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 expression for expression's sake. I have now and have always had a lively interest in the arts of expression; and yet I am not conscious of any alteration in my ancient conviction that all human activities have, up their sleeves, an ulterior object and ultimate justification in happier living; and that it is rather specially the "function" of critics to be engaged in an incessant untiring exploration in quest of "the good life."

The important change of which I am conscious is in the intensity of my conviction that no man should state very emphatically what "the good life" is until he has found it. Too much theory about it and too many preconceptions obscure the vision. The best criticism is of a concrete and inductive habit. The wise critic attempts on all possible occasions to keep his theoretical and didactic mouth shut and all his other faculties open, here, there, and everywhere, for all the reports and rumors of positive charm and joy in things and people, as the most indubitable tokens that they are participators in some degree of that "good life" which he is seeking.

A suspense of judgment regarding the complete outlines of the ideal, need involve no abdication of discrimination and judgment. But these elements in the critic's report will, in proportion as the report itself becomes "artistic," be more and more implicit, will be conveyed insensibly along with the characterization of the subject, will be felt by the reader immediately as elements in his own response to the subject.

In my exploration for the "virtues" of men, I have learned that patient search usually discovers some refreshing virtue wherever there has been exhibited any unusual display of energy. As I revisit my three little galleries, I am impressed by the abundance and variety