fast a hundred pot-boiled young geniuses. For the most part they have been excellently well told, these tales of this moral ogre of ours; but why start to shatter brutally their dainty charm by a soulless process of investigation? No, let us be shamed rather into a more charitable spirit, into making generous amends, into rehabilitating the greatness of our moral ogre.
He is the backbone of our nation; the guardian of our mediocrity; the very foil of our intelligence. Once, you fancied that you could argue with him, that you could dispute his dictum. Ah! how we cherished that day-dream of our extreme youth. But it was not to be. He is still immense; for he is unassailable; he is flawless, for he is complete within himself; his lucidity is yet unimpaired; his impartiality is yet supreme. Who amongst us could judge with a like impartiality the productions of Scandinavia and Charpentier, Walt Whitman, and the Independent Theatre? Let us remember that he has never professed to understand Art, and the deep debt of gratitude that every artist in the land should consequently owe to him; let us remember that he is above us, for he belongs to the great middle classes; let us remember that he commands votes, that he is candidate for the County Council; let us remember that he is delightful, because he is intelligible.
Yes, he is intelligible; and of how many of us can that be said? His is no complex programme, no subtly exacting demand. A plain moral lesson is all that he asks, and his voice is as of one crying in the ever fertile wilderness of Smith and of Mudie.
And he is right, after all—if he only knew it. The business of art is to create for us fine interests, to make of our human nature a more complete thing: and thus, all great art is moral in the wider and the truer sense of the word. It is precisely on this point of the meaning of the word "moral" that we and our ogre
