delight which a verse gives in happy quotation than in the poem.

It is a curious proof of our conviction that the artist does not feel himself to be the parent of his work, and is as much surprised at the effect as we, that we are so unwilling to impute our best sense of any work of art to the author. The highest praise we can attribute to any writer, painter, sculptor, builder, is, that he actually possessed the thought or feeling with which he has inspired us. We hesitate at doing Spenser so great an honor as to think that he intended by his allegory the sense we affix to it. We grudge to Homer the wide human circumspection his commentators ascribe to him.

Even Shakspeare, of whom we can believe every thing, we think indebted to Goethe and to Cole. ridge for the wisdom they detect in his Hamlet and Antony. Especially have we this infirmity of faith in contemporary genius. We fear that Allston and Greenough did not foresee and design all the effect they produce on us. Our arts are happy hits. We are like the musician on the lake, whose melody is sweeter than he knows, or like a traveller surprised by a mountain echo, whose trivial word returns to him in romantic thunders.

In view of these facts, I say that the power of Nature predominates over the human will in all works of even the fine arts, in all that respects

their material and external circumstances.

Nature

paints the best part of the picture, carves the best part of the statue, builds the best part of the house, and speaks the best part of the oration. For all the advantages to which I have adverted are such as the artist did not consciously produce. He relied on their aid, he put himself in the way to receive aid from some of them; but he saw that his planting and his watering waited for the sunlight of Nature, or were vain.

Let us proceed to the consideration of the law stated in the beginning of this essay, as it affects the purely spiritual part of a work of art.

As, in useful art, so far as it is useful, the work must be strictly subordinated to the laws of Nature, so as to become a sort of continuation and in no wise a contradiction of Nature; so in art that aims at beauty must the parts be subordinated to Ideal Nature, and everything individual abstracted, so that it shall be the production of the universal soul. The artist who is to produce a work which is to be admired, not by his friends or his townspeople or his contemporaries but by all men, and which is to be more beautiful to the eye in propor tion to its culture, must disindividualize himself, and be a man of no party and no manner and no age, but one through whom the soul of all men circulates as the common air through his lungs. He

must work in the spirit in which we conceive a prophet to speak, or an angel of the Lord to act; that is, he is not to speak his own words, or do his own works, or think his own thoughts, but he is to be an organ through which the universal mind

acts.

So much as we can

In speaking of the useful arts, I pointed to the fact that we do not dig, or grind, or hew, by our muscular strength, but by bringing the weight of the planet to bear on the spade, axe, or bar. Precisely analogous to this, in the fine arts, is the manner of our intellectual work. We aim to hinder our individuality from acting. shove aside our egotism, our prejudice and will, and bring the omniscience of reason upon the subject before us, so perfect is the work. The wonders of Shakspeare are things which he saw whilst he stood aside, and then returned to record them. The poet aims at getting observations without aim ; to subject to thought things seen without (voluntary) thought.

In eloquence, the great triumphs of the art are when the orator is lifted above himself; when consciously he makes himself the mere tongue of the occasion and the hour, and says what cannot but be said. Hence the term abandonment, to describe the self-surrender of the orator. Not his will, but the principle on which he is horsed, the great con

nection and crisis of events, thunder in the ear of the crowd.

In poetry, where every word is free, every word is necessary. Good poetry could not have been otherwise written than it is. The first time you hear it, it sounds rather as if copied out of some invisible tablet in the Eternal mind, than as if ar The feeling of all

bitrarily composed by the poet.
great poets has accorded with this.
the verse, not made it. The muse
them.

They found brought it to

In sculpture, did ever anybody call the Apollo a fancy piece? Or say of the Laocoön how it might be made different? A masterpiece of art has in the mind a fixed place in the chain of being, as much as a plant or a crystal.

The whole language of men, especially of artists, in reference to this subject, points at the belief that every work of art, in proportion to its excellence, partakes of the precision of fate: no room was there for choice, no play for fancy; for in the moment or in the successive moments when that form was seen, the iron lids of Reason were unclosed, which ordinarily are heavy with slumber. The individual mind became for the moment the vent of the mind of humanity.

There is but one Reason. The mind that made the world is not one mind, but the mind. And

every work of art is a more or less pure manifesta tion of the same. Therefore we arrive at this conclusion, which I offer as a confirmation of the whole view, that the delight which a work of art affords, seems to arise from our recognizing in it the mind that formed Nature, again in active operation. It differs from the works of Nature in this, that they are organically reproductive. This is not, but spiritually it is prolific by its powerful action on the intellects of men.

Hence it follows that a study of admirable works of art sharpens our perceptions of the beauty of Nature; that a certain analogy reigns throughout the wonders of both; that the contemplation of a work of great art draws us into a state of mind which may be called religious. It conspires with all exalted sentiments.

Proceeding from absolute mind, whose nature is goodness as much as truth, the great works are always attuned to moral nature. If the earth and sea conspire with virtue more than vice, so do the masterpieces of art. The galleries of ancient sculpture in Naples and Rome strike no deeper conviction into the mind than the contrast of the purity, the severity expressed in these fine old heads, with the frivolity and grossness of the mob that exhibits and the mob that gazes at them. These are the countenances of the first-born, the face of mau