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 are widely conversant with its business, or preside over its religious, moral, or educational undertakings. I do not intend in the least to suggest that the artist should become propagandist or reformer, or that he should go to the bishop or the statesman for a commission, though I believe that Leonardo and Michael Angelo did some very tolerable things under direct inspiration of that nature. What one feels is rather that intercourse with such men might finally create in our artistic secessionists a consciousness of the ignobility of their aims. For in America it will be found more and more that the artist who does not in some fashion concern himself with truth, morals, and democracy, is unimportant, is ignoble.

In an unfinished world, where religion has become so largely a matter of traditional sentiments and observances, poetry has a work to do, poetry of any high seriousness. Our critics and poets of vision have long since recognized what that work is. 'I said to Bryant and to these young people,' wrote Emerson in his journal many years ago, 'that the high poetry of the world from the beginning has been ethical, and it is the tendency of the ripe modern mind to produce it.'—'I hate literature,' said Whitman, perhaps over-emphatically expressing the tra-