peopleonlydiscoverinherwhattheybringtoher。Shehasnosuggestionsofherown。Wordsworthwenttothelakes，buthewasneveralakepoet。Hefoundinstonesthesermonshehadalreadyhiddenthere。
Hewentmoralisingaboutthedistrict，buthisgoodworkwasproducedwhenhereturned，nottoNaturebuttopoetry。Poetrygavehim’Laodamia，’andthefinesonnets，andthegreatOde，suchasitis。Naturegavehim’MarthaRay’and’PeterBell，’andtheaddresstoMr。Wilkinson’sspade。
CYRIL。Ithinkthatviewmightbequestioned。Iamratherinclinedtobelievein’theimpulsefromavernalwood，’thoughofcoursetheartisticvalueofsuchanimpulsedependsentirelyonthekindoftemperamentthatreceivesit，sothatthereturntoNaturewouldcometomeansimplytheadvancetoagreatpersonality。Youwouldagreewiththat，Ifancy。However，proceedwithyourarticle。
VIVIAN（READING）。’Artbeginswithabstractdecoration，withpurelyimaginativeandpleasurableworkdealingwithwhatisunrealandnon-existent。Thisisthefirststage。ThenLifebecomesfascinatedwiththisnewwonder，andaskstobeadmittedintothecharmedcircle。Arttakeslifeaspartofherroughmaterial，recreatesit，andrefashionsitinfreshforms，isabsolutelyindifferenttofact，invents，imagines，dreams，andkeepsbetweenherselfandrealitytheimpenetrablebarrierofbeautifulstyle，ofdecorativeoridealtreatment。ThethirdstageiswhenLifegetstheupperhand，anddrivesArtoutintothewilderness。Thatisthetruedecadence，anditisfromthisthatwearenowsuffering。
’TakethecaseoftheEnglishdrama。AtfirstinthehandsofthemonksDramaticArtwasabstract，decorativeandmythological。ThensheenlistedLifeinherservice，andusingsomeoflife’sexternalforms，shecreatedanentirelynewraceofbeings，whosesorrowsweremoreterriblethananysorrowmanhaseverfelt，whosejoyswerekeenerthanlover’sjoys，whohadtherageoftheTitansandthecalmofthegods，whohadmonstrousandmarvelloussins，monstrousandmarvellousvirtues。Tothemshegavealanguagedifferentfromthatofactualuse，alanguagefullofresonantmusicandsweetrhythm，madestatelybysolemncadence，ormadedelicatebyfancifulrhyme，jewelledwithwonderfulwords，andenrichedwithloftydiction。Sheclothedherchildreninstrangeraimentandgavethemmasks，andatherbiddingtheantiqueworldrosefromitsmarbletomb。AnewCaesarstalkedthroughthestreetsofrisenRome，andwithpurplesailandflute-ledoarsanotherCleopatrapasseduptherivertoAntioch。Oldmythandlegendanddreamtookshapeandsubstance。Historywasentirelyre-written，andtherewashardlyoneofthedramatistswhodidnotrecognisethattheobjectofArtisnotsimpletruthbutcomplexbeauty。Inthistheywereperfectlyright。Artitselfisreallyaformofexaggeration；andselection，whichistheveryspiritofart，isnothingmorethananintensifiedmodeofover-emphasis。
’ButLifesoonshatteredtheperfectionoftheform。EveninShakespearewecanseethebeginningoftheend。Itshowsitselfbythegradualbreaking-upoftheblank-verseinthelaterplays，bythepredominancegiventoprose，andbytheover-importanceassignedtocharacterisation。ThepassagesinShakespeare-andtheyaremany-wherethelanguageisuncouth，vulgar，exaggerated，fantastic，obsceneeven，areentirelyduetoLifecallingforanechoofherownvoice，andrejectingtheinterventionofbeautifulstyle，throughwhichaloneshouldlifebesufferedtofindexpression。Shakespeareisnotbyanymeansaflawlessartist。Heistoofondofgoingdirectlytolife，andborrowinglife’snaturalutterance。HeforgetsthatwhenArtsurrendersherimaginativemediumshesurrenderseverything。Goethesays，somewhere-
InderBeschrankungzeigtFsicherstderMeister，\"Itisinworkingwithinlimitsthatthemasterrevealshimself，\"
andthelimitation，theveryconditionofanyartisstyle。
However，weneednotlingeranylongeroverShakespeare’srealism。
