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law, of their own people. The idyllic form is best for domestic and pastoral poetry. It is naturally on a lower level than that of tragic or lyric verse. Its gentle and maidenly lips are somewhat narrow for the stream and somewhat cold for the fire of song. It is very fit for the sole diet of girls; not very fit for the sole sustenance of men.
When England has again such a school of poetry, so headed and so followed, as she has had at least twice before, or as France has now; when all higher forms of the various art are included within the larger limits of a stronger race; then, if such a day should ever rise or return upon us, it will be once more remembered that the office of adult art is neither puerile nor feminine, but virile; that its purity is not that of the cloister or the harem; that all things are good in its sight, out of which good work may be produced. Then the press will be as impotent as the pulpit to dictate the laws and remove the landmarks of art; and those will be laughed at who demand from one thing the qualities of another—who seek for sermons in sonnets and morality in music. Then all accepted work will be noble and chaste in the wider masculine sense, not truncated and curtailed, but outspoken and full-grown; art will be pure by instinct and fruitful by nature, no clipped and forced growth of unhealthy heat and unnatural air; all baseness and all triviality will fall off from it, and be forgotten; and no one will then need to assert, in defence of work done for the work's sake, the simple laws of his art which no one will then be permitted to impugn.
