can see Florence. But if not, by all means amuse yourself there, if you find it amusing, as long as you like; you can never see it."
So Florence with all its loveliness is lost to you, unless you can sufficiently sympathize with one small fresco. It would be as reasonable to say that all English literature is lost to you, unless you truly enjoy "Comus;" that all music is lost to you, unless you delight in "Parsifal." It is the special privilege of ethical criticism to take this exclusive and didactic form; to bid you admire a thing, not because it is beautiful in itself, but because it has a subtle lesson to convey,—a lesson of which, it is urbanely hinted, you stand particularly in need. On precisely the same principle, you are commanded to cleave to Tolstoï, not because he has written able novels, but because those novels teach a great many things which it is desirable you should know and believe; you are bidden to revere George Meredith, not because he has given the world some brilliant and captivating books, but because these books contain a tonic element fitted for your moral reconstruction. If you do not sufficiently value these admirable lessons, then you are told, in