THETEMPESTisthemostperfectofpalinodes。Allthatwedesiredtopointoutwas，thatthemagnificentworkoftheElizabethanandJacobeanartistscontainedwithinitselftheseedsofitsowndissolution，andthat，ifitdrewsomeofitsstrengthfromusinglifeasroughmaterial，itdrewallitsweaknessfromusinglifeasanartisticmethod。Astheinevitableresultofthissubstitutionofanimitativeforacreativemedium，thissurrenderofanimaginativeform，wehavethemodernEnglishmelodrama。Thecharactersintheseplaystalkonthestageexactlyastheywouldtalkoffit；theyhaveneitheraspirationsnoraspirates；theyaretakendirectlyfromlifeandreproduceitsvulgaritydowntothesmallestdetail；theypresentthegait，manner，costumeandaccentofrealpeople；theywouldpassunnoticedinathird-classrailwaycarriage。Andyethowwearisometheplaysare！Theydonotsucceedinproducingeventhatimpressionofrealityatwhichtheyaim，andwhichistheironlyreasonforexisting。Asamethod，realismisacompletefailure。
’Whatistrueaboutthedramaandthenovelisnolesstrueaboutthoseartsthatwecallthedecorativearts。ThewholehistoryoftheseartsinEuropeistherecordofthestrugglebetweenOrientalism，withitsfrankrejectionofimitation，itsloveofartisticconvention，itsdisliketotheactualrepresentationofanyobjectinNature，andourownimitativespirit。Wherevertheformerhasbeenparamount，asinByzantium，SicilyandSpain，byactualcontact，orintherestofEuropebytheinfluenceoftheCrusades，wehavehadbeautifulandimaginativeworkinwhichthevisiblethingsoflifearetransmutedintoartisticconventions，andthethingsthatLifehasnotareinventedandfashionedforherdelight。ButwhereverwehavereturnedtoLifeandNature，ourworkhasalwaysbecomevulgar，commonanduninteresting。Moderntapestry，withitsaerialeffects，itselaborateperspective，itsbroadexpansesofwastesky，itsfaithfulandlaboriousrealism，hasnobeautywhatsoever。ThepictorialglassofGermanyisabsolutelydetestable。WearebeginningtoweavepossiblecarpetsinEngland，butonlybecausewehavereturnedtothemethodandspiritoftheEast。Ourrugsandcarpetsoftwentyyearsago，withtheirsolemndepressingtruths，theirinaneworshipofNature，theirsordidreproductionsofvisibleobjects，havebecome，eventothePhilistine，asourceoflaughter。AculturedMahomedanonceremarkedtous，\"YouChristiansaresooccupiedinmisinterpretingthefourthcommandmentthatyouhaveneverthoughtofmakinganartisticapplicationofthesecond。\"Hewasperfectlyright，andthewholetruthofthematteristhis：TheproperschooltolearnartinisnotLifebutArt。’
Andnowletmereadyouapassagewhichseemstometosettlethequestionverycompletely。
’Itwasnotalwaysthus。Weneednotsayanythingaboutthepoets，forthey，withtheunfortunateexceptionofMr。Wordsworth，havebeenreallyfaithfultotheirhighmission，andareuniversallyrecognisedasbeingabsolutelyunreliable。ButintheworksofHerodotus，who，inspiteoftheshallowandungenerousattemptsofmodemscioliststoverifyhishistory，mayjustlybecalledthe\"FatherofLies\"；inthepublishedspeechesofCiceroandthebiographiesofSuetonius；inTacitusathisbest；inPliny’sNATURALHISTORY；inHanno’sPERIPLUS；inalltheearlychronicles；
intheLivesoftheSaints；inFroissartandSirThomasMalory；inthetravelsofMarcoPolo；inOlausMagnus，andAldrovandus，andConradLycosthenes，withhismagnificentPRODIGIORUMETOSTENTORUM
CHRONICON；intheautobiographyofBenvenutoCellini；inthememoirsofCasanova；inDefoe’sHISTORYOFTHEPLAGUE；inBoswell’sLIFEOFJOHNSON；inNapoleon’sdespatches，andintheworksofourownCarlyle，whoseFRENCHREVOLUTIONisoneofthemostfascinatinghistoricalnovelseverwritten，factsareeitherkeptintheirpropersubordinateposition，orelseentirelyexcludedonthegeneralgroundofdulness。Now，everythingischanged。Factsarenotmerelyfindingafooting-placeinhistory，buttheyareusurpingthedomainofFancy，andhaveinvadedthekingdomofRomance。Theirchillingtouchisovereverything。Theyarevulgarisingmankind。ThecrudecommercialismofAmerica，itsmaterialisingspirit，itsindifferencetothepoeticalsideofthings，anditslackofimaginationandofhighunattainableideals，areentirelyduetothatcountryhavingadoptedforitsnationalheroamanwho，accordingtohisownconfession，wasincapableoftellingalie，anditisnottoomuchtosaythatthestoryofGeorgeWashingtonandthecherry-treehasdonemoreharm，andinashorterspaceoftime，thananyothermoraltaleinthewholeofliterature。’
