nearly all of these essays, but an uninterrupted perusal of the two
volumes of _Essays in Criticism_ and the volume of _Mixed Essays_
discloses what that purpose is. The essays may roughly be divided into
two classes, those which deal with single writers and those discussing
subjects of more general nature. The purpose of both is what Arnold
himself has called "the humanization of man in society." In the former
he selects some person exemplifying a trait, in the latter he selects
some general idea, which he deems of importance for our further
humanization, and in easy, unsystematic fashion unfolds and illustrates
it for us. But in spite of this unlabored method he takes care somewhere
in the essay to seize upon a phrase that shall bring home to us the
essence of his theme and to make it salient enough so as not to escape
us. How much space shall be devoted to exposition, and how much to
illustration, depends largely on the familiarity of his subject to his
readers. Besides the general purpose of humanization, two other
considerations guide him: the racial shortcomings of the English people
and the needs of his age. The English are less in need of energizing and
moralizing than of intellectualizing, refining, and inspiring with the
passion for perfection. This need accordingly determines the choice in
most cases. So Milton presents an example of "sure and flawless
perfection of rhythm and diction"; Joubert is characterized by his
intense care of "perfecting himself"; Falkland is "our martyr of
sweetness and light, of lucidity of mind and largeness of temper";
George Sand is admirable because of her desire to make the ideal life
the normal one; Emerson is "the friend and aider of those who would live
in the spirit."

The belief that poetry is our best instrument for humanization
determines Arnold's loyalty to that form of art; that classical art is
superior to modern in clarity, harmony, and wholeness of effect,