of humour inseparable from the spectacle of beasts playing at being men; but the very fact that the moral is of men and the tale is of beasts involves a separation of the truth from its concrete embodiment, and besides the moral is stated by itself.  In the Oriental apologue an advance is made.  The parables of our Lord, in particular, are admirable examples of its method.  The characters are few, the situations common, the action simple, and the moral truth or lesson enforced is so completely clothed in the tale that it needs no explanation; at the same time, the mind is aware of the teacher.  In the higher forms of literature, however, the fusion of ethics with life may be complete.  Here the poet works so subtly that the mind is not aware of the illumination of this light which comes without the violence of the preacher, until after the fact; and, indeed, the effect is wrought more through the sympathies than the reason.  In such a case literature, though it conveys moral with other kinds of truth, is not open to the charge of didacticism, which is valid only when teaching is explicit and abstract.  The educative power of literature, however, is not diminished because in its art it dispenses with the didactic method, which by its very definiteness is inelastic and narrow; in fact, the more imaginative a character is, the more fruitful it may be even in moral truth; it may teach, as has been said, what the poet never dreamed his work contained.

If, then, to sum up the argument thus far, the subject-matter of literature is life in the forms of personality and experience, and the particular facts with respect to these are generalized by means of type and plot in concrete form, and so are set forth as phases of an ordered world for the intelligence, to the end that man may know himself in the same way as he knows nature in its living system—­if this be so, what standing have those who would restrict literature to the actual in life? who would replace ideal types of manhood by the men of the time, and the ordered drama of the stage by the medley of life?  They deny art, which is the instrument of the creative reason, to literature; for as soon as art, which is the process of creating a rational world, begins, the necessity for selection arises, and with it the whole question of values, facts being no longer equal among themselves on the score of actuality, nor in fitness for the work in hand.  The trivial, the accidental, the unmeaning, are rejected, and there will be no stopping short of the end; for art, being the handmaid of truth, can employ no other than the method of all reason, wherefore idealism is to it what abstraction is to logic and induction to natural science,—­the breath of its rational being.  Those who hold to realism in its extreme form, as a representation of the actual only, behave as if one should say to the philosopher—­leave this formulation of general notions and be content with sensible objects; or to the scientist—­experiment no more,