This is all very amusing, and I don’t know that the case upon that side could be better stated, except that it is overstated; for, if this be true, there ought to be no such thing as criticism at all, and all rules are worse than useless.  Everybody may do as he pleases.  And yet we know that not only is there a right way and a wrong of painting a picture, writing a book, making a building, or composing a symphony, but there are rules which, if disobeyed, will destroy the work.  These rules, apparently artificial, have their foundation in nature, and were first dictated by her.  Only we must be careful still to appeal constantly to her as the source and fountain of our rules.

   “First follow nature, and your judgment frame
   By her just standard, which is still the same,
   Unerring nature, still divinely blight,
   One clear, unchanged, and universal light,
   Life, force, and beauty must to all impart,
   At once the source, and end, and test of art.”

By too much attention to theory, by too close a study of books, we may become narrow-minded and pedantic, and gradually may become unable to appreciate natural beauties, our whole attention being concentrated on the defects in art.  We want to listen to the call of the poet,

   “Come forth into the light of things,
   Let nature be your teacher.”

It is nature that mellows and softens the distance, and brings out sharply the lights and shadows of the foreground, and the artist must follow her if he would succeed.  It is nature who warbles softly in the love notes of the bird, and who elevates the soul by the roar of the cataract and the pealing of the thunder.  To her the musician and the poet listen, and imitate the great teacher.  It is nature who, in the structure of the leaf or in the avenue of the lofty limes, teaches the architect how to adorn his designs with the most graceful of embellishments, to rear the lofty column or display the lengthening vista of the cathedral aisle.  It is nature who is teaching us all to be tender, loving, and true, and to love and worship God, and to admire all His works.  Let us then in our criticism refer everything first of all to nature.  Is the work natural?  Does it follow nature?  Secondly, does it follow the rules of art?  If it passes the first test, it is well worth the courteous attention of the critic.  If it passes both tests, it is perfect.  But if only the second test is passed, it may please a few pedants, but it is worthless, and cannot live.

6. Criticisms should be bona fide.

You will be rather alarmed at a lawyer beginning this topic, and will expect to hear pages of “Starkie on Libel,” or to have all the perorations of Erskine’s speeches recited to you.  For one terrible moment I feel I have you in my power; but I scorn to take advantage of the position.  I don’t mean to talk about libel at all, or, at least, not more than I can help.  I have been