Note † — Chapter XXXIV · The Two Uses of Language

3. Truth may be equivalent to Sincerity. This character of the artist’s work we have already touched upon briefly in connection with Tolstoy’s theory of communication (Chapter XXIII). It may perhaps be most easily defined from the critic’s point of view negatively, as the absence of any apparent attempt on the part of the artist to work effects upon the reader which do not work for himself. Too simple definitions must be avoided. It is well known that Burns in writing ‘Ae fond kiss’ was only too anxious to escape Nancy’s (Mrs Maclehose’s) attentions, and similar instances could be multiplied indefinitely. Absurdly naive views upon the matter† exemplified by the opinion that Bottomley must have believed himself to be inspired or he would not have moved his audiences, are far too common. At the level at which Bottomley harangued any kind of exaltation in the orator, whether due to pride or to champagne, would make his stuff effective. But at Burns’ level a very different situation arises. Here his probity and sincerity as an artist are involved; external circumstances are irrelevant, but there is perhaps internal evidence in the poem of a flaw in its creating impulse. Compare as a closely similar poem in which there is no flaw, Byron’s ‘When we two parted’.