complete. For there can be no great sculpture without a beautiful
national life, and the commercial spirit of England has killed
that; no great drama without a noble national life, and the
commercial spirit of England has killed that too.

It is not that the flawless serenity of marble cannot bear the
burden of the modern intellectual spirit, or become instinct with
the fire of romantic passion - the tomb of Duke Lorenzo and the
chapel of the Medici show us that - but it is that, as Theophile
Gautier used to say, the visible world is dead, LE MONDE VISIBLE A
DISPARU.

Nor is it again that the novel has killed the play, as some critics
would persuade us - the romantic movement of France shows us that.
The work of Balzac and of Hugo grew up side by side together; nay,
more, were complementary to each other, though neither of them saw
it. While all other forms of poetry may flourish in an ignoble
age, the splendid individualism of the lyrist, fed by its own
passion, and lit by its own power, may pass as a pillar of fire as
well across the desert as across places that are pleasant. It is
none the less glorious though no man follow it - nay, by the
greater sublimity of its loneliness it may be quickened into
loftier utterance and intensified into clearer song. From the mean
squalor of the sordid life that limits him, the dreamer or the
idyllist may soar on poesy's viewless wings, may traverse with
fawn-skin and spear the moonlit heights of Cithaeron though Faun
and Bassarid dance there no more. Like Keats he may wander through
the old-world forests of Latmos, or stand like Morris on the
galley's deck with the Viking when king and galley have long since
passed away. But the drama is the meeting-place of art and life;