philosophy conscious to himself; to him as a poet it may be unconscious.
This necessary change from unconsciousness to consciousness is by no
means easy, and we should do well to insist upon its difficulty, for
quite as much nonsense is talked about poetry by poets and by artists
about art as by the profane about either. Moreover, it is important to
remember that in proportion as society approaches the ideal--there is no
continual progress towards the ideal; at present society is as far
removed from it as it has ever been--the chance of the philosopher, of
the scientist even, becoming a true critic of art grows greater. When
the æsthetic basis of all humane activity is familiarly recognised, the
values of the philosopher, the scientist, and the artist become
consciously the same, and therefore interchangeable.

Still, the ideal society is sufficiently remote for us to disregard it,
and we shall say that the principle of art for art's sake contains an
element of truth when it is opposed to those who would inflict upon art
the values of science, of metaphysics, or of a morality of mere
convention. We shall also say that the principle of art for art's sake
needs to be understood and interpreted very differently. Its
implications are tremendous. Art is autonomous, and to be pursued for
its own sake, precisely because it comprehends the whole of human life;
because it has reference to a more perfectly human morality than other
activity of man; because, in so far as it is truly art, it is indicative
of a more comprehensive and unchallengeable harmony in the spirit of
man. It does not demand impossibilities, that man should be at one with
the universe or in tune with the infinite; but it does envisage the
highest of all attainable ideals, that man should be at one with
himself, obedient to his own most musical law.

Thus art reveals to us the principle of its own governance. The function