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Updated: May 26, 2025
The critic's objection is thus stated: "Can we conceive of a heathen city being converted by an obscure foreign prophet?" Of course, the objection to the record of that mighty moral movement comes from those who have counted God out of Jonah's preaching.
Empty, however empty, and rejoicing in its unthoughtful emptiness have I boasted this my head but a page or two ago; and that boast, for all the critic's sneer, that no one will deny it, shall not be taken from me by renewal of determined meditations; now that my house is swept and garnished, I would not beckon back those old inhabitants.
Putting aside the too manifest and too frequent interference of national party, and even personal predilection or aversion; and reserving for deeper feelings those worse and more criminal intrusions into the sacredness of private life, which not seldom merit legal rather than literary chastisement, the two principal objects and occasions which I find for blame and regret in the conduct of the review in question are first, its unfaithfulness to its own announced and excellent plan, by subjecting to criticism works neither indecent nor immoral, yet of such trifling importance even in point of size and, according to the critic's own verdict, so devoid of all merit, as must excite in the most candid mind the suspicion, either that dislike or vindictive feelings were at work; or that there was a cold prudential pre-determination to increase the sale of the review by flattering the malignant passions of human nature.
He recalled delightfully those little northern towns in the debatable region which from a critic's point of view may be considered Lombard or Venetian, with a tendency to be neither but rather a Transalpine Bavaria. To me also the glow of the Burgundy on the tablecloth brought back strange provincial altarpieces in this territory marvels in crimson and gold, and a riddle for the connoisseur.
It would, of course, be much nicer to think that the essential part of a critic's work was the discovery and glorification of absolute beauty: only, unluckily, it is far from certain that absolute beauty exists, and most unlikely, if it does, that any human being can distinguish it from what is relative.
History, says Sainte-Beuve, is in great part a set of fables which people agree to believe in. And, on reading books like the present, one certainly needs a good deal of that discipline acquired by long familiarity with vexed historical questions, in order to check the disposition to accept the great critic's ironical remark in sober earnest.
There was nothing to do but leave it, for we had already left the bridge behind, and were feoon too far away to hear the critic's remarks. He continued to give us his opinion, however, for we could see his jaw move, though we could not make out a single word he said. This river was very different from the main stream. Narrow and muddy, it ran between high banks which were covered with marsh grass.
Thursday came: the painting was placed by the artist's own hand in the most favourable light; a curtain, hung behind it, served as a screen for Warner, who, retiring to his hiding-place, surrendered his heart to delicious forebodings of the critic's wonder and golden anticipations of the future destiny of his darling work. Not a fear dashed the full and smooth cup of his self-enjoyment.
He refers very happily to his great abilities, "whereof God hath given him the use, but the devil the application." But does the critic's own memory stand much higher? Was he not the King's evil genius, who, together with the Queen, pushed him to that fatal step the arrest of the five members?
He is at once the artist translated into simpler terms and the appreciator raised to a higher power of perception and response. The service of criticism to the layman is to furnish him a clue to the meaning of the work in hand, and by the critic's own response to its beauty to reveal its potency and charm. With technique as such the critic is not concerned.
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