BETTER MEN.—They tell me that our art is meant for the men of the present day, these greedy, unsatisfied, undisciplined, disgusted, and harassed spirits, and that it exhibits to them a picture of happiness, exaltation, and unworldliness beside that of their own brutality, so that for once they may forget and breathe freely; nay, perhaps find that they may derive some encouragement towards flight and conversion from that oblivion. Poor artists, with such a public as this; half of whose thoughts require the attention of a priest, and the other half the attention of an alienist! How much happier was Corneille—“Our great Corneille!” as Madame de Sévigné exclaimed, with the accent of a woman in the presence of a whole man,—how far superior was his audience, which he could please with pictures of chivalric virtues, strict duty, generous devotion, and heroic self-denial! How differently did he and they love existence, not as coming from blind and confused “will,” which we curse because we cannot destroy it; but loving existence as a place, so to speak, where greatness joined with humanity is possible, and where even the greatest restraint of form, such as submission to the caprice of priests and princes, could not suppress either the pride, chivalric feeling, the grace or the intellect of individuals, but could, on the contrary, be felt as a charm and incentive, as a welcome contrast to innate self-glorification and distinction and the inherited power of volition and passion. 192.