A new vision of life? No. A criticism of contemporary existence? Assuredly not. There remains the melody alone; and this, when once it is surpassed, will charm us little enough. We shall forget it then. Art brings in her revenges, and this will be of them.
But the new movement did not stop here. If, in the poet we have been discussing, we have found the voice among us that corresponds to the decadent voices of the failing Roman Republic, there has reached us from France another utterance, which I should be inclined to liken to the outspoken brutality of Restoration drama. Taste no longer fails on the ground of a delicate, weakly dalliance, it begins to see its own limitations, and springs to the opposite pole. It will now be virile, full of the sap of life, strong, robust, and muscular. It will hurry us out into the fields, will show us the coarser passions of the common farm-hand; at any expense it will paint the life it finds around it; it will at least be consonant with that standard of want of taste which it falsely believes to be contemporary. We get a realistic fiction abroad, and we begin to copy it at home. We will trace the life of the travelling actor, follow him into the vulgar, sordid surroundings which he chooses for the palace of his love, be it a pottery-shed or the ill-furnished lodging-room with its black horsehair sofa—we will draw them all, and be faithful to the lives we live. Is that the sort of literature that will survive the trouble of the ages? It cannot survive. We are no longer untrue to our time, perhaps, if we are to seek for the heart of that time in the lowest and meanest of its representatives; but we are untrue to art, untrue to the record of our literary past, when we are content to turn for our own inspiration to anything but the best line of thought, the highest school of life, through which we are moving. This grosser realism is no more representative of its time than were the elaborate pastiches of classical degradation; it is as though one
