Poems were written to prove that the practice of virtue was an investment for another world, and that whoever followed the advice found in those solemn, insincere and lugubrious rhymes, although he might be exceedingly unhappy in this world, would with great certainty be rewarded in the next. These writers assumed that there was a kind of relation between rhyme and religion, between verse and virtue; and that it was their duty to call the attention of the world to all the snares and pitfalls of pleasure. They wrote with a purpose. They had a distinct moral end in view. They had a plan. They were missionaries, and their object was to show the world how wicked it was and how good they, the writers, were. They could not conceive of a man being so happy that everything in nature partook of his feeling; that all the birds were singing for him, and singing by reason of his joy; that everything sparkled and shone and moved in the glad rhythm of his heart. They could not appreciate this feeling. They could not think of this joy guiding the artist's hand, seeking expression in form and color. They did not look upon poems, pictures, and statues as results, as children of the brain fathered by sea and sky, by flower and star, by love and light. They were not moved by gladness. They felt the responsibility of perpetual duty. They had a desire to teach, to sermonize, to point out and exaggerate the faults of others and to describe the virtues practiced by themselves. Art became a colporteur, a distributer of tracts, a mendicant missionary whose highest ambition was to suppress all heathen joy. Happy people were supposed to have forgotten, in a reckless moment, duty and responsibility. True poetry would call them back to a realization of their meanness and their misery. It was the skeleton at the feast, the rattle of whose bones had a rhythmic sound. It was the forefinger of warning and doom held up in the presence of a smile. These moral poets taught the "unwelcome truths," and by the paths of life put posts on which they painted hands pointing at graves. They loved to see the pallor on the cheek of youth, while they talked, in solemn tones, of age, decrepitude and lifeless clay. Before the eyes of love they thrust, with eager hands, the skull of death. They crushed the flowers beneath their feet and plaited crowns of thorns for every brow. According to these poets, happiness was inconsistent with virtue. The sense of infinite obligation should be perpetually present. They assumed an attitude of superiority. They denounced and calumniated the reader. They enjoyed his confusion when charged with total depravity. They loved to paint the sufferings of the lost, the worthlessness of human life, the littleness of mankind, and the beauties of an unknown world. They knew but little of the heart. They did not know that without passion there is no virtue, and that the really passionate are the virtuous.