critic does not ask why, or whether the performance is good or bad, but
if he does not like the kind, he instructs the writer to go off and do
some other sort of thing--usually the sort that has been done already,
and done sufficiently. If he could once understand that a man who has
written the book he dislikes, probably knows infinitely more about its
kind and his own fitness for doing it than any one else, the critic might
learn something, and might help the reader to learn; but by putting
himself in a false position, a position of superiority, he is of no use.
He is not to suppose that an author has committed an offence against him
by writing the kind of book he does not like; he will be far more
profitably employed on behalf of the reader in finding out whether they
had better not both like it. Let him conceive of an author as not in any
wise on trial before him, but as a reflection of this or that aspect of
life, and he will not be tempted to browbeat him or bully him.

The critic need not be impolite even to the youngest and weakest author.
A little courtesy, or a good deal, a constant perception of the fact that
a book is not a misdemeanor, a decent self-respect that must forbid the
civilized man the savage pleasure of wounding, are what I would ask for
our criticism, as something which will add sensibly to its present
lustre.




IX.

I would have my fellow-critics consider what they are really in the world
for. The critic must perceive, if he will question himself more
carefully, that his office is mainly to ascertain facts and traits of