it was effectual. Another century has passed; our language, in turn, is giving increment to the Continental tongues, and the need of an artificial Volapük may soon disappear before this eclectic universality.
The highest wisdom—that of ethics—seems Truth of ethical insight.closely affiliated with poetic truth. A prosaic moral is injurious to virtue, by making it repulsive. The moment goodness becomes tedious and unideal in a work of art, it is not real goodness; the would-be artist, though a very saint, has mistaken his form of expression. On the other hand, extreme beauty and power in a poem or picture always carry a moral: they are inseparable from a certain ethical standard; while vice suggests a depravity. Affected conviction, affection of any kind, and even sincere conviction inartistically set forth, are vices in themselves,—are antagonistic to truth. But the cleverest work, if openly vicious, has no lasting force. A meretricious play, after the first rush of the baser sort, is soon performed to empty boxes. Managers know this to be so, and what is the secret of it? Simply, that to cater to a Why baseness nullifies the force of art.sensual taste incessant novelty is required. Vice admits of no repose; its votary goes restlessly from one pleasure to another. Thus no form of vicious art bears much repetition: it satiates without satisfying; besides, any one who cares for art at all has some sort of a moral standard. He violates it himself, but does not care to see it violated in art as if upon principle.
