Some writers think about the life of books as some savages think about the life of men—that there are books which never die. They all die sooner or later; but that will not hinder an author from trying to give his book as long a life as he can get for it. The fact that it will have to die is no valid reason for letting it die sooner than can be helped. Criticism Critics generally come to be critics by reason not of their fitness for this but of their unfitness for anything else. Books should be tried by a judge and jury as though they were crimes, and counsel should be heard on both sides. Le Style c’est l’Homme It is with books, music, painting and all the arts as with children—only those live that have drained much of their author’s own life into them. The personality of the author is what interests us more than his work. When we have once got well hold of the personality of the author we care comparatively little about the history of the work or what it means or even its technique; we enjoy the work without thinking of more than its beauty, and of how much we like the workman. “Le style c’est l’homme”—that style of which, if I may quote from memory, Buffon, again, says that it is like happiness, and “vient de la douceur de l’âme” {107}—and we care more about knowing what kind of person a man was than about knowing of his achievements, no matter how considerable they may have been. If he has made it clear that he was trying to do what we like, and meant what we should like him to have meant, it is enough; but if the work does not attract us to the workman, neither does it attract us to itself. Portraits A great portrait is always more a portrait of the painter than of the painted. When we look at a portrait by Holbein or Rembrandt it is of Holbein or Rembrandt that we think more than of the subject of their picture. Even a portrait of Shakespeare by Holbein or Rembrandt could tell us very little about Shakespeare. It would, however, tell us a great deal about Holbein or Rembrandt. A Man’s Style A man’s style in any art should be like his dress—it should attract as little attention as possible. The Gauntlet of Youth Everything that is to age well must have run the gauntlet of its youth. Hardly ever does a work of art hold its own against time if it was not treated somewhat savagely at first—I should say “artist” rather than “work of art.” Greatness in Art If a work of art—music, literature or painting—is for all time, it must be independent of the conventions, dialects, costumes and fashions of any time; if not great without help from such unessential accessories, no help from them can greaten it. A man must wear the dress of his own time, but no dressing can make a strong man of a weak one. Literary Power They say the test of this is whether a man can write an inscription. I say “Can he name a kitten?” And by this test I am condemned, for I cannot. Subject and Treatment