opulentia,1—to use the words which Sallust puts into Cato's mouth about Rome, unequalled in the world! The word, again, which we children of God speak, the voice which most hits our collective thought, the newspaper with the largest circulation in England, nay, with the largest circulation in the whole world, is the Daily Telegraph! I say that when our religious organizations — which I admit to express the most considerable effort after perfection that our race has yet madeland us in no better result than this, it is high time to examine carefully their idea of perfection, to see whether it does not leave out of account sides and forces of human nature which we might turn to great use; whether it would not be more operative if it were more complete. And I say that the English reliance on our religious organizations and on their ideas of human perfection just as they stand, is like our reliance on freedom, on muscular Christianity, on population, on coal, on wealth, mere belief in machinery, and unfruitful; and that it is wholesomely counteracted by culture, bent on seeing things as they are, and on drawing the human race onwards to a more complete, a harmonious perfection. The pursuit of perfection, then, is the pursuit of sweetness and light. He who works for sweetness and light, works to make reason and the will of God prevail. He who works for machinery, he who works for hatred, works only for confusion. Culture looks beyond machinery, culture hates hatred; culture has one great passion, the passion for sweetness and light. It has one even yet greater! — the passion for making them prevail. It is not satisfied till we all come to a perfect man; it knows that the sweetness and light of the few must be imperfect until the raw and unkindled masses of humanity are touched with sweetness and light. If I have not shrunk from saying that we must work for sweetness and light, so neither have I shrunk from saying that we must have a broad basis, must have sweetness and light for as many as possible. Again and again I have insisted how those are the happy moments of humanity, how those are the marking epochs of a people's life, how those are the flowering times for literature and art and all 1 "Poverty widespread, opulence among individuals." (Catiline, 52.) the creative power of genius, when there is a national glow of life and thought, when the whole of society is in the fullest measure permeated by thought, sensible to beauty, intelligent and alive. Only it must be real thought and real beauty; real sweetness and real light. Plenty of people will try to give the masses, as they call them, an intellectual food prepared and adapted in the way they think proper for the actual condition of the masses. The ordinary popular literature is an example of this way of working on the masses. Plenty of people will try to indoctrinate the masses with the set of ideas and judgments constituting the creed of their own profession or party. Our religious and political organizations give an example of this way of working on the masses. I condemn neither way: but culture works differently. It does not try to teach down to the level of inferior classes; it does not try to win them for this or that sect of its own, with ready-made judgments and watchwords. It seeks to do away with classes; to make the best that has been thought and known in the world current everywhere; to make all men live in an atmosphere of sweetness and light, where they may use ideas, as it uses them itself, freely, nourished, and not bound by them. This is the social idea; and the men of culture are the true apostles of equality. The great men of culture are those who have had a passion for diffusing, for making prevail, for carrying from one end of society to the other, the best knowledge, the best ideas of their time; who have laboured to divest knowledge of all that was harsh, uncouth, difficult, abstract, professional, exclusive; to humanize it, to make it efficient outside the clique of the cultivated and learned, yet still remaining the best knowledge and thought of the time, and a true source, therefore, of sweetness and light. Such a man was Abelard in the Middle Ages, in spite of all his imperfections; and thence the boundless emotion and enthusiasm which Abelard excited. Such were Lessing and Herder in Germany, at the end of the last century; and their services to Germany were in this way inestimably precious. Generations will pass, and literary monuments will accumulate, and works far more perfect than the works of Lessing and Herder will be produced in Germany; and yet the names of these two men will fill a German with a reverence and enthusiasm such as the names of the most gifted masters will hardly awaken. And why? Because they humanized knowledge; because they broadened the basis of life and intelligence; because they worked powerfully to diffuse sweetness and light, to make reason and the will of God prevail. With Saint Augustine they said: "Let us not leave thee alone to make in the secret of thy knowledge, as thou didst before the creation of the firmament, the division of light from darkness; let the children of thy spirit, placed in their firmament, make their light shine upon the earth, mark the division of night and day, and announce the revolution of the times; for the old order is passed, and the new arises; the night is spent, the day is come forth; and thou shalt crown the year with thy blessing, when thou shalt send forth labourers