said, 'Art is art, because it is not nature!' It brings us near to the archetypal ideas themselves, and away from nature, which is but their looking-glass. III In _La Peau de Chagrin_ Balzac spends many pages in describing a coquette, who seems the image of heartlessness, and then invents an improbable incident that her chief victim may discover how beautifully she can sing. Nobody had ever heard her sing, and yet in her singing, and in her chatter with her maid, Balzac tells us, was her true self. He would have us understand that behind the momentary self, which acts and lives in the world, and is subject to the judgment of the world, there is that which cannot be called before any mortal Judgment seat, even though a great poet, or novelist, or philosopher be sitting upon it. Great literature has always been written in a like spirit, and is, indeed, the Forgiveness of Sin, and when we find it becoming the Accusation of Sin, as in George Eliot, who plucks her Tito in pieces with as much assurance as if he had been clockwork, literature has begun to change into something else. George Eliot had a fierceness one hardly finds but in a woman turned argumentative, but the habit of mind her fierceness gave its life to was characteristic of her century, and is the habit of mind of the Shakespearian critics. They and she grew up in a century of utilitarianism, when nothing about a man seemed important except his utility to the State, and nothing so useful to the State as the actions whose effect can be weighed by the reason. The deeds of Coriolanus, Hamlet, Timon, Richard II. had no obvious use, were, indeed, no more than the expression of their personalities, and so it was thought Shakespeare was accusing them, and telling us to be careful lest we deserve the like accusations. It did not occur to the critics that you cannot know a man from his actions, because you cannot watch him in every kind of circumstance, and that men are made useless to the State as often by abundance as by emptiness, and that a man's business may at times be revelation, and not reformation. Fortinbras was, it is likely enough, a better King than Hamlet would have been, Aufidius was a more reasonable man than Coriolanus, Henry V. was a better man-at-arms than Richard II., but after all, were not those others who changed nothing for the better and many things for the worse greater in the Divine Hierarchies? Blake has said that 'the roaring of lions, the howling of wolves, the raging of the stormy sea, and the destructive sword are portions of Eternity, too great for the eye of man,' but Blake belonged by right to the ages of Faith, and thought the State of less moment than the Divine Hierarchies. Because reason can only discover completely the use of those obvious actions which everybody admires, and because every character was to be judged by efficiency in action, Shakespearian criticism became a vulgar worshipper of Success. I have turned over many books in the library at