,,art ,,principles ,,in ,,literature ,illustration ,,the ,,macmillan ,,company ,,new ,,york ,,boston ,,chicago ,,dallas ,,atlanta ,,san ,,francisco ,,macmillan ,,co41 ,,limited ,,london ,,bombay ,,calcutta ,,melbourne ,,the ,,macmillan ,,co4 ,,of ,,canada1 ,,ltd4 ,,toronto ,,art ,,principles ,,in ,,literature ,,by ,,francis ,p4 ,,donnelly1 ,s4,j4 ,illustration ,,the ,,macmillan ,,company ,,publishers ,,new ,,york ,,mcmxxv ,,printed ,,in ,,the ,,united ,,states ,,of ,,america ,,copyright1 #aibc1 ,,by ,,the ,,macmillan ,,company4 ,,set ,,up ,,and ,,printed4 ,,published ,,october1 #aibc4 ,,reprinted ,,april1 #aibe4 ,,reprinted ,,july1 #aibh4 ,,wynkoop ,,hallenbeck ,,crawford ,,company1 ,,new ,,york1 ,u4 ,s4 ,a4 ,,introduction ,in the ,art of ,interesting 7,kenedy1 #aibj7 the writer began a discussion of the principles of art and of their application to writing and speaking4 ,in this work the discussion is carried further and is not restricted to the one feature of arousing and fixing attention1 especially in oratory1 which was the chief topic of the ,art of ,interesting4 ,the following chapters represent the reactions of the writer to literature both as composed today and as taught in our schools4 ,any active mind1 bewildered by the ceaseless experimenting in literature and education1 and not satisfied with a passive acceptance of even excellent critics1 is necessarily forced back upon first principles4 ,such a mind will not yield to the despair of skepticism1 that there are no first principles1 nor to the despair of agnosticism1 that there may be such principles but we cannot know them1 nor yet to the despair of pragmatism1 that we must wait and see whether the human race ages from now will give us assurance that there really are principles of art because the last man has seen that these principles have been found to work up to the moment prior to which he joined ,tutankhamen4 ,art1 just as morals and pure science1 differs entirely from the natural sciences1 which are generalizations based upon acquired information and must change as long as the information upon which they are based can be modified and enlarged4 ,but where1 as in art or pure science1 principles are based on final truths1 the principles have also a finality and can only be rejected if their basis can be changed or modified4 ,aristotle's principles have something of that finality4 ,aristotle had for his study a body of literature that has for centuries met with the approval of the best taste in every age and of every critic4 ,aristotle's biology or physics are not final1 but his ethics1 his logic1 his esthetics are in measurable distance of finality except where some additions have been made to the materials upon which he based his analysis4 ,in religion1 because of revelation1 in music because of discoveries in instrumentation1 and perhaps in other arts1 time has added to the original store1 but in literature there are few additions to the fields which lay before ,aristotle1 and subsequent ages have not developed any keener analytical powers than those of ,aristotle4 ,it is ,aristotle's principles that in the main have dominated the writer's reactions to modern art and literature4 ,when ,greek literature held an honored place in our schools1 there was less need of insisting on obvious truths of art4 ,the intense modernism now predominating everywhere has driven classical literature and classical methods from school and life4 ,history is modernized too or fails to supply the vital contact with the ever-living past which earlier schools experienced in the poets1 historians1 orators and philosophers of ,greece and ,rome4 ,so-called cultural subjects in modern education are chiefly informational4 ,culture is a word which calls for definition1 but on its intellectual side at least1 culture for the largest number of persons in the world can be gauged most satisfactorily by their appreciation of literature and by their capacity to produce literature4 ,the study of literature as an art is the chief topic of this book1 and ,aristotle's great principles need all the more stressing now that his philosophy of art and the supreme literature on which he based his conclusions are passing away from present-day consciousness4 ,the chapters that follow are popular rather than scientific in presentation4 ,readers who seek a fuller and wider view may be interested in such a work as ,benedetto ,croce's sthetic1 from the ,italian by ,douglas ,ainslie4 ,its historical summary1 especially for modern times1 is valuable and good4 ,for the ,greeks and earlier periods1 ,butcher's ,aristotle's ,theory of ,poetry and ,fine ,arts is easily best4 ,professor ,rhys ,roberts' editions of the works of ,dionysius1 ,longinus and ,demetrius are excellent for the traditions of classical rhetoric1 a tradition weak in ,america4 ,in theory ,croce is an extreme intellectualist in the principles of art4 ,he locates all of esthetics in pure intuition1 which is 8lyrical10 that is1 emotional1 because it represents 8the states of the soul10 8passionality1 feeling1 personality40 ,for ,croce 8natural beauty is simply a stimulus to esthetic reproduction1 which presupposes previous production40 ,he is therefore an idealist in his conception of beauty4 ,even monuments of art seem to be only 8stimulants to esthetic reproduction0 and are not beautiful in themselves4 ,in another place1 however1 ,croce seems to be a realist4 8,art is governed entirely by imagination2 its only riches are images4 ,art does not classify objects nor pronounce them real or imaginary nor qualify them nor define them4 ,art feels and represents them4 ,in as far as it apprehends #8the real' immediately before it is modified and made clear by the concept1 it must be called pure intuition40 ,quite to the other extreme in theory goes ,the ,psychology of ,beauty by ,ethel ,d4 ,puffer4 ,this author has much about sensations and their physiology and but little about ideas4 ,for ,croce the last stage is in the idea2 for ,puffer it would seem to be in the work of art4 8,the low-lying wide expanse of some of the old ,dutch landscapists give us repose1 not because they remind us of the peaceful happiness of the land but because we cannot melt ourselves into all those horizontal lines without the restful feeling which accompanies such relaxation40 ,this passage might almost class the writer with the ,einfhlung school1--the school which gives ,ruskin's 8pathetic fallacy0 a number of advocates4 ,pathetic fallacy was a complete misnomer when applied by ,ruskin to the well-known tropes of metaphor and personification4 ,kingsley was not insane enough to imagine that a wave was actually cruel and actually crawled4 ,he likened the wave that drowned to a wild animal4 ,but the school of ,lipps in ,germany desires you to moan with the wind and smile with the rose and lie flat with painted horizontal lines4 ,perhaps ,puffer's formula of stimulation with repose and ,croce's formula of intuition with lyricism can be reconciled with ,aquinas' definition of the beautiful1 qu visa placent4 ,a study of ,maurice ,de ,wulf's excellent little volume ,l'uvre d',art et la ,beaut gives us briefly and clearly the neo-scholastic solution of the esthetic problem4 ,the book is a good example of the reasonable discussion which has won for scholastic philosophy the universal designation as the philosophy of common sense4 ,longhaye's ,thorie des ,belles ,lettres1 which is scholastic philosophy applied to literature1 is another clear and sane presentation of the principles of the art4 ,the reader who desires to supplement the popular exposition of this book with a systematic treatise on the esthetic and its application to literature is recommended to ,de ,wulf and to ,longhaye4 ,english is rich in criticism but is deficient in works treating of the philosophy of beauty in literature4 ,,contents ,,page ,,introduction ,connection with author's ,art of ,interesting--,need of principles of an art amidst violent experimentation in art and education--,aristotle's principles valid except where the basis of his deductions has been modified--,with ,greek literature leaving our schools1 ,greek taste is needed against excessive modernism--,recent art discussions-- ,croce's sthetic2 ,puffer's ,psychology of ,beauty2 ,de ,wulf's ,l'uvre d',art et la ,beaut v ,,art ,,principles ,,in ,,literature ,,part ,,first ,,art ,,in ,,the ,,appreciation ,,of ,,literature ,i ,,art ,,and ,,the ,,individual #a4 ,,individualism ,,and ,,responsibility #a ,talking to oneself in art--,chaos in religion1 morals and art from unchecked individualism--,altruism a better principle--,responsibility inevitable--,responsibility a help1 no hindrance to the artist--,greek drama2 ,italian ,madonnas2 ,horace4 ,,ii ,,art ,,and ,,the ,,individual #b4 ,,vagaries ,,of ,,individualism #h ,modern literature and art and a sense of humor--,fiction1 biographical and pathological--,new poetry shallow--,riot of emotionalism--,novel of satire1 ,european continental type originating in low comedy--,novel of ,scott1 epic in origin--,nature1 experience1 wisdom1 the remedies of individualism4 ,,iii ,,art ,,and ,,human ,,nature #a4 ,,the ,,universal ,,element #ad ,art movements begin in nature--,art is social--,permanence of literature due to universal appeal--,the camera and the canvas--,personality and individuality--,shock of nerves not the mental thrill of art4 ,,iv ,,art ,,and ,,human ,,nature #b4 ,,realism ,,and ,,reality #bj ,real cake of soap on a painted wave--,art a distinct world from reality--,motivation1 not through logical discussion but through probable incident--,painting in the cake of soap--,realism depressing because of cynic moralizing--,evil in ,shakespeare and ,homer1 relieved by pathos and humor1 not depressing4 ,v ,,art ,,and ,,the ,,divine #a4 ,,religious ,,origin ,,of ,,art #bf ,rich tombs of the past testify to belief in immortality--,cro-,magnon cave pictures probably religious--,earliest art of all nations due to religion--,dancing1 song1 music1 sculpture1 architecture1 drama1 epic--,gothic cathedral of religious middle-ages1 synthesis of all arts4 ,,vi ,,art ,,and ,,the ,,divine #b4 ,,the ,,kinship ,,of ,,art ,,and ,,religion #ca ,hebraism1 ,puritanism1 ,islamism1 reacting against art and the result--,explanation of the origin of art--,taine's environment theory--,spencer's play theory--,theory of fear and magic spells--,adequate explanation found in man's intellectual nature--,art like religion intellectual--,art and religion idealistic--,personal and emotional--,art and religion social in appeal--,sublimity of art and the revelation of ,genesis--,harmonious equation between soul and the truth of reality1 between soul and the good of morality1 same as equation between soul and beauty1 all founded on the fact that both soul and triple reality are images of ,god4 ,,vii ,,art ,,and ,,the ,,divine #c4 ,,art ,,in ,,its ,,relation ,,to ,,virtue #ci ,the theomorphism of man in the threefold tendency of science1 morality and art--,religion1 a virtue2 art1 a function of perceptions--,ruskin's school of the religion of beauty--,moralizing not a function of art--,estheticism neither asceticism nor sensualism--,evil in art to be represented as evil--,evil to be a rationalized element--,contemporary evil excites feelings of reality--,art and religion ennobling--,art and religion purifying--,creation and disinterestedness most divine elements in art4 ,,viii ,,the ,,visceral ,,test ,,of ,,beauty ,the critic's equipment--,defective philosophy of some modern critics1 ,mencken1 ,murry1 ,cohen--,ugly in art and its subdual--,esthetic feeling not concupiscence--,disinterestedness of beauty excludes sensuality of appetites--,visceral reactions not from beauty #dh ,,part ,,second ,,art ,,in ,,the ,,teaching ,,of ,,literature ,,ix ,,looking ,,forward ,,in ,,literature ,literature taught for use in ,greece1 ,rome1 and elsewhere--,science and history always changing2 literature lasting--,object of literature in university--,true humanism1 equipping man's faculties with art--,every school subject teaches its like--,correlations of literature and creation--,contemporary literature not suitable--,scientific study partly2 artistic study is wholly satisfying #eg ,x ,,unifying ,,education ,,through ,,literature ,necessity of unity--,in university through profession--,no unity in college electivism--,unity impaired by departments and by specializing--,unity in ,france1 ,germany and ,england--,departmental system destroying the art appeal of literature--,science through knowing2 art through doing--,recent mental tests accentuate expression and language--,general education through art of literature #fd ,,xi ,,the ,,interesting ,,teacher ,,of ,,literature ,spread of science--,system and eliminating of personality--,dissertations for the doctorate--,scholarly means encyclopedic--,the impersonal lecturer--,justin ,mc,carthy's teacher and his methods--,not scientific specialization1 but exercise of mental powers--,formulas and personality--,another interesting teacher--,literature educates equally with science--,the ideal #gj ,,xii ,,educating ,,the ,,emotions ,life full of emotions--,emotions intense in our crowded civilization--,morale1 organized emotion--,emotions neglected in education--,education of facts dominating schools--,twofold nature of emotions--,emotions from concrete imagining--,kindled by contact--,literature embodiment of emotions--,emotions developed by self-expression and controlled by exercise #hc ,,xiii ,,keep ,,the ,,classics ,,but ,,teach ,,them ,classics to be kept but taught differently--,former help of translation--,literature overwhelmed by erudition--,germany1 ,france1 ,england1 ,america--,true use of erudition--,natural sciences change2 art endures--,reproduction1 the soul of literary teaching--,method of training--,modern literatures not yet able to supplant ancient literatures #ia ,,xiv ,,the ,,vitalizer ,,of ,,the ,,world ,literary renaissances associated with ,greek literature--,revivals through ,irish monks--,spain1 ,france1 ,scholasticism--,germany with ,wolf1 ,winckelmann1 ,lessing--,england under ,queen ,anne and ,queen ,victoria--,youth of civilization