The Preface

The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim. The critic is he who can translate into another manner or a new material his impression of beautiful things.

The artist creates beautiful things. The aim of art is to reveal art and conceal the artist. The critic expresses their impression of beautiful things in a different form or a new medium.

The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.

The highest and lowest forms of criticism are both ways of writing about oneself. People who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.

Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty.

People who find beautiful meanings in beautiful things are refined. There is hope for them. They are the chosen ones, for whom beautiful things mean only beauty.

There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.

There is no such thing as a moral or immoral book. Books are either well written or badly written. That is all.

The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.

The nineteenth century’s dislike of realism is like Caliban’s rage at seeing his own face in a mirror.

The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.

The nineteenth century’s dislike of romanticism is the rage of Caliban when he does not see his own face in a mirror. Human moral life is part of an artist’s subject matter. But the morality of art lies in the perfect use of an imperfect medium. No artist wants to prove anything. Even true things can be proved. No artist has moral sympathies. Moral sympathy in an artist is an unforgivable affectation of style. No artist is ever morbid. The artist can express everything. Thought and language are tools of the artist’s craft. Vice and virtue are materials for that craft. In form, music is the model for all the arts. In feeling, acting is the model. All art is both surface and symbol. Those who look beneath the surface do so at their own risk. Those who interpret the symbol do so at their own risk. Art truly reflects the viewer, not life. Different opinions about a work of art show that the work is new, complex, and vital. When critics disagree, the artist is at peace with himself. We can forgive a man for making something useful as long as he does not admire it. The only excuse for making something useless is that one admires it intensely.

All art is quite useless.

All art is completely useless.

OSCAR WILDE

OSCAR WILDE