the moral and social scale, and anything short of offensive
personality is too good for you; it is expressed to you that you are one
to be avoided, and put down even a little lower than you have naturally
fallen.

These worthy persons are not to blame; it is part of their intellectual
mission to represent the petrifaction of taste, and to preserve an image
of a smaller and cruder and emptier world than we now live in, a world
which was feeling its way towards the simple, the natural, the honest,
but was a good deal "amused and misled" by lights now no longer
mistakable for heavenly luminaries. They belong to a time, just passing
away, when certain authors were considered authorities in certain kinds,
when they must be accepted entire and not questioned in any particular.
Now we are beginning to see and to say that no author is an authority
except in those moments when he held his ear close to Nature's lips and
caught her very accent. These moments are not continuous with any
authors in the past, and they are rare with all. Therefore I am not
afraid to say now that the greatest classics are sometimes not at all
great, and that we can profit by them only when we hold them, like our
meanest contemporaries, to a strict accounting, and verify their work by
the standard of the arts which we all have in our power, the simple, the
natural, and the honest.

Those good people must always have a hero, an idol of some sort, and it
is droll to find Balzac, who suffered from their sort such bitter scorn
and hate for his realism while he was alive, now become a fetich in his
turn, to be shaken in the faces of those who will not blindly worship
him. But it is no new thing in the history of literature: whatever is
established is sacred with those who do not think. At the beginning of
the century, when romance was making the same fight against effete
classicism which realism is making to-day against effete romanticism, the
Italian poet Monti declared that "the romantic was the cold grave of the
Beautiful," just as the realistic is now supposed to be. The romantic of
that day and the real of this are in certain degree the same.
Romanticism then sought, as realism seeks now, to widen the bounds of
sympathy, to level every barrier against aesthetic freedom, to escape
from the paralysis of tradition. It exhausted itself in this impulse;
and it remained for realism to assert that fidelity to experience and
probability of motive are essentia