in ,greece #ajj ,,xv ,,true ,,principles ,,of ,,homeric ,,criticism ,story of ,phidias' statue and ,homer--,homer tested by art--,flaws in material--,absorption in immediate effects--,told story different from story read--,outline of a study on a broad scale--,variety1 alternation1 growth in ,homeric battling--,homeric palace1 the place of ,homer's recital #ajf ,,xvi ,,the ,,child-,,test ,,of ,,literature ,child-test in religion and morals1 in the ,bible--,homer's mother and child--,hector and ,andromache--,child in later literature rare--,latin writers--,conventionality instead of ,homeric naturalness #aad ,,xvii ,,the ,,christ-,,child ,,test ,,of ,,literature ,christ-,child in art--,christmas and the drama--,in ,ireland--,medieval and ,renaissance writers--,milton's war-like child--,wordsworth1 ,shelley1 ,tennyson1 ,longfellow--,return of naturalness in ,stevenson1 ,carroll and others--,faith and its effects in ,thompson and ,tabb #aai ,,appendix ,,greek ,,speaks ,,for ,,itself ,mosaic of etymology--,ecclesiastical sphere--,diet1 posies and programs--,geography1 zoology1 politics--,pharmacies and surgery--,schools and composition--,apology and epitaph #abi ,,note3 ,,the ,,nature ,,of ,,esthetic ,,enjoyment ,ownership not of the essence of beauty as of good--,perception sufficient for the enjoyment of the beautiful--,no new faculty required--,pleasure is normal life consciously localized--,esthetic ,enjoyment in the simple apprehension1 not in judgment or inference as such--,fact not of the essence of esthetic enjoyment1 which is had in fiction too--,causa ,exemplaris--,imagination1 source of originality--,aristotle's principles3 creation1 motivation1 unity1 universality #acd ,a ,,forward-,,looking ,,lesson ,,in ,,literature #aei ,,art ,,principles ,,in ,,literature ,,part ,,first ,,art ,,in ,,the ,,appreciation ,,of ,,literature ,i ,,art ,,and ,,the ,,individual #a4 ,,individualism ,,and ,,responsibility ,a group was standing before a futurist or cubist picture4 ,the group did not know what the picture was all about1 but one spoke up in defense of the bewildering work3 8,well1 after all1 art is a language1 and why shouldn't a man be permitted to speak his own language80 ,a bystander1 not daring to address strangers1 made answer under his breath3 8,if art is a language1 this artist is talking to himself40 ,maudlin1 incoherent remarks1 disjointed utterances1 and in general talking to one's self1 all that1 does not pass for high art among men1 but for something quite different4 ,to talk to one's self is the extreme of individualism in conversation2 to ignore the world addressed through artistic composition is the triumph of individualism in art4 ,the abrupt break with all tradition in every art1 and the untrammeled expression of the individual1 have worked out to the inevitable and bizarre conclusions which a like rebellion has brought about in religion and morals4 ,every man his own dogmatist2 every man his own moralist2 that is the individualism which has divided mankind into multitudinous sects and has made millions of moral1 unmoral and immoral moralists eager for legislation of infinite variety without any fixed principles to enforce the observance of even one law4 ,conscience1 the executive impulse of all legislation1 used to be the voice of ,god1 but individualism has made it anything from a survival of the fittest or an economic standard1 through countless varieties all the way to a ,freudian complex4 ,individualism has run amuck in art from classicism to cubism4 ,it is a barren day which does not produce a new system of religion or morals1 and only the occurrence of earthquake1 war1 fire or some other tremendous upheaval keeps our journals from recording some new theory of art1 some ,tomism1 ,dickism or ,harryism4 ,art for art's sake has been given an individualistic interpretation and has produced the same rich crop1 as the individualistic cry1 every man his own dogmatist and moralist1 has produced--a rich crop of weeds4 ,if ever an individual could pursue his blissful way oblivious of the existence of a surrounding universe1 surely he may not do so now when the universe impinges upon him every moment through ticker1 telephone1 wireless and unlimited 8extras40 ,there is1 however1 no such thing as unrestricted individualism4 ,of ,god alone can be predicated existence for its own sake4 ,everybody his own dogmatist means ultimately everybody his own god4 ,art for art's sake1 interpreted in an individualistic sense1 would not only destroy art but would destroy the world4 ,art for art's sake should read art for everybody's sake and for the sake of ,god1 and such a reading will be infinitely better for art's sake4 ,it was an ,irish colleen1 accepting