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"In a survey of the tendencies of the

Hansi's Satire on Germore ambitious modern novel which the

man Culture. present reviewer wrote last July, he sug

ATE MELDRAM BUSS calls gested three reasons for the failure of

attention, in the new Cornhill our young novelists to escape from the Booklet, to Professor Knatschké, obsession of the social document, the cru that amazing compatriot of Treitschke sade, the biological and scientific exposi- and Nietzsche, whose creator, Johann tion and the imaginative history into the Jacob Waltz, better known as the Alobjective, impersonal and universal prov- satian caricaturist “Hansi," narrowly ince of the work of art. These reasons were, in the first place, autobiographical escaped severe punishment in Leipsig choice of material in which the novelist just prior to the outbreak of the war expressed life, not in the terms of its for publishing his drawing of the proartistic valuation, but in the terms of

fessor and the latter's views on French himself; in the second place, the photo- culture. “Professor Knatschké," we are

1.95 NK graphic method, in which the writer at informed, is a near-sighted German tempts to reproduce the exact lineaments pedagog's analytical summary of the of a social picture, not by husbanding French people, substantiated by a two

AS IT STRIKES HANSI measuring and correlating his resources, days' visit to Paris.

The sentimentalism of academic art in Gerbut by Ainging them on to his canvas in

the Alsatian satirist sees it, can an uncritical bulk; and, in the third place,

best be appreciated in this touching portrayal "Prof. Dr. Wilhelm Siegfried Knatsch

of a sick puppy. a formlessness which uses style not as a

ké-Koenigsberg writes of men and morals, precise adjustment of language to mean

of custom and tradition, of tendency and

consummation, in deliciously naïve igno- humanity to the inhumanity of nature. va

rance of any one of his subjects, and in The brief warm days of life are too
utter disregard for the varying fillip of precious to be lost. The critic of
white grape and hop. To all appearances the Saturday Review thus interprets
it is Professor Knatschké who is writing Hardy's message in his latest poems:
the book, not Hansi, and he condescends
to publish his Germanically-tilted deduc “These 'Satires of Circumstance' are
tions for the enlightenment of his broth-

filled with regret for perished associations ers in Alsace who persist in preferring and opportunities. They lasted for a Gallic foible to Teutonic perfection. He

moment; were neglected or destroyed, and wanders about Paris, finding it, in so short remembered ever after with regret. 'The a time as it takes to walk from the Ma

pity of it, Iago; the pity of it!' threads deleine to the Porte Saint-Martin-de

these 'Satires' through and through. Mr. praved, impolite, and inefficient.”

Hardy's cold nescience of all that comes

before and after the lives of his people Hansi also includes in this volume, only makes their moral contacts more which is published by Floury (Paris), warm and close. There is another consethe diary of the professor's daughter quence, too. In the presence of a power

a visit to Alsatian relatives. So which looks unmoved upon succeeding biting and so biased—from the Ger- generations, life is necessarily reduced to man point of view at least-are the

an extreme simplicity. Mr. Hardy's tales writings and drawings of Hansi that

are changes rung upon the themes of these books have been characterized as

birth, marriage, death, the meeting and

passing of lovers. Not half a dozen pages veritable prologs of the present rupture of this present book would remain were between France and Germany. “Mon we to take out these elemental things. It Village” is said to be even more in- is this more than anything else which discendiary than “Professor Knatschké.” tinguishes Mr. Hardy from his contem

poraries. He has stood and lived apart

from this clever and busy age, which KNATSCHKE IN PARIS

The Unique Outlook

of Thomas Hardy. handles all things and prys into the small Because he depicted German "Kultur" in this fashion, Ilansi aroused a storni of protest, and

OINCIDENT with the actual detail of life. His work is essentially unwas banished from Leipsig just before the war

production of "The Dynasts” on dated; and in that it is unlike the work of

the stage under the direction of any living author."

