ATTITUDE toward, a full and free SYMPATHY with, the True,
which is a far more important and effective way of speaking truth
than delivering truth `in re'. A work of Art, worthy of the name,
need not be true to fact, but must be true in its spiritual attitude,
and being thus true, it will tend to induce a corresponding attitude
in those who do fealty to it. It will have the influence,
though in an inferior degree, it may be, of a magnetic personality.
Personality is the ultimate source of spiritual quickening
and adjustment. Literature and all forms of Art are but
the intermediate agencies of personalities. The artist cannot be
separated from his art. As is the artist so MUST be his art.
The `aura', so to speak, of a great work of Art, must come from
the artist's own personality. The spiritual worth of Shakespeare's
`Winter's Tale' is not at all impaired by the fact that Bohemia is made
a maritime country, that Whitsun pastorals and Christian burial,
and numerous other features of Shakespeare's own age, are introduced
into pagan times, that Queen Hermione speaks of herself as a daughter
of the Emperor of Russia, that her statue is represented as executed by
Julio Romano, an Italian painter of the 16th century, that a puritan
sings psalms to hornpipes, and, to crown all, that messengers are sent
to consult the oracle of Apollo, at Delphi, which is represented as
an island! All this jumble, this gallimaufry, I say,
does not impair the spiritual worth of the play. As an Art-product,
it invites a rectified attitude toward the True and the Sweet.

If we look at the letter of the trial scene in `The Merchant of Venice',
it borders on the absurd; but if we look at its spirit,
we see the Shakespearian attitude of soul which makes for righteousness,
for the righteousness which is inherent in the moral constitution
of the universe.

The inmost, secretest life of Shakespeare's Plays came from
the personality, the inmost, secretest life, of the man Shakespeare.
We might, with the most alert sagacity, note and tabulate and aggregate
his myriad phenomenal merits as a dramatic writer, but we might still
be very far from that something back of them all, or rather that
IMMANENT something, that mystery of personality, that microcosmos,
that "inmost centre, where truth abides in fulness", as Browning makes
Paracelsus characterize it, "constituting man's self, is what Is",
as he makes the dying John characterize it, in `A Death i