CYRIL。Mydearboy！
VIVIAN。Iassureyouitisthecase，andtheamusingpartofthewholethingisthatthestoryofthecherry-treeisanabsolutemyth。However，youmustnotthinkthatIamtoodespondentabouttheartisticfutureeitherofAmericaorofourowncountry。
Listentothis：-
’Thatsomechangewilltakeplacebeforethiscenturyhasdrawntoitsclosewehavenodoubtwhatsoever。Boredbythetediousandimprovingconversationofthosewhohaveneitherthewittoexaggeratenorthegeniustoromance，tiredoftheintelligentpersonwhosereminiscencesarealwaysbaseduponmemory，whosestatementsareinvariablylimitedbyprobability，andwhoisatanytimeliabletobecorroboratedbythemerestPhilistinewhohappenstobepresent，Societysoonerorlatermustreturntoitslostleader，theculturedandfascinatingliar。Whohewaswhofirst，withouteverhavinggoneouttotherudechase，toldthewanderingcavemenatsunsethowhehaddraggedtheMegatheriumfromthepurpledarknessofitsjaspercave，orslaintheMammothinsinglecombatandbroughtbackitsgildedtusks，wecannottell，andnotoneofourmodernanthropologists，foralltheirmuch-boastedscience，hashadtheordinarycouragetotellus。Whateverwashisnameorrace，hecertainlywasthetruefounderofsocialintercourse。Fortheaimoftheliarissimplytocharm，todelight，togivepleasure。Heistheverybasisofcivilisedsociety，andwithouthimadinner-party，evenatthemansionsofthegreat，isasdullasalectureattheRoyalSociety，oradebateattheIncorporatedAuthors，oroneofMr。Burnand’sfarcicalcomedies。
’Norwillhebewelcomedbysocietyalone。Art，breakingfromtheprison-houseofrealism，willruntogreethim，andwillkisshisfalse，beautifullips，knowingthathealoneisinpossessionofthegreatsecretofallhermanifestations，thesecretthatTruthisentirelyandabsolutelyamatterofstyle；whileLife-poor，probable，uninterestinghumanlife-tiredofrepeatingherselfforthebenefitofMr。HerbertSpencer，scientifichistorians，andthecompilersofstatisticsingeneral，willfollowmeeklyafterhim，andtrytoreproduce，inherownsimpleanduntutoredway，someofthemarvelsofwhichhetalks。
’Nodoubttherewillalwaysbecriticswho，likeacertainwriterintheSATURDAYREVIEW，willgravelycensurethetelleroffairytalesforhisdefectiveknowledgeofnaturalhistory，whowillmeasureimaginativeworkbytheirownlackofanyimaginativefaculty，andwillholduptheirink-stainedhandsinhorrorifsomehonestgentleman，whohasneverbeenfartherthantheyew-treesofhisowngarden，pensafascinatingbookoftravelslikeSirJohnMandeville，or，likegreatRaleigh，writesawholehistoryoftheworld，withoutknowinganythingwhatsoeveraboutthepast。ToexcusethemselvestheywilltryandshelterundertheshieldofhimwhomadeProsperothemagician，andgavehimCalibanandArielashisservants，whoheardtheTritonsblowingtheirhornsroundthecoralreefsoftheEnchantedIsle，andthefairiessingingtoeachotherinawoodnearAthens，wholedthephantomkingsindimprocessionacrossthemistyScottishheath，andhidHecateinacavewiththeweirdsisters。TheywillcalluponShakespeare-
theyalwaysdo-andwillquotethathackneyedpassageforgettingthatthisunfortunateaphorismaboutArtholdingthemirroruptoNature，isdeliberatelysaidbyHamletinordertoconvincethebystandersofhisabsoluteinsanityinallart-matters。’
CYRIL。Ahem！Anothercigarette，please。
VIVIAN。Mydearfellow，whateveryoumaysay，itismerelyadramaticutterance，andnomorerepresentsShakespeare’srealviewsuponartthanthespeechesofIagorepresenthisrealviewsuponmorals。Butletmegettotheendofthepassage：