Granville Barker is the publication of ing, not as an integral and inevitable in- Thomas Hardy's latest volume of verse,

There are some awkward and unterpretation of the subject-matter, but

“Satires of Circumstance” (Macmil- musical lines in this volume, the Chidecoratively-as a kind of frill to the solid cutlet of realistic presentment. Now, lan); The title is typical of Hardy, cago Evening Post notes, but Hardy is Mr. Mackenzie, tho his work has gained recalling “Life's Little Ironies” and nevertheless the wisest, most seasoned vastly in sureness, distinction and deli “Time's Laughingstocks" to a writer and tenderest poet in England. It is a cacy of perception, has still left these in the London Saturday Revicw. "We mistake to see in him only the disilluproblems sub judice. His style does in- enter at once into a world where some sioned critic. deed triumph over the immediate issue. small fit of passion—the misdating or But it is centripetal; it absorbs only the tearing of a letter, or some silly error "Much, indeed, of life and illusion one matter in hand; it works by a kind of in the place or time of a tryst—deter- must leave behind when entering Mr. relief system, passing disjointedly, like a

mines the tragedy or comedy of human Hardy's drab portal, but once through it, commercial traveler, from one territory lives." We are made to contemplate,

one gains a positive sense of beauty, a to another. It does not embrace a synthesis or illustrate the significance of an the same writer points out, the freaks pervading atmosphere of quiet tenderness

and a realization of human love-deep beentity; and tho we may accept Michael as of a destiny whose caprice is the re

yond sentimentality—that will more than an objective reality, he is still unidentified

sult of an immense indifference. Life solace the mind for the insubstantial bubwith the cosmic truths and realities of is cruel enough, Hardy seems to say in bles that Mr. Hardy so gently, yet none life; he is still a projection of his crea his old age, without man adding in- the less fatally, pricks."




broke out.

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AX EASTMAN, author of or combined; but how to draw a single all like to see expressed?. Whereas, if
“The Enjoyment of Poetry,”. human perception he has not the slightest you delve down into those passions which
and editor of The Masses,

are deep and elemental, you find thou-
"Nor does he need one, for his accurate sands who will resent your manner of ex-
has attempted a diagnosis of
magazine art in America. reproductions in skilful perspective give pressing them; and if you drift out into

certain rudimentary satisfaction to those veins of feeling which are highHe blames the prevailing system of

everybody—the satisfaction, namely, of wrought, and subtle, and not to be named journalism and the tremendous divi- saying, 'My, ain't that a good likeness !” with names, you will find that people difdends that accrue to the stockholders in

fer so much in these feelings that one the modern American magazines for the commercialization of magazine art.

But human vision is not photograph- will be attuned to one picture and another ical. Real drawing, says Mr. Eastman, the old constituency while you are at

to another, and there is danger of losing The artist, like the editor, says Max

is a progress away from knowledge tracting the new. Eastman, is “economically determined.”

And thus it is more about things toward experience of profitable to hammer away upon the tonic His diagnosis—we find it in The Masses -is this: "It is business art. It does things, away from abstraction toward chord of ordinary humane feeling, where

concrete perception. The photograph, we are all alike, and will go patiently out not aim to achieve the beautiful, the

and photographic art, it appears, have and pay down our fifteen cents for the real, the ideal, the characteristic, the

little in common with actual human same old song." perfect, the sublime, the ugly, the gro

vision. He explains: tesque, the harmonious, the symmet

But if the magazine art of the presrical, or any other of those ends that

ent has sunk into the depths of comvarious schools of art and art criticism

“When we look at an object we allow mercialism, the art of the future—and

our own character, our memories, predi- the future never surrenders interest for have with similar merit set before them. It aims to achieve profits in competition. termine what we shall see and how we lections, interests, emotions, ideas, to de

the editor of The Masses—will possess And any or all of those genuinely ar

all those admirable qualities that are shall see it. We do something. We go tistic aims are subordinated to that." out and seize the salient details of the missing in the magazines of to-day. The artistic failure of magazine art object, and we over-emphasize, and per

And to bring about this ideal state, is all the more lamentable, the editor of fect, and condense, and alter, and mutilate, editors less than artists must The Masses points out, because drawing and idealize-in short, we perform the change their point of view. Editors ought to be the most democratic of the creative act of perception. And when will live "the experimental life.” fine arts. The magazines are missing artists draw creatively, when they draw

“Fear and failure of the spirit with individuality, as we say, and with a fine opportunity. “Drawing is des

of adventure are the death of art. freedom, they are simply coming nearer tined to a high place among the arts,

Recklessness is its life.” Editorial art to that natural act of ours. They are for drawings, like music, can be adecoming nearer to real experience.

is to arise and cast out the spirit of quately reproduced and widely distrib

“Great artists have always drawn in this

commercial timidity. The spirit of free uted. And while this has appeared a way. There is nothing modern that de and genuine sport is to prevail in edidetriment in the light of aristocratic parts more freely from what we know torial sancta. The revolutionary editor ideals, in the light of democracy it is the human proportions to be than the concludes: a fine virtue. The ideal of democracy drawings of Michael Angelo. There is has indeed given to many artists of our nothing less like a photograph than the

