I have said this much because I think that it is in a perversion of these principles that we shall find some of the temptations to which the author is in these days most liable. I can only glance at them briefly. One perversion, for example, is indicated by the common use of the phrase "realism". This word has various meanings; but the commonest, perhaps, would not be misrepresented by saying that it involves a confusion between the functions of the man of science and the poet. In a scientific sense, it is a sufficient reason for setting forth any theory that you believe it to be true. The facts which you describe may be hideous and revolting: it is not the less desirable that they should be accurately known. The poet and novelist may be equally justified in taking hideous and revolting facts into account. That, for example, is the duty of a satirist; and I am not at all concerned to say that satire is illegitimate--I think it perfectly legitimate. I should be the last to assert that a writer should confine himself to such facts as can be discussed with decency in presence of a young ladies' school. On the contrary, I think that, if not the most enviable privilege, it is sometimes a duty of the novelist to set forth vice and crime, and even, it may be, to set them forth in impressive and startling shapes. It is his duty to represent them truly and to make them intelligible; to show how they may be natural, and not to misrepresent even a villain. All I say is, that he should also recognise the fact that they are hideous and revolting. And, therefore, this is no excuse for the man who really dwells upon such facts, not because they are facts, but because he knows that such descriptions are the easiest way of attracting morbid tastes; and that he can get a readier market by being irreverent and indecent than by other expedients. To defend such work on the excuse of realism is simply to indulge in a bit of contemptible humbug, too transparent to need exposure. The purpose of an artist, you say, is to give pleasure, not to preach. That is perfectly true; but to give pleasure to whom? If it is to give pleasure to the prurient, to the cynical, to the debauchee, to give the kind of pleasure which, to a pure-minded man, is pain, and of which even the blackguard is ashamed, then I will not quarrel over words, and ask whether it can be truly artistic, but I will simply reply that I should have a greater respect for a man who lived by picking pockets. But, you reply, it requires a great deal of skill. So does picking pockets, and so do some other kinds of human energy which I need not particularise. If the ethical judgment be really irrelevant æsthetically, the æsthetic judgment must be irrelevant ethically. If that doctrine be true, we are, therefore, quite at liberty to say that a thing may be beautiful and at the same time blackguardly and beastly. I will, however, express my own conviction, that what is disgusting to a