’Artfindsherownperfectionwithin，andnotoutsideof，herself。
Sheisnottobejudgedbyanyexternalstandardofresemblance。
Sheisaveil，ratherthanamirror。Shehasflowersthatnoforestsknowof，birdsthatnowoodlandpossesses。Shemakesandunmakesmanyworlds，andcandrawthemoonfromheavenwithascarletthread。Hersarethe\"formsmorerealthanlivingman，\"
andhersthegreatarchetypesofwhichthingsthathaveexistencearebutunfinishedcopies。Naturehas，inhereyes，nolaws，nouniformity。Shecanworkmiraclesatherwill，andwhenshecallsmonstersfromthedeeptheycome。Shecanbidthealmond-treeblossominwinter，andsendthesnowupontheripecornfield。AtherwordthefrostlaysitssilverfingerontheburningmouthofJune，andthewingedlionscreepoutfromthehollowsoftheLydianhills。Thedryadspeerfromthethicketasshepassesby，andthebrownfaunssmilestrangelyatherwhenshecomesnearthem。Shehashawk-facedgodsthatworshipher，andthecentaursgallopatherside。’
CYRIL。Ilikethat。Icanseeit。Isthattheend？
VIVIAN。No。Thereisonemorepassage，butitispurelypractical。ItsimplysuggestssomemethodsbywhichwecouldrevivethislostartofLying。
CYRIL。Well，beforeyoureadittome，Ishouldliketoaskyouaquestion。Whatdoyoumeanbysayingthatlife，’poor，probable，uninterestinghumanlife，’willtrytoreproducethemarvelsofart？Icanquiteunderstandyourobjectiontoartbeingtreatedasamirror。Youthinkitwouldreducegeniustothepositionofacrackedlooking-glass。Butyoudon’tmeantosaythatyouseriouslybelievethatLifeimitatesArt，thatLifeinfactisthemirror，andArtthereality？
VIVIAN。CertainlyIdo。Paradoxthoughitmayseem-andparadoxesarealwaysdangerousthings-itisnonethelesstruethatLifeimitatesartfarmorethanArtimitateslife。WehaveallseeninourowndayinEnglandhowacertaincuriousandfascinatingtypeofbeauty，inventedandemphasisedbytwoimaginativepainters，hassoinfluencedLifethatwheneveronegoestoaprivateviewortoanartisticsalononesees，herethemysticeyesofRossetti’sdream，thelongivorythroat，thestrangesquare-cutjaw，theloosenedshadowyhairthathesoardentlyloved，therethesweetmaidenhoodof’TheGoldenStair，’theblossom-likemouthandwearylovelinessofthe’LausAmoris，’thepassion-palefaceofAndromeda，thethinhandsandlithebeautyoftheVivianin’Merlin’sDream。’Andithasalwaysbeenso。A
greatartistinventsatype，andLifetriestocopyit，toreproduceitinapopularform，likeanenterprisingpublisher。
NeitherHolbeinnorVandyckfoundinEnglandwhattheyhavegivenus。Theybroughttheirtypeswiththem，andLifewithherkeenimitativefacultysetherselftosupplythemasterwithmodels。
TheGreeks，withtheirquickartisticinstinct，understoodthis，andsetinthebride’schamberthestatueofHermesorofApollo，thatshemightbearchildrenaslovelyastheworksofartthatshelookedatinherraptureorherpain。TheyknewthatLifegainsfromartnotmerelyspirituality，depthofthoughtandfeeling，soul-turmoilorsoul-peace，butthatshecanformherselfontheverylinesandcoloursofart，andcanreproducethedignityofPheidiasaswellasthegraceofPraxiteles。Hencecametheirobjectiontorealism。Theydislikeditonpurelysocialgrounds。
Theyfeltthatitinevitablymakespeopleugly，andtheywereperfectlyright。Wetrytoimprovetheconditionsoftheracebymeansofgoodair，freesunlight，wholesomewater，andhideousbarebuildingsforthebetterhousingofthelowerorders。Butthesethingsmerelyproducehealth，theydonotproducebeauty。Forthis，Artisrequired，andthetruedisciplesofthegreatartistarenothisstudio-imitators，butthosewhobecomelikehisworksofart，betheyplasticasinGreekdays，orpictorialasinmoderntimes；inaword，LifeisArt’sbest，Art’sonlypupil。
Asitiswiththevisiblearts，soitiswithliterature。Themostobviousandthevulgarestforminwhichthisisshownisinthecaseofthesillyboyswho，afterreadingtheadventuresofJackSheppardorDickTurpin，pillagethestallsofunfortunateapple-
