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Shelley felt how incomplete our movement was in this respect, and has shown in one great tragedy by what terror and pity he would have purified our age; but in spite of THE CENCI the drama is one of the artistic forms through which the genius of the England of this century seeks in vain to find outlet and expression. He has had no worthy imitators.

It is rather, perhaps, to you that we should turn to complete and perfect this great movement of ours, for there is something Hellenic in your air and world, something that has a quicker breath of the joy and power of Elizabeth’s England about it than our ancient civilisation can give us. For you, at least, are young; ‘no hungry generations tread you down,’ and the past does not weary you with the intolerable burden of its memories nor mock you with the ruins of a beauty, the secret of whose creation you have lost. That very absence of tradition, which Mr. Ruskin thought would rob your rivers of their laughter and your flowers of their light, may be rather the source of your freedom and your strength.

To speak in literature with the perfect rectitude and insouciance of the movements of animals, and the unimpeachableness of the sentiment of trees in the woods and grass by the roadside, has been defined by one of your poets as a flawless triumph of art. It is a triumph which you above all nations may be destined to achieve. For the voices that have their dwelling in sea and mountain are not the chosen music of Liberty only; other messages are there in the wonder of wind-swept height and the majesty of silent deep – messages that, if you will but listen to them, may yield you the splendour of some new imagination, the marvel of some new beauty.

‘I foresee,’ said Goethe, ‘the dawn of a new literature which all people may claim as their own, for all have contributed to its foundation.’ If, then, this is so, and if the materials for a civilisation as great as that of Europe lie all around you, what profit, you will ask me, will all this study of our poets and painters be to you? I might answer that the intellect can be engaged without direct didactic object on an artistic and historical problem; that the demand of the intellect is merely to feel itself alive; that nothing which has ever interested men or women can cease to be a fit subject for culture.

I might remind you of what all Europe owes to the sorrow of a single Florentine in exile at Verona, or to the love of Petrarch by that little well in Southern France; nay, more, how even in this dull, materialistic age the simple expression of an old man’s simple life, passed away from the clamour of great cities amid the lakes and misty hills of Cumberland, has opened out for England treasures of new joy compared with which the treasures of her luxury are as barren as the sea which she has made her highway, and as bitter as the fire which she would make her slave.

But I think it will bring you something besides this, something that is the knowledge of real strength in art: not that you should imitate the works of these men; but their artistic spirit, their artistic attitude, I think you should absorb that.

For in nations, as in individuals, if the passion for creation be not accompanied by the critical, the aesthetic faculty also, it will be sure to waste its strength aimlessly, failing perhaps in the artistic spirit of choice, or in the mistaking of feeling for form, or in the following of false ideals.

For the various spiritual forms of the imagination have a natural affinity with certain sensuous forms of art – and to discern the qualities of each art, to intensify as well its limitations as its powers of expression, is one of the aims that culture sets before us. It is not an increased moral sense, an increased moral supervision that your literature needs. Indeed, one should never talk of a moral or an immoral poem – poems are either well written or badly written, that is all. And, indeed, any element of morals or implied reference to a standard of good or evil in art is often a sign of a certain incompleteness of vision, often a note of discord in the harmony of an imaginative creation; for all good work aims at a purely artistic effect. ‘We must be careful,’ said Goethe, ‘not to be always looking for culture merely in what is obviously moral. Everything that is great promotes civilisation as soon as we are aware of it.’