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Updated: May 22, 2025
"But isn't it fine, and worth having, and aren't you glad it was written?" I pleaded. "Well, if I knew what it was...." And so the argument ran for hours. Until he had subsumed the article under certain categories he had come to accept, appreciation was impossible for him. I have many arguments with my classicalist friend. This time it was about George Moore's "Ave."
An original creative impulse of the mind expresses itself in a certain formula; posterity mistakes the formula for the impulse. A genius will use his medium in a particular way because it serves his need; this way becomes a fixed rule which the classicalist serves.
The criticism I am making is of those who try to feed upon the husks alone. Without the slightest paradox one may say that the classicalist is most foreign to the classics. He does not put himself within the creative impulses of the past: he is blinded by their manifestations.
It is perhaps no accident that two of the greatest classical scholars in England Gilbert Murray and Alfred Zimmern are political radicals. The man whom I call here the classicalist cannot possibly be creative, for the essence of his creed is that there must be nothing new under the sun. The United States, you imagine, would of all nations be the freest from classicalism.
A friend of mine had written a very brilliant article on a play which had puzzled New York. Some time later I was discussing the article with another friend of a decidedly classicalist bent. "What is it?" he protested, "it isn't criticism for it's half rhapsody; it isn't rhapsody because it is analytical.... What is it? That's what I want to know."
An industrial revolution analogous to that in manufacture during the nineteenth century is distinctly probable, and capitalistic agriculture may soon cease to be a contradiction in terms. Like all inventions it will disturb deeply the classicalist tendency, and this disturbance may generate a new impulse to replace the decadent one of the pioneer.
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