The relation between one and the other is also clearly a relevant matter for discussion. But the confusion of one with the other is fatal. In the field of morals we are perhaps led astray in our judgments even more frequently than in matters of politics. Mr. Shaw's plays are often denounced by critics whom they have made laugh till their sides ached, and the reason is that, after leaving the theatre, the critics remember that they do not like Mr, Shaw's moral ideas. In the same way, it seems to me, a great deal of the praise that has been given to Mr. D.H. Lawrence as an artist ought really to be given to him as a distributor of certain moral ideas. That he has studied wonderfully one aspect of human nature, that he can describe wonderfully some aspects of external nature, I know; but I doubt whether his art is fine enough or sympathetic enough to make enthusiastic anyone who differs from the moral attitude, as it may be called, of his stories. This is the real test of a work of art--has it sufficient imaginative vitality to capture the imagination of artistic readers who are not in sympathy with its point of view? The _Book of Job_ survives the test: it is a book to the spell of which no imaginative man could be indifferent, whether Christian, Jew or atheist. Similarly, Shelley is read and written about with enthusiasm by many who hold moral, religious, and political ideas directly contrary to his own. Mr. Kipling's _Recessional_, with its sombre imaginative glow, its recapturing of Old Testament prides and fears, commands the praise of thousands to whom much of the rest of his poetry is the abominable thing. It is the reviewer's task to discover imagination even in those who are the enemies of the ideas he cherishes. In so far as he cannot do this, he fails in his business as a critic of the arts.