scientifically as a modern musician studies harmony and counterpoint, and, I need hardly say, with much keener æsthetic instinct.  In this they were right, as they were right in all things.  Since the introduction of printing, and the fatal development of the habit of reading amongst the middle and lower classes of this country, there has been a tendency in literature to appeal more and more to the eye, and less and less to the ear which is really the sense which, from the standpoint of pure art, it should seek to please, and by whose canons of pleasure it should abide always.  Even the work of Mr. Pater, who is, on the whole, the most perfect master of English prose now creating amongst us, is often far more like a piece of mosaic than a passage in music, and seems, here and there, to lack the true rhythmical life of words and the fine freedom and richness of effect that such rhythmical life produces.  We, in fact, have made writing a definite mode of composition, and have treated it as a form of elaborate design.  The Greeks, upon the other hand, regarded writing simply as a method of chronicling.  Their test was always the spoken word in its musical and metrical relations.  The voice was the medium, and the ear the critic.  I have sometimes thought that the story of Homer’s blindness might be really an artistic myth, created in critical days, and serving to remind us, not merely that the great poet is always a seer, seeing less with the eyes of the body than he does with the eyes of the soul, but that he is a true singer also, building his song out of music, repeating each line over and over again to himself till he has caught the secret of its melody, chaunting in darkness the words that are winged with light.  Certainly, whether this be so or not, it was to his blindness, as an occasion, if not as a cause, that England’s great poet owed much of the majestic movement and sonorous splendour of his later verse.  When Milton could no longer write he began to sing.—The Critic as Artist.

THE SECRETS OF IMMORTALITY

On the mouldering citadel of Troy lies the lizard like a thing of green bronze.  The owl has built her nest in the palace of Priam.  Over the empty plain wander shepherd and goatherd with their flocks, and where, on the wine-surfaced, oily sea, οινοψ ποντος, as Homer calls it, copper-prowed and streaked with vermilion, the great galleys of the Danaoi came in their gleaming crescent, the lonely tunny-fisher sits in his little boat and watches the bobbing corks of his net.  Yet, every morning the doors of the city are thrown open, and on foot, or in horse-drawn chariot, the warriors go forth to battle, and mock their enemies from behind their iron masks.  All day long the fight rages, and when night comes the torches gleam by the tents, and the cresset burns in the hall.  Those who live in marble or on painted panel, know of life but a single exquisite instant, eternal indeed in its beauty, but limited to one note of passion or one mood of calm.  Those whom the poet makes live have their myriad emotions of joy and terror, of courage and despair, of pleasure and of suffering.  The seasons come and go in glad or saddening pageant, and with winged or leaden feet the years pass by before them.  They have their youth and their manhood, they are children, and they grow old.  It is always dawn for St. Helena, as Veronese saw her at the window.  Through the still morning air the angels bring her the symbol of God’s pain.  The cool breezes of the morning lift the gilt threads from her brow.  On that little hill by the city of Florence, where the lovers of Giorgione are lying, it is always the solstice of noon, of noon made so languorous by summer suns that hardly can the slim naked girl dip into the marble tank the round bubble of clear glass, and the long fingers of the lute-player rest idly upon the chords.  It is twilight always for the dancing nymphs whom Corot set free among the silver poplars of France.  In eternal twilight they move, those frail diaphanous figures, whose tremulous white feet seem not to touch the dew-drenched grass they tread on.  But those who walk in epos, drama, or romance, see through the labouring months the young moons wax and wane, and watch the night from evening unto morning star, and from sunrise unto sunsetting can note the shifting day with all its gold and shadow.  For them, as for us, the flowers bloom and wither, and the Earth, that Green-tressed Goddess as Coleridge calls her, alters her raiment for their pleasure.  The statue is concentrated to one moment of perfection.  The image stained upon the canvas possesses no spiritual element of growth or change.  If they know nothing of death, it is because they know little of life, for the secrets of life and death belong to those, and those only, whom the sequence of time affects, and who possess not merely the present but the future, and can rise or fall from a past of glory or of shame.  Movement, that problem of the visible arts, can be truly realised by Literature alone.  It is Literature that shows us the body in its swiftness and the soul in its unrest.—The Critic as Artist.

THE CRITIC AND HIS MATERIAL

Who cares whether Mr. Ruskin’s views on Turner are sound or not?  What does it matter?  That mighty and majestic prose of his, so fervid and so fiery-coloured in its noble eloquence, so rich in its elaborate symphonic music, so sure and certain, at its best, in subtle choice of word and epithet, is at least as great a work of art as any of those wonderful sunsets that bleach or rot on their corrupted canvases in England’s Gallery; greater indeed, one is apt to think at times, not merely because its equal beauty is more enduring, but on account of the fuller variety of its appeal, soul speaking to soul in those long-cadenced lines, not through form and colour alone, though through these, indeed, completely and without loss, but with intellectual and emotional utterance, with lofty passion and with loftier thought, with imaginative insight, and with poetic aim; greater, I always think, even as Literature is the greater art.  Who, again, cares whether Mr. Pater has put into the portrait of Monna Lisa something that Lionardo never dreamed of?  The painter may have been merely the slave of an archaic smile, as some have fancied, but whenever I pass into the cool galleries of the Palace of the Louvre, and stand before that strange figure ‘set in its marble chair in that cirque of fantastic rocks, as in some faint light under sea,’ I murmur to myself, ‘She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her: and trafficked for strange webs with Eastern merchants; and, as Leda, was the mother of Helen of Troy, and, as St. Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands.’  And I say to my friend, ‘The presence that thus so strangely rose beside the waters is expressive of what in the ways of a thousand years man had come to desire’; and he answers me, ‘Hers is the head upon which all “the ends of the world are come,” and the eyelids are a little weary.’

And so the picture becomes more wonderful to us than it really is, and reveals to us a secret of which, in truth, it knows nothing, and the music of the mystical prose is as sweet in our ears as was that flute-player’s music that lent to the lips of La Gioconda those subtle and poisonous curves.  Do you ask me what Lionardo would have said had any one told him of this picture that ‘all the thoughts and experience of the world had etched and moulded therein that which they had of power to refine and make expressive the outward form, the animalism of Greece, the lust of Rome, the reverie of the Middle Age with its spiritual