of whose charm may really consist in the rejection of resemblance,
and shows us in this way not merely the meaning but also the
mystery of Beauty, and, by transforming each art into literature,
solves once for all the problem of Art's unity.

But I see it is time for supper. After we have discussed some
Chambertin and a few ortolans, we will pass on to the question of
the critic considered in the light of the interpreter.

ERNEST. Ah! you admit, then, that the critic may occasionally be
allowed to see the object as in itself it really is.

GILBERT. I am not quite sure. Perhaps I may admit it after
supper. There is a subtle influence in supper.



THE CRITIC AS ARTIST--WITH SOME REMARKS UPON THE IMPORTANCE OF
DISCUSSING EVERYTHING



A DIALOGUE: Part II. Persons: the same. Scene: the same.

ERNEST. The ortolans were delightful, and the Chambertin perfect,
and now let us return to the point at issue.

GILBERT. Ah! don't let us do that. Conversation should touch
everything, but should concentrate itself on nothing. Let us talk
about Moral Indignation, its Cause and Cure, a subject on which I