“It is our part, however, to point out

that not the painting of any particular day a new interest in drawing. Some sketches of Leonardo.”

truths will distinguish the art of the fuof the best painters in America would

ture, but the freedom to paint them alldraw for the popular magazines if pop

Obvious and conventional emotions a freedom which carries untold possibilular magazine editors had an interest of average and conventional folk (“with ities and untold dangers. If the new love in true art.”

coins in their pockets”), these are the of this freedom has arisen in artists who In support of his contention, Max only feelings ever expressed in our are big enough to stand it, then we are Eastman examines the prevailing fea more popular magazine drawings, de on the verge of a great era in popular art.

But if these artists prove only little bantures of popular magazine art in Amer- clares Max Eastman. And he enumer

tams, who have their heads turned the ica. The effort to please everybody a ates the few typical changes that are

first time they find out they can crow-it little and to displease none, he asserts, rung on the threadbare themes:

is vain to hope for anything but a new has resulted in the persistence of a

series of monomanias. The fetters are childlike aim to be photographic.

Wistfulness in a pretty girl-indicated removed—the wings are free—there is by arching her eyebrows clear up into

for untrammeled and universal “Magazine art tends to be photographic. her hair.

genius. But self-infatuation, attitudinizBy which I mean that it tries to reproduce JAdventurous altho stylish athleticism ing, artificiality of technique, erotic atevery portion of a figure, as seen from a in a young man-indicated in the jaw and tachment to a queer subject matter, these certain point, with mechanical preciseness pants.

internal fetters are as quick and sure -eliminating all those lights and shadows, "Romance in the meeting of the two death to liberty as academic custom or emergings and recedings, suppressions indicated by his gazing upon the earth, ancestor worship. and distortions of external reality which she upon infinity.

"If intelligence is given its sovereignty, the individual human factor puts into a Pathos of old age-indicated with and if men of universality arise, the twenperception. The trained magazine artist bending knees or a market basket.

tieth century will see an age of art and has carefully destroyed all his own warm "Sweet and divine innocence of chil- poetry surpassing that of Elizabeth, beand lovable idiosyncrasies, and turned drenusually indicated in the stockings. cause to the splendid paganism and great himself into a reproducing machine which “These are the principal sentiments ap- ' gusto of the free in those days will be can ‘go over' a canvas from top to bottom, pealed to. And I would not suggest that added the ideals and the achievements of and ‘put in' with unerring accuracy every these sentiments are of any less intrinsic science and democracy. But if intellithing that 'ought to be there. He is a worth than others, only why ding-dong gence is renounced for temperament, if highly skilled person. He knows how to upon them perpetually, page after page, Art and not Life becomes the center of draw men, horses, buttons, pants, books, and month after month—except because interest, if men prove too little for the hatracks, seltzer bottles, shoes, shoe- they are the obvious and rudimentary sen adventure—then debauchment and demenstrings, cats, frowns, kisses, hot-water timents which everybody feels, and all tia praecox are the harvest, and the hope bottles, anything and everything, scattered feel in substantially the same way, and is postponed.”





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UTURISM is not a thing of
the past. The Great War has
given Marinetti and his fol-
lowers an opportunity for re-

newed activity and more manifestoes. They lost no time in violating Italian neutrality by declaring themselves uncompromizingly against Germany. A manifesto entitled Il vestito antineutralewas issued from their headquarters in the Corso Venezia in Milan shortly after the outbreak of hostilities. Marinetti, Boccioni, Carrà, Russolo and Piatta were jailed for this audacity; but from the prison they issued a "futurist synthesis of the war" in which Servia, Belgium, France, Russia, England, Montenegro, Japan and Italy were diagrammatically declared to be "eight poets against their pedantic critics"—the latter being Germany and Austria. “Old cathedrals do not interest us,” these futurists shouted in type, “but we deny to medieval, plagiaristic, stupid Germany—lacking creative genius—the futuristic right to destroy works of art. The right belongs solely to the Italian creative genius, capable of creating a new and greater beauty on the ruins of antique beauty.”

