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e that it is as a critic of Beauty that Plato is destined to live； and that by altering the name of the sphere of his speculation we shall find a new philosophy。 But Aristotle； like Goethe； deals with art primarily in its concrete manifestations； taking Tragedy； for instance； and investigating the material it uses； which is language； its subject… matter； which is life； the method by which it works； which is action； the conditions under which it reveals itself； which are those of theatric presentation； its logical structure； which is plot； and its final aesthetic appeal； which is to the sense of beauty realised through the passions of pity and awe。 That purification and spiritualising of the nature which he calls ＇Greek text which cannot be reproduced＇ is； as Goethe saw； essentially aesthetic； and is not moral； as Lessing fancied。 Concerning himself primarily with the impression that the work of art produces； Aristotle sets himself to analyse that impression； to investigate its source； to see how it is engendered。 As a physiologist and psychologist； he knows that the health of a function resides in energy。 To have a capacity for a passion and not to realise it； is to make oneself incomplete and limited。 The mimic spectacle of life that Tragedy affords cleanses the bosom of much 'perilous stuff；' and by presenting high and worthy objects for the exercise of the emotions purifies and spiritualises the man； nay； not merely does it spiritualise him； but it initiates him also into noble feelings of which he might else have known nothing； the word ＇Greek text which cannot be reproduced＇ having； it has sometimes seemed to me； a definite allusion to the rite of initiation； if indeed that be not； as I am occasionally tempted to fancy； its true and only meaning here。 This is of course a mere outline of the book。 But you see what a perfect piece of aesthetic criticism it is。 Who indeed but a Greek could have analysed art so well？ After reading it； one does not wonder any longer that Alexandria devoted itself so largely to art…criticism； and that we find the artistic temperaments of the day investigating every question of style and manner； discussing the great Academic schools of painting； for instance； such as the school of Sicyon； that sought to preserve the dignified traditions of the antique mode； or the realistic and impressionist schools； that aimed at reproducing actual life； or the elements of ideality in portraiture； or the artistic value of the epic form in an age so modern as theirs； or the proper subject…matter for the artist。 Indeed； I fear that the inartistic temperaments of the day busied themselves also in matters of literature and art； for the accusations of plagiarism were endless； and such accusations proceed either from the thin colourless lips of impotence； or from the grotesque mouths of those who； possessing nothing of their own； fancy that they can gain a reputation for wealth by crying out that they have been robbed。 And I assure you； my dear Ernest； that the Greeks chattered about painters quite as much as people do nowadays； and had their private views； and shilling exhibitions； and Arts and Crafts guilds； and Pre…Raphaelite movements； and movements towards realism； and lectured about art； and wrote essays on art； and produced their art…historians； and their archaeologists； and all the rest of it。 Why； even the theatrical managers of travelling companies brought their dramatic critics with them when they went on tour； and paid them very handsome salaries for writing laudatory notices。 Whatever； in fact； is modern in our life we owe to the Greeks。 Whatever is an anachronism is due to mediaevalism。 It is the Greeks who have given us the whole system of art…criticism； and how fine their critical instinct was； may be seen from the fact that the material they criticised with most care was； as I have already said； language。 For the material that painter or sculptor uses is meagre in comparison with that of words。 Words have not merely music as sweet as that of viol and lute； colour as rich and vivid as any that makes lovely for us the canvas of the Venetian or the Spaniard； and plastic form no less sure and certain than that which reveals itself in marble or in bronze； but thought and passion and spirituality are theirs also； are theirs indeed alone。 If the Greeks had criticised nothing but language； they would still have been the great art…critics of the world。 To know the principles of the highest art is to know the principles of all the arts。
But I see that the moon is hiding behind a sulphur…coloured cloud。 Out of a tawny mane of drift she gleams like a lion's eye。 She is afraid that I will talk to you of Lucian and Longinus； of Quinctilian and Dionysius； of Pliny and Fronto and Pausanias； of all those who in the antique world wrote or lectured upon art matters。 She need not be afraid。 I am tired of my expedition into the dim； dull abyss of facts。 There is nothing left for me now but the divine ＇Greek text which cannot be reproduced＇ of another cigarette。 Cigarettes have at least the charm of leaving one unsatisfied。
ERNEST。 Try one of mine。 They are rather good。 I get them direct from Cairo。 The only use of our ATTACHES is that they supply their friends with excellent tobacco。 And as the moon has hidden herself； let us talk a little longer。 I am quite ready to admit that I was wrong in what I said about the Greeks。 They were； as you have pointed out； a nation of art…critics。 I acknowledge it； and I feel a little sorry for them。 For the creative faculty is higher than the critical。 There is really no comparison between them。
GILBERT。 The antithesis between them is entirely arbitrary。 Without the critical faculty； there is no artistic creation at all； worthy of the name。 You spoke a little while ago of that fine spirit of choice and delicate instinct of selection by which the artist realises life for us； and gives to it a momentary perfection。 Well； that spirit of choice； that subtle tact of omission； is really the critical faculty in one of its most characteristic moods； and no one who does not possess this critical faculty can create anything at all in art。 Arnold's definition of literature as a criticism of life was not very felicitous in form； but it showed how keenly he recognised the importance of the critical element in all creative work。
ERNEST。 I should have said that great artists work unconsciously； that they were 'wiser than they knew；' as； I think； Emerson remarks somewhere。
GILBERT。 It is really not so； Ernest。 All fine imaginative work is self…conscious and deliberate。 No poet sings because he must sing。 At least； no great poet does。 A great poet sings because he chooses to sing。 It is so now； and it has always been so。 We are sometimes apt to think that the voices that sounded at the dawn of poetry were simpler； fresher； and more natural than ours； and that the world which the early poets looked at； and through which they walked； had a kind of poetical quality of its own； and almost without changing could pass into song。 The snow lies thick now upon Olympus； and its steep scarped sides are bleak and barren； but once； we fancy； the white feet of t