GENIUS AND OTHER ESSAYS
of specific arts—often to special subdivisions of an art. But the consensus of the fine arts, for example, is such that, while each has inexorable limits, they all move in harmony and subject to the same enduring principles. The critic then, even in technical examination of a painting, drama, novel or any other artistic structure, must be grounded in general laws and sensible of their application to other forms of creative work than the one under his immediate observation. Just as a specialist in the art of healing—say an oculist—or a physician essaying to cure the slightest ailment, must have a sound knowledge of therapeutics and anatomy. Otherwise his practice will be inconsistent and hazardous.
The ideal critic is one of universal prerogative. His faculty and doctrine, if trustworthy in one direction, can hardly go far astray in the others. Even in æsthetics a thinker, deliberately conscious of beauty, will recognize its correlation with the true and the good. I am skeptical as to the radical inaccuracy or immorality of noted critics and artists who perceive or create what is lastingly beautiful; yet defects of temperament may influence very adversely their personal conduct of life.
The ideal spirit of criticism is pure and high. The declarer of Right, in its various provinces, assumes the office of a censor, a judge, and if he has no innate gift of perception, supported by acquired knowledge, his assumption will be characterized in the invidious sense of the word. He may have his special tastes and leanings, but private considerations have nothing
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