women，breakintosweet-shopsatnight，andalarmoldgentlemenwhoarereturninghomefromthecitybyleapingoutontheminsuburbanlanes，withblackmasksandunloadedrevolvers。Thisinterestingphenomenon，whichalwaysoccursaftertheappearanceofaneweditionofeitherofthebooksIhavealludedto，isusuallyattributedtotheinfluenceofliteratureontheimagination。Butthisisamistake。Theimaginationisessentiallycreative，andalwaysseeksforanewform。Theboy-burglarissimplytheinevitableresultoflife’simitativeinstinct。HeisFact，occupiedasFactusuallyis，withtryingtoreproduceFiction，andwhatweseeinhimisrepeatedonanextendedscalethroughoutthewholeoflife。Schopenhauerhasanalysedthepessimismthatcharacterisesmodernthought，butHamletinventedit。Theworldhasbecomesadbecauseapuppetwasoncemelancholy。TheNihilist，thatstrangemartyrwhohasnofaith，whogoestothestakewithoutenthusiasm，anddiesforwhathedoesnotbelievein，isapurelyliteraryproduct。HewasinventedbyTourgenieff，andcompletedbyDostoieffski。RobespierrecameoutofthepagesofRousseauassurelyasthePeople’sPalaceroseoutoftheDEBRISofanovel。
Literaturealwaysanticipateslife。Itdoesnotcopyit，butmouldsittoitspurpose。Thenineteenthcentury，asweknowit，islargelyaninventionofBalzac。OurLuciensdeRubempre，ourRastignacs，andDeMarsaysmadetheirfirstappearanceonthestageoftheCOMEDIEHUMAINE。Wearemerelycarryingout，withfootnotesandunnecessaryadditions，thewhimorfancyorcreativevisionofagreatnovelist。Ionceaskedalady，whoknewThackerayintimately，whetherhehadhadanymodelforBeckySharp。ShetoldmethatBeckywasaninvention，butthattheideaofthecharacterhadbeenpartlysuggestedbyagovernesswholivedintheneighbourhoodofKensingtonSquare，andwasthecompanionofaveryselfishandricholdwoman。Iinquiredwhatbecameofthegoverness，andsherepliedthat，oddlyenough，someyearsaftertheappearanceofVANITYFAIR，sheranawaywiththenephewoftheladywithwhomshewasliving，andforashorttimemadeagreatsplashinsociety，quiteinMrs。RawdonCrawley’sstyle，andentirelybyMrs。RawdonCrawley’smethods。Ultimatelyshecametogrief，disappearedtotheContinent，andusedtobeoccasionallyseenatMonteCarloandothergamblingplaces。ThenoblegentlemanfromwhomthesamegreatsentimentalistdrewColonelNewcomedied，afewmonthsafterTHENEWCOMERhadreachedafourthedition，withtheword’Adsum’onhislips。ShortlyafterMr。Stevensonpublishedhiscuriouspsychologicalstoryoftransformation，afriendofmine，calledMr。Hyde，wasinthenorthofLondon，andbeinganxioustogettoarailwaystation，tookwhathethoughtwouldbeashortcut，losthisway，andfoundhimselfinanetworkofmean，evil-lookingstreets。Feelingrathernervoushebegantowalkextremelyfast，whensuddenlyoutofanarchwayranachildrightbetweenhislegs。Itfellonthepavement，hetrippedoverit，andtrampleduponit。Beingofcourseverymuchfrightenedandalittlehurt，itbegantoscream，andinafewsecondsthewholestreetwasfullofroughpeoplewhocamepouringoutofthehouseslikeants。Theysurroundedhim，andaskedhimhisname。HewasjustabouttogiveitwhenhesuddenlyrememberedtheopeningincidentinMr。Stevenson’sstory。Hewassofilledwithhorrorathavingrealisedinhisownpersonthatterribleandwell-writtenscene，andathavingdoneaccidentally，thoughinfact，whattheMr。Hydeoffictionhaddonewithdeliberateintent，thatheranawayashardashecouldgo。Hewas，however，verycloselyfollowed，andfinallyhetookrefugeinasurgery，thedoorofwhichhappenedtobeopen，whereheexplainedtoayoungassistant，whohappenedtobethere，exactlywhathadoccurred。Thehumanitariancrowdwereinducedtogoawayonhisgivingthemasmallsumofmoney，andassoonasthecoastwasclearheleft。Ashepassedout，thenameonthebrassdoor-plateofthesurgerycaughthiseye。Itwas’Jekyll。’Atleastitshouldhavebeen。