For the various spiritual forms of the imagination have a natural affinity with certain sensuous forms of art - and to discern the qualities of each art, to intensify as well its limitations as its powers of expression, is one of the aims that culture sets before us. It is not an increased moral sense, an increased moral supervision that your literature needs. Indeed, one should never talk of a moral or an immoral poem - poems are either well written or badly written, that is all. And, indeed, any element of morals or implied reference to a standard of good or evil in art is often a sign of a certain incompleteness of vision, often a note of discord in the harmony of an imaginative creation; for all good work aims at a purely artistic effect. 'We must be careful,' said Goethe, 'not to be always looking for culture merely in what is obviously moral. Everything that is great promotes civilisation as soon as we are aware of it.'
But, as in your cities so in your literature, it is a permanent canon and standard of taste, an increased sensibility to beauty (if I may say so) that is lacking. All noble work is not national merely, but universal. The political independence of a nation must not be confused with any intellectual isolation. The spiritual freedom, indeed, your own generous lives and liberal air will give you. From us you will learn the classical restraint of form.
For all great art is delicate art, roughness having very little to do with strength, and harshness very little to do with power. 'The artist,' as Mr. Swinburne says, 'must be perfectly articulate.'
This limitation is for the artist perfect freedom: it is at once the origin and the sign of his strength. So that all the supreme masters of style - Dante, Sophocles, Shakespeare - are the supreme masters of spiritual and intellectual vision also.
Love art for its own sake, and then all things that you need will be added to you.
This devotion to beauty and to the creation of beautiful things is the test of all great civilised nations. Philosophy may teach us to bear with equanimity the misfortunes of our neighbours, and science resolve the moral sense into a secretion of sugar, but art is what makes the life of each citizen a sacrament and not a speculation, art is what makes the life of the whole race immortal.
For beauty is the only thing that time cannot harm. Philosophies fall away like sand, and creeds follow one another like the withered leaves of autumn; but what is beautiful is a joy for all seasons and a possession for all eternity.
Wars and the clash of armies and the meeting of men in battle by trampled field or leaguered city, and the rising of nations there must always be. But I think that art, by creating a common intellectual atmosphere between all countries, might - if it could not overshadow the world with the silver wings of peace - at least make men such brothers that they would not go out to slay one another for the whim or folly of some king or minister, as they do in Europe. Fraternity would come no more with the hands of Cain, nor Liberty betray freedom with the kiss of Anarchy; for national hatreds are always strongest where culture is lowest.
'How could I?' said Goethe, when reproached for not writing like Korner against the French. 'How could I, to whom barbarism and culture alone are of importance, hate a nation which is among the most cultivated of the earth, a nation to which I owe a great part of my own cultivation?'
Mighty empires, too, there must always be as long as personal ambition and the spirit of the age are one, but art at least is the only empire which a nation's enemies cannot take from her by conquest, but which is taken by submission only. The sovereignty of Greece and Rome is not yet passed away, though the gods of the one be dead and the eagles of the other tired.
And we in our Renaissance are seeking to create a sovereignty that will still be England's when her yellow leopards have grown weary of wars and the rose of her shield is crimsoned no more with the blood of battle; and you, too, absorbing into the generous heart of a great people this pervading artistic spirit, will create for yourselves such riches as you have never yet created, though your land be a network of railways and your cities the harbours for the galleys of the world.
I know, indeed, that the divine natural prescience of beauty which is the inalienable inheritance of Greek and Italian is not our inheritance. For such an informing and presiding spirit of art to shield us from all harsh and alien influences, we of the Northern races must turn rather to that strained self-consciousness of our age which, as it is the key-note of all our romantic art, must be the source of all or nearly all our culture. I mean that intellectual curiosity of the nineteenth century which is always looking for the secret of the life that still lingers round old and bygone forms of culture. It takes from each what is serviceable for the modern spirit - from Athens its wonder without its worship, from Venice its splendour without its sin. The same spirit is always analysing its own strength and its own weakness, counting what it owes to East and to West, to the olive-trees of Colonus and to the palm-trees of Lebanon, to Gethsemane and to the garden of Proserpine.
And yet the truths of art cannot be taught: they are revealed only, revealed to natures which have made themselves receptive of all beautiful impressions by the study and worship of all beautiful things. And hence the enormous importance given to the decorative arts in our English Renaissance; hence all that marvel of design that comes from the hand of Edward Burne-Jones, all that weaving of tapestry and staining of glass, that beautiful working in clay and metal and wood which we owe to William Morris, the greatest handicraftsman we have had in England since the fourteenth century.
