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In his "Poetic art MaxJacob** has argued that the virtues required of the artist, especiallymodern, by its very nature (in its capacity as a moral andaesthetic) is the goodness of the gospel. "Voluntary poverty, -he said, ' is a virtue aesthetic. Temperance is a virtueaesthetic. Chastity is a virtue aesthetic, deference isaesthetic virtue". "Fortitude, self-denial, obedience,discipline, humility" - are aesthetic virtues in the domain of art, butthey are also the essence of Christian virtue in the domain of moral life. All this means that the virtues of the artist as such similar ina certain respect, the dignity of man as such and, morespecifically, the virtues of the gospel, though humanly theyambivalent. Left to themselves, they can replace the artistthe dignity of the human, and specifically Christian; they may alsoto sound a call to these Christian virtues. For all itsambivalence they are, so to speak, in a relationship of sympathy withthe universe of true love and moral perfection. And of course, ifas a person the poet was not divided against itself, these advantagesbowed it would be akin to them the virtues and led him carefullyto hear their music.
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