the world; one may say, that to get anywhere near this standard, every
critic should try and possess one great literature, at least, besides
his own; and the more unlike his own, the better. But, after all, the
criticism I am really concerned with,--the criticism which alone can
much help us for the future, the criticism which, throughout Europe, is
at the present day meant, when so much stress is laid on the importance
of criticism and the critical spirit,--is a criticism which regards
Europe as being, for intellectual and spiritual purposes, one great
confederation, bound to a joint action and working to a common result;
and whose members have, for their proper outfit, a knowledge of Greek,
Roman, and Eastern antiquity, and of one another. Special, local, and
temporary advantages being put out of account, that modern nation will
in the intellectual and spiritual sphere make most progress, which most
thoroughly carries out this program. And what is that but saying that we
too, all of us, as individuals, the more thoroughly we carry it out,
shall make the more progress?

There is so much inviting us!--what are we to take? what will nourish us
in growth towards perfection? That is the question which, with the
immense field of life and of literature lying before him, the critic has
to answer; for himself first, and afterwards for others. In this idea of
the critic's business the essays brought together in the following pages
have had their origin; in this idea, widely different as are their
subjects, they have, perhaps, their unity.

I conclude with what I said at the beginning: to have the sense of
creative activity is the great happiness and the great proof of being
alive, and it is not denied to criticism to have it; but then criticism
must be sincere, simple, flexible, ardent, ever widening its knowledge.
Then it may have, in no contemptible measure, a joyful sense of creative