The Altrurian assented, and I thought it a proof of the banker’s innate delicacy that he did not refer the matter, so far as it concerned the aesthetic life and work, to me; I was afraid he was going to do so. But he courteously proposed to keep the question impersonal, and he went on to consider it himself: “Well, I don’t suppose any one can satisfy you fully. But I should say that it put such men under a double strain, and perhaps that is the reason why so many of them break down in a calling that is certainly far less exhausting than business. On one side, the artist is kept to the level of the working-man, of the animal, of the creature whose sole affair is to get something to eat and somewhere to sleep. This is through his necessity. On the other side, he is exalted to the height of beings who have no concern but with the excellence of their work, which they were born and divinely authorized to do. This is through his purpose. Between the two, I should say that he got mixed, and that his work shows it.” None of the others said anything, and, since I had not been personally appealed to, I felt the freer to speak. “If you will suppose me to be speaking from observation rather than experience--” I began. “By all means,” said the banker, “go on;” and the rest made haste in various forms to yield me the word. “I should say that such a man certainly got mixed, but that his work kept itself pure from the money consideration, as it were, in spite of him. A painter or actor, or even a novelist, is glad to get all he can for his work, and, such is our fallen nature, he does get all he knows how to get: but, when he has once fairly passed into his work, he loses himself in it. He does not think whether it will pay or not, whether it will be popular or not, but whether he can make it good or not.” “Well, that is conceivable,” said the banker. “But wouldn’t he rather do something he would get less for, if he could afford it, than the thing he knows he will get more for? Doesn’t the money consideration influence his choice of subject?” “Oddly enough, I don’t believe it does,” I answered, after a moment’s reflection. “A man makes his choice once for all when he embraces the aesthetic life, or, rather, it is made for him; no other life seems possible. I know there is a general belief that an artist does the kind of thing he has made go because it pays; but this only shows the prevalence of business ideals. If he did not love to do the thing he does, he could not do it well, no matter how richly it paid.” “I am glad to hear it,” said the banker, and he added to the Altrurian: “So, you see, we are not so bad as one would think. We are illogically better, in fact.” “Yes,” the other assented. “I knew something of your literature as well as your conditions before I left home, and I perceived that by some anomaly the one was not tainted by the other. It is a miraculous proof of the divine mission of the poet.”