This "new and greater” beauty with which the futurists are ready to build new cities on the ruins of those clestroyed by the war is well illustrated

THE FUTURIST CITY in the manifesto on futurist architec

There is something essentially Imerican in the architecture of Sant' Elia. He depicts the ture by Antonio Sant'Elia. Signor buildings of the future not only scraping the sky but piercing the earth. Featured in this design Sant'Elia is prepared to design whole

are external elevators, galleries, covered passageways, and roadways in three levels, one for cars,

one for automobiles, one for pedestrians. A wireless telegraph station is another essential profuturist cities. His preliminary designs are strangely American in spirit, altho he disclaims and combats "all the struction and the reproduction of the massive, voluminous, durable, antipseudo-architecture of the advance- palaces of antiquity; to perpendicular quated, or costly materials of conguard Austrian, Hungarian, German, and horizontal lines, cubic and pyra- struction. He insists upon the aboliand American.” He is equally opposed midlic forms, because they are static in- tion of the decorative in architecture. to all classical architecture; the recon stead of dynamic; and to the use of Buildings of cement, of glass, of steel,

without pictorial or sculptural decoration, rich only in the beauty that grow's

out of their own lines and their own COTRO

mass, “extraordinarily brutal in their GENIO CREATORE

mechanical simplicity, higher and broad

er than is necessary and not in conCULTUBA TEDESCA

formance with municipal laws, they ought to soar toward the sky out of a tumultuous abyss.” The street itself is to sink into the depths of the earth by

several planes in order to accommoPASSATISMO

date metropolitan traffic, and connected by “very swiftly-moving escalators.”

To the reader of Jules Verne and some of the earlier romances of Mr. Herbert George Wells, it is a difficult task to consider Signor Sant'Elia's futuristic architecture very seriously, but it is impossible not to admire his imagination. He is sanguine enough to

present a drawing in detail for a proWAR IS RESPONSIBLE FOR THIS

posed aeroplane and railway station. This “synthesis of the war” was concocted by Martinetti and his fellow futurists in a Milan He reveals an amazing—and perhaps jail. All the virtues of humanity are attributed to the allies and all the vices to Germany and peculiarly Italian-admiration for eleAustria. War is proclaimed to be the only hygiene in the world. It is written in Italian that most Americans will be able to reaci.

vators. Elevators, he claims, ought not


























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DJ Cellulare di Milano, 20 Settembre 1914

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to be relegated “like solitary worms” terially and spirto the enclosures of stairways. Stairs itually artificialhaving become useless, the elevators ought to find our ought to be placed boldly, like huge inspiration in the serpents of iron and glass, along the

novel mechanical façade. The futurist building should


have resemble some gigantic machine, dy- created, of which namic in all its elements.

As opposed architecture ought to the architecture of the past, Sognor to be the finest exSant' Elia boldly proclaims the elements

pression, the most of the futuristic architecture in the fol

complete synthesis,

the most efficalowing manner:

cious artistic inte"That futurist architecture is the archi- gration. tecture of calculus, of bold temerity and

“ Architecture of simplicity—the architecture of rein- ought to mean the forced concrete, of steel, of glass, of pre- ability to harmonpared board, of textile, and of materials ize man with his substituted for wood, stone, and plaster, environment, freewill permit us to obtain the maximum of ly and boldly, and lightness and elasticity;

thus rendering the "That futurist architecture is not there world of things a by an arid combination of practicality and direct projection utility but remains art, synthetic and ex of the world of pressive;

spirit. "That oblique and elliptical lines are “From the archidynamic, and by their inherent nature have tecture thus conan emotive power a thousand times su ceived, plastic and perior to those of the perpendicular and linear habits canhorizontal ...;

not be born, be"That decoration, as something super

cause the fundaimposed on architecture, is an absurdity, mental character and that only upon the use and original of futurist arcliidisposition of the elementary materials, tecture


he either as they are or violently colored de its caducity and pends the decorative value of futurist ar transitory charac'chitecture;

ter. Houses will "That, as the ancients drew the inspira last only during tion for their art from nature, we—ma

our own lites."

