"endeavor to learn and propagate the best that is known and thought in
the world." The shortest definition that Arnold gives of culture is "a
study of perfection." But how may one pursue perfection? Evidently by
putting oneself in the way of learning the best that is known and
thought, and by making it a part of oneself. The relation of the critic
to culture thereupon becomes evident. He is the appointed apostle of
culture. He undertakes as his duty in life to seek out and to minister
to others the means of self-improvement, discriminating the evil and the
specious from the good and the genuine, rendering the former
contemptible and the latter attractive. But in a degree all seekers
after culture must be critics also. Both pursue the same objects, the
best that is thought and known. Both, too, must propagate it; for
culture consists in general expansion, and the last degree of personal
perfection is attained only when shared with one's fellows. The critic
and the true man of culture are, therefore, at bottom, the same, though
Arnold does not specifically point this out. But the two ideals united
in himself direct all his endeavor. As a man of culture he is intent
chiefly upon the acquisition of the means of perfection; as a critic,
upon their elucidation and propagation.

This sufficiently answers the charge of selfishness that in frequently
brought against the gospel of culture. It would never have been brought
if its critics had not perversely shut their eyes to Arnold's express
statements that perfection consists in "a general expansion"; that it
"is not possible while the individual remains isolated"; that one of its
characteristics is "increased sympathy," as well as "increased
sweetness, increased light, increased life." The other common charge of
dilettanteism, brought by such opponents as Professor Huxley and Mr.
Frederic Harrison, deserves hardly more consideration. Arnold has made
it sufficiently clear that he does not mean by culture "a smattering of