"Here is Goethe: the horrified squealing of prudes is not yet silent over pages of Wilhelm Meister: that high and chaste book, the Elective Affinities, still pumps up oaths from clergymen. Walpurgis has hardly ceased its uproar over Faust. Out with Goethe!
"Here is Cervantes: open Don Quixote, paragon of romances, highest result of Spain, best and sufficient reason for her life among the nations, a laughing novel which is a weeping poem. But talk such as this of Sancho Panza and Tummas Cecial under the cork trees, and these coarse stories and bawdy words, and this free and gross comedy--is it to be endured? Out with Cervantes!
"And here is Lord Bacon himself, in one of whose pages you may read, done from the Latin by Spedding into a magnificent golden thunder of English, the absolute defense of the free spirit of the great authors, coupled with stern rebuke to the spirit that would pick and choose, as dastard and effeminate. Out with Lord Bacon!
"Not him only, not these only, not only the writers are under the ban. Here is Phidias, gorgeous sculptor in gold and ivory, giant dreamer of the Infinite in marble; but he will not use the fig-leaf. Here is Rembrandt, who paints the Holland landscape, the Jew, the beggar, the burgher, in lights and glooms of Eternity; and his pictures have been called 'indecent,' Here is Mozart, his music rich with the sumptuous color of all sunsets; and it has been called 'sensual.' Here is Michael Angelo, who makes art tremble with a new and strange afflatus, and gives Europe novel and sublime forms that tower above the centuries, and accost the Greek; and his works have been called 'bestial.' Out with them all!"
In his summing up, stirred to wrath by the low tone of contemporary comment, O'Connor proceeded to expound the philosophy of literary ideals:
"The level of the great books is the Infinite, the Absolute. To contain all, by containing the premise, the truth, the idea and feeling of all, to tally the universe by profusion, variety, reality, mystery, enclosure, power, terror, beauty, service; to be great to the utmost conceivability of greatness--what higher level than this can literature spring to? Up on the highest summit stand such works, never to be surpassed, never to be supplanted. Their indecency is not that of the vulgar; their vulgarity is not that of the low. Their evil, if it be evil, is not there for nothing--it serves; at the base of it is Love. Every poet of the highest quality is, in the masterly coinage of the author of Leaves of Grass, a kosmos. His work, like himself, is a second world, full of contrarieties, strangely harmonized, and moral indeed, but only as the world is moral. Shakespeare is all good, Rabelais is all good, Montaigne is all good, not because all the thoughts, the words, the manifestations are so, but because at the core, and permeating all, is an ethic intention--a love which, through mysterious, indirect, subtle, seemingly absurd, often terrible and repulsive, means, seeks to uplift, and never to degrade. It is the spirit in which authorship is pursued, as Augustus Schlegel has said, that makes it either an infamy or a virtue; and the spirit of the great authors, no matter what their letter, is one with that which pervades the Creation. In mighty love, with implements of pain and pleasure, of good and evil, Nature develops man; genius also, in mighty love, with implements of pain and pleasure, of good and evil, develops man; no matter what the means, that is the end.