into thy harvest sown by other hands than theirs; when thou shalt send forth new labourers to new seed-times, whereof the harvest shall be not yet." POETRY A CRITICISM OF LIFE 1879 [This passage is from the essay on Wordsworth, which Arnold wrote as an introduction to a volume of selections from Wordsworth. It also appeared in Macmillan's Magazine for July, 1879, and was later reprinted in the second series of Essays in Criticism. For the doctrine of the “criticism of life" see also a passage in the essay on "The Study of Poetry," p. 542 below; it was further discussed by Arnold in his essay on Byron, and gave rise to considerable critical controversy.] ...LONG ago, in speaking of Homer, I said that the noble and profound application of ideas to life is the most essential part of poetic greatness. I said that a great poet receives his distinctive character of superiority from his application, under the conditions immutably fixed by the laws of poetic beauty and poetic truth, - from his application, I say, to his subject, whatever it may be, of the ideas On man, on nature, and on human life, which he has acquired for himself. The line quoted is Wordsworth's own; and his superiority arises from his powerful use, in his best pieces, his powerful application to his subject, of ideas "on man, on nature, and on human life." Voltaire, with his signal acuteness, most truly remarked that "no nation has treated in poetry moral ideas with more energy and depth, than the English nation." And he adds: "There, it seems to me, is the great merit of the English poets." Voltaire does not mean, by "treating in poetry moral ideas," the composing moral and didactic poems; - that brings us but a very little way in poetry. He means just the same thing as was meant when I spoke above "of the noble and profound application of ideas to life"; and he means the application of these ideas under the conditions fixed for us by the laws of poetic beauty and poetic truth. If it is said that to call these ideas moral ideas is to introduce a strong and injurious limitation, I answer that it is to do nothing of the kind, because moral ideas are really so main a part of human life. The question, how to live, is itself a moral idea; and it is the question which most interests every man, and with which, in some way or other, he is perpetually occupied. A large sense is of course to be given to the term moral. Whatever bears upon the question, "how to live," comes under it. Nor love thy life, nor hate; but, what thou liv'st, In those fine lines Milton utters, as every one at once perceives, a moral idea. Yes, but so too, when Keats consoles the forward-bending lover on the Grecian Urn, the lover arrested and presented in immortal relief by the sculptor's hand before he can kiss, with the line, Forever wilt thou love, and she be fair he utters a moral idea. When Shakespeare says, that We are such stuff As dreams are made of, and our little life Is rounded with a sleep,2 he utters a moral idea. Voltaire was right in thinking that the energetic and profound treatment of moral ideas, in this large sense, is what dis1 Paradise Lost, Bk. XI, lines 553-54. 2 Tempest, IV, i. tinguishes the English poetry. He sincerely meant praise, not dispraise or hint of limitation; and they err who suppose that poetic limitation is a necessary consequence of the fact, the fact being granted as Voltaire states it. If what distinguishes the greatest poets is their powerful and profound application of ideas to life, which surely no good critic will deny, then to prefix to the term ideas here the term moral makes hardly any difference, because human life itself is in so preponderating a degree moral. It is important, therefore, to hold fast to this: that poetry is at bottom a criticism of life; that the greatness of a poet lies in his powerful and beautiful application of ideas to life, — to the question: How to live. Morals are often treated in a narrow and false fashion; they are bound up with systems of thought and belief which have had their day; they are fallen into the hands of pedants and professional dealers; they grow tiresome to some of us. We find attraction, at times, even in a poetry of revolt against them; in a poetry which might take for its motto Omar Khayyam's words: "Let us make up in the tavern for the time which we have wasted in the mosque." Or we find attractions in a poetry indifferent to them; in a poetry where the contents may be what they will, but where the form is studied and exquisite. We delude ourselves in either case; and the best cure for our delusion is to let our minds rest upon that great and inexhaustible word life, until we learn to enter into its meaning. A poetry of revolt against moral ideas is a poetry of revolt against life; a poetry of indifference towards moral ideas is a poetry of indifference towards life. Epictetus had a happy figure for things like the play of the senses, or literary form and finish, or argumentative ingenuity, in comparison with "the best and master thing" for us, as he called it, - the concern, how to live. Some people were afraid of them, he said, or they disliked and undervalued them. Such people were wrong; they were unthankful or cowardly. But the things might also be over-prized, and treated as final when they are not. They bear to life the relation which inns bear to home. "As if a man, journeying home, and finding a nice inn on the road, and liking it, were to stay forever at the inn! Man, |