must bear his wrong in silence; he is
even expected to grin and bear it, as if it were funny. Every body
understands that it is not funny to him, not in the least funny, but
everybody says that he cannot make an effort to get the public to take
his point of view without loss of dignity. This is very odd, but it is
the fact, and I suppose that it comes from the feeling that the author,
dramatist, painter, sculptor, has already said the best he can for his
side in his book, play, picture, statue. This is partly true, and yet if
he wishes to add something more to prove the critic wrong, I do not see
how his attempt to do so should involve loss of dignity. The public,
which is so jealous for his dignity, does not otherwise use him as if he
were a very great and invaluable creature; if he fails, it lets him
starve like any one else. I should say that he lost dignity or not as he
behaved, in his effort to right himself, with petulance or with
principle. If he betrayed a wounded vanity, if he impugned the motives
and accused the lives of his critics, I should certainly feel that he was
losing dignity; but if he temperately examined their theories, and tried
to show where they were mistaken, I think he would not only gain dignity,
but would perform a very useful work.

XIII.

I would beseech the literary critics of our country to disabuse
themselves of the mischievous notion that they are essential to the
progress of literature in the way critics have imagined. Canon Farrar
confesses that with the best will in the world to profit by the many
criticisms of his books, he has never profited in the least by any of
them; and this is almost the universal experience of authors. It is not
always the fault of the critics. They sometimes deal honestly and fairly
by a book, and not so often they deal adequately. But in making a book,
if it is at all a good book, the author has learned all that is knowable
about it, and every strong point and every weak point in it, far more
accurately than any one else can possibly learn them. He has learned to
do better than well for the future; but if his book is bad, he cannot be
taught anything about it from the outside. It will perish; and if he has
not the root of literature in him, he will perish as an author with it.
But what is it that gives tendency in art, then? What is it makes people
like this at one time, and that at another? Above all, what makes a
better fashion change for a worse;