and stanzas glisten, and but for which this poem, lacking their
perfusive light, would soon pass into oblivion; for from the
beautiful it is that the satire, the wit, the voluptuousness get their
sparkle and their sheen. If passages morally censurable are hereby
made more captivating, we are not content with saying that God's sun
fructifies and beautifies poison-oak and hemlock; but we affirm that
the beautiful, being by its nature necessarily pure, communicates of
its quality to whoever becomes aware of it, and thus in some measure
counterweighs the lowering tendency. Moreover, the morally bad,
deriving its character of evil from incompleteness, from the arresting
or the perversion of good, like fruit plucked unripe, and being
therefore outside the pale of the beautiful (the nature of which is
completeness, fullness, perfection of life) cannot by itself be made
captivating through the beautiful. Iago and Edmund are poetical as
parts of a whole; and when in speech they approach the upper region of
thought, it is because the details allotted to them have to be highly
wrought for the sake of the general plot and effect, and further,
because humanity and truth speak at times through strange organs.
Besides, the ideal may be used to show more glaringly the hideousness
of evil, and thence Iago and Edmund, as ideal villains, through the
very darkness in which only poetic art could have enveloped them, help
us by indirection to see and value the lights that surround the noble
and the good.

In healthy function all the feelings are pure and moral, those whose
action is most earthly and animal and selfish uniting themselves at
their highest with the spiritual, for performance whose compass
reaches beyond an individual, momentary good. A burglar or a murderer
may exhibit courage; but here, a manly quality backing baseness and
brutality for selfish, short-sighted ends, there is an introverted and