to find expression, and that Art offers it certain beautiful forms
through which it may realise that energy. It is a theory that has
never been put forward before, but it is extremely fruitful, and
throws an entirely new light upon the history of Art.

It follows, as a corollary from this, that external Nature also
imitates Art. The only effects that she can show us are effects
that we have already seen through poetry, or in paintings. This is
the secret of Nature's charm, as well as the explanation of
Nature's weakness.

The final revelation is that Lying, the telling of beautiful untrue
things, is the proper aim of Art. But of this I think I have
spoken at sufficient length. And now let us go out on the terrace,
where 'droops the milk-white peacock like a ghost,' while the
evening star 'washes the dusk with silver.' At twilight nature
becomes a wonderfully suggestive effect, and is not without
loveliness, though perhaps its chief use is to illustrate
quotations from the poets. Come! We have talked long enough.



PEN, PENCIL AND POISON--A STUDY IN GREEN



It has constantly been made a subject of reproach against artists
and men of letters that they are lacking in wholeness and
completeness of nature. As a rule this must necessarily be so.
That very concentration of vision and intensity of purpose which is