I.

Literature is at once the most intimate and the most articulate of the
arts. It cannot impart its effect through the senses or the nerves as
the other arts can; it is beautiful only through the intelligence; it is
the mind speaking to the mind; until it has been put into absolute terms,
of an invariable significance, it does not exist at all. It cannot
awaken this emotion in one, and that in another; if it fails to express
precisely the meaning of the author, if it does not say him, it says
nothing, and is nothing. So that when a poet has put his heart, much or
little, into a poem, and sold it to a magazine, the scandal is greater
than when a painter has sold a picture to a patron, or a sculptor has
modelled a statue to order. These are artists less articulate and less
intimate than the poet; they are more exterior to their work; they are
less personally in it; they part with less of themselves in the dicker.
It does not change the nature of the case to say that Tennyson and
Longfellow and Emerson sold the poems in which they couched the most
mystical messages their genius was charged to bear mankind. They
submitted to the conditions which none can escape; but that does not
justify the conditions, which are none the less the conditions of
hucksters because they are imposed upon poets. If it will serve to make
my meaning a little clearer, we will suppose that a poet has been crossed
in love, or has suffered some real sorrow, like the loss of a wife or
child. He pours out his broken heart in verse that shall bring tears of
sacred sympathy from his readers, and an editor pays him a hundred
dollars for the right of bringing his verse to their notice. It is
perfectly true that the poem was not written for these dollars, but it is
perfectly true that it was sold for them. The poet must use his emotions
to pay his provision bills; he has no other means; society does not
propose to pay his bills for him. Yet, and at the end of the ends, the