9 8 LITERATURE AND DRAMA 



enjoying barrel-organs and brass bands. What wonder if the 

 artist is tempted to despise the world ! But among his friends 

 the artist finds knowledge, taste, and courtesy combined, with 

 some appreciation of the effect required to produce even a pass- 

 able result. He and his friends loathe the poor vulgar work 

 which deceives the great mass of men, and they despise a public 

 which is cheated so easily. The artist has tangible proofs that 

 real criticism exists in his own circle, and it is hard indeed for 

 him to believe that in that vague, unknown, incoherent mass of 

 creatures outside live his real masters, his true judges. Yefc 

 this is so. Every priesthood is similarly tempted to believe that 

 the priest is not to be judged by the people ; but all forms 

 of religion, including that of art, are in the end judged by the 

 religious laity, and surely this is well. Why should religion be, 

 if not for the people ? The relation of the artist to the public 

 is that of the priest to mankind. 



But here some artist might say, i I agree that I shall work 

 for mankind. I desire strongly that a large part of mankind 

 shall be so cultivated as to be able to judge and appreciate my 

 work. I admit that among the laity there are men whose judg- 

 ment I value very highly, and who are therefore in one sense 

 my critics; but these men should not seek to impose their 

 opinions on others. They have a right to their private judg- 

 ment, which is often excellent ; but they have no right to preach. 

 I court private criticism ; but these laics must not hold forth in 

 books and journals professing to act as accredited guides. For 

 this purpose, at least, it is wise to have a priesthood, so that 

 the really ignorant may not be led away by strange doctrines.' 



It is, indeed, highly convenient that there should exist some 

 recognised critical body in each art, and this body should, we 

 take it, consist wholly of artists. In the Royal Academy, with 

 its power of selection and rejection, we have one body of this 

 kind. The French Academy is another instance ; the Comedie 

 Fran9aise is a third ; but, except in the case in which the artists 

 are writers, it would seem desirable that the expression of 

 opinion given by the artist judges should be mute. If painters 

 or musicians tried to formulate a corporate judgment they would 

 meet with much difficulty. Even the writers cannot accomplish 

 this. They have to delegate the duty of writing an authoritative 



