mid-Victorian novels is that they are incurably ugly and sentimental.
Novelists had not yet discovered that the first business of a work of art
is to be beautiful, and its second not to be sentimental.

ARTISTS AND MONEY

[_6 Oct. '10_]

A month ago, apropos of the difficulties of running a high-class literary
periodical, I wrote the following words: "Idle to argue that genuine
artists ought to be indifferent to money! They are not. And what is still
more curious, they will seldom produce their best work unless they really
do want money." This pronouncement came at an unfortunate moment, which
was the very moment when Mr. Sampson happened to be denying, with a
certain fine heat, the thesis of Lord Rosebery that poverty is good for
poets. Somebody even quoted me against Mr. Sampson in favour of Lord
Rosebery. This I much regret, and it has been on my mind ever since. I do
not wish to be impolite on the subject of Lord Rosebery. He is an ageing
man, probably exacerbated by the consciousness of failure. At one
time--many years ago--he had his hours of righteous enthusiasm. And he has
always upheld the banner of letters in a social sphere whose notorious
proud stupidity has been immemorially blind to the true function of art in
life. But if any remark of Lord Rosebery's at a public banquet could
fairly be adduced in real support of an argument of mine, I should be
disturbed. And, fact, I heartily agreed with Mr. Sampson's demolishment of
Lord Rosebery's speech about genius and poverty. Lord Rosebery was talking
nonsense, and as with all his faults he cannot be charged with the
stupidity of his class, he must have known that he was talking nonsense.
The truth is that as the official mouthpiece of the nation he was merely
trying to excuse, in an official perfunctory way, the inexcusable
behaviour of the nation towards its artists.

* * * * *

As regards my own assertion that genuine artists will seldom produce their
best work unless they really do want money, I fail to see how it conspires
with Lord Rosebery's assertion. Moreover, I must explain that I was not
thinking of poets. I was thinking of prose-writers, who do have a chance
of making a bit of money. Money has scarcely any influence on the activity
of poets, because they are aware that, no matter how well they succeed,
the chances are a million to one against any appreciable monetary reward.
An extreme lack of money will, of co