ss they express _themselves_. Only thus may they establish a
current between themselves and their readers; only thus may they arouse
emotion. And if they succeed in arousing emotion we may disregard the
form in which their work is cast and bathe in the essence of spirit and
idea.

Whether you agree with this theory or not you must be compelled to admit
that criticism of interpreters, if it is anything at all, is bound to be
creative. For the art of the interpreter exists in time and space only
for the moment in an arbitrary place. Therefore he who writes about an
interpreter is using him to express certain ideas as a painter uses his
model.

It is a well-established fact that singers and actors in general only
approve of the critics who praise them, but it will readily be apparent
that there is a good instinctive reason back of this peculiarity. Their
work only lives as it exists in criticism and people who dwell in places
where these actors are not to be seen or in times after they are dead
must perforce depend upon the critic for their impressions of these
interpreters. The case of creative work is entirely different. The
creator of genius should never be disturbed by a bad criticism. If his
work is good it will far outlast the criticism. Indeed a bad notice
helps a fine book to find its public sooner than a good notice, because
it attracts attention and stimulates discussion. I think it is likely,
for instance, that the striking collection of bad notices of his
previous books, which James Branch Cabell inserted in the end pages of
"The Cream of the Jest," did as much to advertise that author as the
subsequent publication of "Jurgen."

II

Somewhere in Agnes G. Murphy's vivid but somewhat hysterical account of
the life and adventures of Madame Melba, the diva's Boswell declares
that the singer never permitted herself the pleasure of meeting
newspaper critics lest, it is to be assumed, they should be prejudiced
in her favour through the acquaintanceship. I can assure Madame Melba
that this decision, if strictly adhered to, has cost her many pleasant
hours, for I number certain music critics among my most diverting
friends. I can further assure these colleagues of mine that they have
missed knowing a very amusing woman, for once, not being considered at
the time anything so formidable as a critic, I was permitted to sit next
to the Australian canary while she toyed with her grapefruit and tasted
her _oeuf benedic