tragedy, the upholsterer must be subordinate, and velvet must not draw
our eyes away from faces.

I have digressed a little from my straight route because I wish to
guard the Principle of Vision from certain misconceptions which might
arise on a simple statement of it. The principle insists on the artist
assuring himself that he distinctly sees what he attempts to represent.
WHAT he sees, and HOW he represents it, depend on other principles. To
make even this principle of Vision thoroughly intelligible in its
application to all forms of Literature and Art, it must be considered
in connection with the two other principles--Sincerity and Beauty,
which are involved in all successful works. In the next chapter we
shall treat of Sincerity.

EDITOR.

CHAPTER IV.

THE PRINCIPLE OF SINCERITY.

It is always understood as an expression of condemnation when anything
in Literature or Art is said to be done for effect; and yet to produce
an effect is the aim and end of both.

There is nothing beyond a verbal ambiguity here if we look at it
closely, and yet there is a corresponding uncertainty in the conception
of Literature and Art commonly entertained, which leads many writers
and many critics into the belief that what are called "effects" should
be sought, and when found must succeed. It is desirable to clear up
this moral ambiguity, as I may call it, and to show that the real