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T HAS been inevitable, of course, to accuse Stevenson of practically kill- nowadays to be consumptive. Whiat rethat there should come a reaction ing romance as a true art of fiction. As mains to us, apart from a fragment, a against the over-appreciation of the leading admirer of the over-neg

handful of tales, and two boy's books . Robert Louis Stevenson. Such a lected George Gissing, Mr. Swinnerton

is a series of fine scenes—what I have reaction is almost necessary to emphasizes the importance of the ideas

called 'plums'—and the charm of Steven

son's personality." clarify and humanize our admiration contained in a work of fiction as opfor every great artist. In his recent posed to the manner of expressing these It is to be doubted, however, whether volume, “Impressions and Commenis” ideas. The ultimate and authentic aim Swinnerton is justified in attributing (Houghton Mifflin), Havelock Ellis of the artist should be to express ideas. what he deems Stevenson's literary frankly declared that Stevenson seems Stevenson, we are told, toyed with fic failure to poor health. Tuberculosis, to him to be “the hollow image of a tion—he was lacking in any great ideas. it is claimed, was the malign influence great writer" and a baneful influence

in his work. It made him timid and upon his numerous successors. And "We find that Stevenson, reviving the over-cautious. "He was obliged to take now the chief exponent of what we may never-very-prosperous romance of Eng care of himself, to be home at night, to term the Gissing “tradition," Frank land, created a school which has brought allow himself to be looked after. Was Swinnerton, has devoted no less than romance to be the sweepings of an old

not that the greatest misfortune that two hundred pages, in his critical study costume chest. I am afraid we must ad

could have befallen him? Is the work mit that Stevenson has become admittedly "R. L. Stevenson" (to be published in a writer of the second class, because his

that is produced by nervous reaction this country next month by Mitchell ideals have been superseded by other ideals

from prudence ever likely to enjoy an Kennerley) to a persistent and consci and shown to be the ideals of a day, a

air of real vitality? In the versatility entious depreciation of the work of season, and not the ideals of an age. of Stevenson we may observe his restStevenson.

We may question whether Stevenson did lessness, the nervous fluttering of the Mr. Swinnerton's book is an open

not make the novel a toy when George mind which has no physical health to and frank attack on the whole amiable

Eliot had finished making it a treatise. nourish it." Stevensonian tradition. He discerns in “It is no longer possible for a serious

If Swinnerton's criticism seems to be Stevenson always the artist engaged in critic to place him among the great

too astringent, one reason for it may tricking out the obvious in bits of purwriters because in no department of let

doubtless be found in the idolatrous atters-except in the boy's book and the ple. According to Swinnerton, he was

short story—has he written work of first- titude that has been too common among usually insincere and always superficial. class importance. His plays, his poems,

many of Stevenson's admirers and that Mr. Swinnerton does not hesitate even his essays, his romances — all are has perhaps been overcultivated in



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How diverse are the representations in the erating against great divisions of litera- letters; our enormous success in the eco

many of our American universities. bus Puerisque,' stout of substance and he has passed ineffaceably into happy leg

end. Even granting that the author of supremely silver of speech, have both a “Treasure Island” was “the most capnobleness and a nearness that place them, “The case of the Figure is of the

rarest and the honor surely of the greattivating personality in modern letters," for perfection and roundness, above his

fictions, and that also may well remind a est. In all our literature we can count Swinnerton's judgment, as

T. Pi's

vulgarized generation of what, even un them, sometimes with the work and someWeekly notes, “may be nearer the der its nose, English prose can be. But it times without. The work has often been mark than we now care to imagine.” is bound up with his name, for our won great and yet the Figure nil. Johnson was

In the final estimate of Stevenson’s der and reflection, that he is something one, and Goldsmith and Byron; and the art, however, we should never forget other than the author of this or that par two former moreover not in any degree, his essays, as Henry James is careful ticular beautiful thing, or of all such like Stevenson, in virtue of the element to emphasize in his “Notes on Novel- things together. It has been his fortune of grace. Was it this element that fixed

It seems ists” (Charles Scribner's Sons). His (whether or no the greatest that can be- the claim even for Byron?

fall a man of letters) to have had to con doubtful; and the list at all events as we abiding charm, says Henry James, de

sent to become, by a process not purely approach our own day shortens and stops, pends only partially upon his fiction:

mystic and not wholly untraceable—what Stevenson has it at present-may we not

shall we call it?-a Figure. Tracin is say?-pretty well to himself, and it is not "The finest papers in ‘Across the Plains,' needless now, for the personality has acted one of the scrolls in which he least will in ‘Memories and Portraits,' in ‘Virgini- and the incarnation is full. There he is, live.” WHY WE FAIL TO APPRECIATE GREAT ART

