Cortes Holliday.] But Kilmer went much farther and advocated the
suppression of all writings, by Catholics, which did not specifically
advertise their author's Catholicism. [Footnote: See his letter to Aline
Kilmer, April 21, 1918, _Joyce Kilmer, Poems, Essays and Letters_,
ed. Robert Cortes Holliday.] And such a doctrine immediately delivers
the poet's freedom of inspiration into the hands of censors.

Perhaps a history of art would not square with the repugnance one feels
toward such censorship. Conformance to the religious beliefs of his time
certainly does not seem to have handicapped Homer or Dante, to say
nothing of the preeminent men in other fields of art, Phidias, Michael
Angelo, Raphael, etc. Yet in the modern consciousness, the theory of art
for art's sake has become so far established that we feel that any
compromise of the purely aesthetic standard is a loss to the artist. The
deity of the artist and the churchman may be in some measure the same,
since absolute beauty and absolute goodness are regarded both by poets
and theologians as identical, but there is reason to believe that the
poet may not go so far astray if he cleaves to his own immediate
apprehension of absolute beauty as he will if he fashions his beliefs
upon another man's stereotyped conception of the absolute good.

Then, too, it is not unlikely that part of the poet's reluctance to
embrace the creed of his contemporaries arises from the fact that he, in
his secret heart, still hankers for his old title of priest. He knows
that it is the imaginative faculty of the poet that has been largely
instrumental in building up every religious system. The system that
holds sway in society is apt to be the one that he himself has just
outgrown; he has, accordingly, an artist's impatience for its
immaturity. There is much truth to the poet's nature in verses entitled
_The Idol Maker Prays_: