order of all things is surely sustained and vitally expanded, and although with strange vacillation, in the eyes of the watcher, the morning cometh, and also the night, there is no hour of human existence that does not draw on towards the perfect day." For our own part let us examine a little into the relation between art and morality for ourselves. When we hear it asserted that morality has nothing to do with art and that moral considerations are quite beside the mark in æsthetic criticism and judgment, such a statement is simply equivalent to saying that actual life has nothing to do with art. The main demand that we can make from art of all kinds is the demand of truth. Truth is beauty, and beauty is truth. By truth in this connection we mean that higher and more ideal truth which is inherent in the realities of things and contained by them, but which is brought out, explained, made credible, and visible by the artist in this or that sphere of art, and through the process of his art purified from the accidental obscurities which cloud it and hide it in the realm of actual life. If we are to demand truth from the artist, and let us always remember, as Keats realised so strongly, that in demanding truth we demand beauty also, we must insist that the artist must give us nothing in which a false psychology obtains, must, for example, paint no passions that do not occur in actual life. It is, therefore, equally necessary, on a logical conclusion, that when the subject of a work of art requires it, the moral should be represented as it really is--that is, according to its truth--and that the moral law should not be misrepresented. If we require of the artist that he should give a vivid representation of the illusions of human life, of the struggles and rivalries of men for objects and ends of imaginary value, we must equally demand of the artist that he should know and be capable of describing that which alone has true and absolute value in human life. Surely it is a truism that every drama from beginning to end contains a moral. It is a lie that art is immoral or can by its very nature ever be so. To say so, to pretend that art has a separate existence, is to say something which even the most brilliant paradox cannot prove and which immediately suggests to the mind of the thinking man an apologia or reason for licence of personal conduct. As a great German writer on æsthetics and the relation to the ethics has said, all human actions do of necessity presuppose a norm, a rule to which they conform, or from which they depart; and there is nothing which can be represented, whether as criminal or as ridiculous, or as an object of irony, otherwise than under this assumption. Hence every artist enforces some kind of morality, and morality accordingly becomes of chief moment for æsthetic judgment.