asis has been put on the form of expression,
not on the life expressed; and then reformers, like the Puritans and the
Quakers, have endeavored to exclude the arts from religion, lest they
should contaminate it. But the exclusion has been accomplished with
difficulty, and to maintain it has been impossible. It is neither an
accident, nor a sign of decadence, that painting and sculpture are
creeping back into the Protestant churches, to combine with poetry and
music in expressing the religious life of man. For the intellect alone
is inadequate either to express that life as it exists, or to call it
into existence where it does not exist. The tendency to ritual in our
time is a tendency not to substitute aesthetic for spiritual life, though
there is probably always a danger that such a substitution may be
unconsciously made, but to express a religious life which cannot be
expressed without the aid of aesthetic symbols. The work of the intellect
is to analyze and define. But the infinite is in the nature of the case
indefinable, and it is with the infinite religion has to do. All that
theology can hope to accomplish is to define certain provinces in the
illimitable realm of truth; to analyze certain experiences in a life
which transcends all complete analysis. The Church must learn to regard
not with disfavor or suspicion, but with eager acceptance, the
co-operation of the arts in the interpretation of infinite truth and the
expression of infinite life. Certainly we are not to turn our churches
into concert rooms or picture and sculpture galleries, and imagine that
aesthetic enjoyment is synonymous with piety. But as surely we are not to
banish the arts from our churches, and think that we are religious
because we are barren. All language, whether of painting, sculpture,
architecture, music, poetry, or oratory, is legitimately used to express
the divine life, as all the faculties, whether of painter, sculptor,
architect, musician, poet, orator, and philosopher, are to be used in
reaching after a more perfect knowledge of Him who always transcends and
always will transcend our perfect knowing.

Thus the study of poetry is the study of life, because poetry is the
interpretation of life. Poetry is not a mere instrument for promoting
enjoyment; it does not merely dazzle the imagination and excite the
emotions. Through the emotions and the imagination it both interprets
life and ministers to life. When the critic attempts to expr