Oscar Wilde: Essays and Lectures

THE ENGLISH RENAISSANCE OF ART 1. THE ENGLISH RENAISSANCE OF ART (continued)

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.'