AND LITERATURE S A lack of appreciation of great man really excludes himself from the differs from the life of science; its end art and literature

in field of beauty. Professor Woodberry is not to know but to be.” This truth America because of our practical admits that the appreciation of certain has evidently not been fully realized by ideals and love of efficiency? Pro arts depends upon a special training of cultivated Americans even yet, if Pro

fessor George Edward Woodberry the eye and some technical knowledge. fessor Woodberry is right in his conin two admirable essays on criticism, But this is not the greatest drawback clusion: “Two Phases of Criticism,” published to appreciation:

"It is true that human life is an animal by the Woodberry Society, indicates

existence, and the sphere of the useful is such a lack. As he expresses it, we

is most commonly blocked primary in it; the necessity for earning fail to “re-create the work of art,” by by certain inhibitions which are so lodged one's food, building one's lodging, caring failing to appropriate all art as mate in the mind by education and opinion that

for one's offspring, governs our days and rial for that “artist-life which goes on

they effectively paralyze an effort at rein our own minds and souls in the excreation. I remember once, years ago

years; but if I am in favor of social bet

terment and a more just economic order ercize of our own powers in their limi- meeting on a western train out of Buffalo

in the state to lessen the burden to comtations.” The intricate problem of ap- conversation; and I, being but a boy, rea clergyman who kindly engaged me in

mon life and free it from an animal enpreciation he explains as follows:

slavement, it is not that I am thinking so paid his interest by flooding him with my

much of what is called the welfare of the enthusiasms for George Eliot and Scott,

masses, in the sense of comfort. It is be"In so far as a work of art is a thing who happened to be then my ascendant

cause I desire for them the leisure which stars. I recall well his final reply: 'Young would leave their souls room to grow. I of nature, it can be expressed materially with the more adequacy; in so far as it is man,' he said, 'I never read anything that

should be sorry to see material comfort, a thing of the spirit of personality, it is

isn't true.' What an inhibition that was,
in his literary and artistic career! I have of the state, as now seems the tendency.

which is an animal good, become the ideal less subject to complete and certain ex

since wondered if he found much to read. pression; and in all art there are these

We are all proud of America, and look two elements. In that process of recreIdeal truth, as you perceive, had never

on our farms and workshops, the abunating the image ... the mind's fortune dawned upon his mind—and that is the

dance of work, the harvest of universal with those two elements is unequal; so

finer and happier part of truth. The prej- gain dispersed through multitudes refar as the material part is concerned, norudice of the early New England church

claimed from centuries of poverty,—we mal eyes will see the same thing, normal against the theater is a curious instance of

see and proclaim the greatness of the intelligence will grasp the same thing, in

an inhibition that rendered nugatory a figure, action, and event; but when it is a great historic branch of art, the drama. good; but I am ill-content with the spirit

ual harvest, with the absence of that which question of realizing the spirit, differences

... I have friends who object to war as

has been the glory of great nations in art begin to emerge and multiply. Rifts of a theme of verse, and the praise of wine

and letters, with the indifference to that temperament and varieties of experience by the

poets is anathema in many quar- principle of human brotherhood in devobetween artist and spectator make chasms ters. These are all examples of moral in

tion to which our fathers found greatness of misunderstanding and misappreciation.

hibitions bred in the community and op- and which is most luminous in ast and mind finally, as revealed in our tastes and ture....”

nomical and mechanical sphere leaves me judgments! The same image, mirrored in

unreconciled to our failure to enter the individuals, becomes radically different in

Each of us has the artist-soul, asserts artistic sphere as a nation. opposed minds, and each is apt to believe Professor Woodberry, and, if we enter “There is always, however, as you know, that his own is the true and only one. It truly into the world of art, it is not remnant. It is true that the conditions is a commonplace that every reader thinks merely as spectators but as participants, of our time almost enforce upon our citithat he is Hamlet.”

as ourselves the artist. “To lead the zens, especially as they grow old and beartist-life is not to look at pictures and

come absorbed in the work of the world, Now it is precisely because of this read books; it is to discover the facul

so abundant and compelling here,—it is

true that these conditions almost enforce paradox, because of the fact that we ties of the soul, that slept unknown and

a narrowly practical life. But there is must bring to the great picture or the unused, and to apply them in realizing

one period of life when this pressure is great book our own personality, be- the depth and tenderness, the eloquence, less felt, and when nature herself seems cause we must originate something new, the hope and joy, of the life that is to open the gateways for this artist-life living and our own, that the practical within. It is by this that the life of art that I have been speaking of: it is youth.”

“The way

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