matrimony as a complete submergence of individuality1 who replied to a friend dwelling on the dangers of a long ocean trip to be taken by the new bride and groom3 8,and why should ,i be afraid1 sure 'tis his loss if anything happen to me now60 ,she was the counterpart of the ,irish lad who sang under similar circumstances1 8,i'm not myself at all40 ,there you have the complete altruism resulting from the perfect union of matrimony4 ,there is the antithesis of individualism1 and such matrimonial communism is far better for every one than any cry of 8wife for wife's sake0 or 8husband for husband's sake40 ,it is quite evident that no artist can exempt himself from responsibility as though his art were a deity4 ,if a picture or statue or poem would be an incentive to murder or suicide1 the artist must stay his hand4 ,he may not manufacture bombs for soul destruction1 no matter how artistic the container1 even if someone else is to supply the detonator4 ,a lie in beautiful language is a more ugly lie4 ,recent pretended upholders of the ,volstead law have printed an emphatic warning on compounds of their manufacture3 8,do not add such an ingredient or this compound will violate the law40 ,may an artist navely dissociate himself from responsibility by stating3 8,do not add human nature to my art-product or you will violate the law08 ,were the artist a real creator1 he would have to forecast results and be dominated by a purpose4 ,nor may the artist1 like ,god1 permit evil1 because no artist has omnipotence and infinite wisdom and justice and mercy1 governing the permission of evil and guaranteeing good as the final result4 ,may a man who owns a wild tiger of surpassing beauty1 trusting in the right of property1 parade down a crowded thoroughfare with his jungle pet tethered to a thread8 ,but why all these truisms8 ,because individualism in art aims in principle and production not only to free art from restrictions but even to exempt the artist from responsibility4 ,the artist may not talk to himself unless he can find a ,south ,sea island where there is neither man nor ,god4 ,nor is it a deadening of his artistic impulse for the artist to be ruled by high purposes1 but rather it is a stimulus and an inspiration4 ,eschylus and ,sophocles have a sublimer beauty than ,euripides because the earlier dramatists recognized more fully and kept better in view the religious purposes of ,athenian drama4 ,euripides1 wishing to cater more to theatric effects1 succeeded in being more emotional and in achieving a realistic but transient interest1 the hectic flush that marks decay and death in twilight and autumn and sinister disease4 ,is the marked revival of ,euripides within recent years a sign of decadence8 ,the ,madonnas of ,italian art received from the painter a solemn beauty not only because they depict ,divine maternity1 but even too because they were to grace a religious shrine and to constitute part of a religious service4 ,that may be one reason why the ,madonnas of ,italy are far superior to the prettiness and sentimentality of more recent ,madonnas which are painted for private homes and for ephemeral interest4 ,the purpose of the artist is one thing and the purpose of art is another thing4 ,the purpose of a watch is to keep time whatever purpose the watch-maker may have4 ,it is likely1 however1 that if he makes the watch for his mother1 he will produce better results than if he worked for his usual wage or than if he functioned as part of a machine1 having no clearly defined ulterior purpose4 ,so an artist will be inspired in painting1 in sculpture1 in music1 in all arts1 to elicit better his full powers and to achieve finer results when he toils for a cathedral than when he works for a cabaret4 ,noble responsibility conscientiously recognized and fulfilled is no check1 but rather a spur to the artist4 8,art for art's sake0 may1 however1 be taken to mean1 8,embody beauty wherever found1 or realize to the full your ideal10 and such a meaning is excellent and fruitful unless excessive individualism insists upon expressing its own perverted ideas of beauty and its own eccentric ideals4 ,when ,horace said1 8,let justice be done though the heavens come crashing down10 a line that might be rendered1 8,justice for justice's sake10 he was far from advocating the explosion of a bomb by some ,roman anarchist whose idea of justice was to bring all to a dead level of ruin4 ,the progressive improvement in the realization of art-ideals may be very well illustrated from the career of ,horace4 ,horace gradually worked himself free from the conventionality and baseness of his epodes and earlier satires1 experienced the cleansing process of true humor in later satires1 took fire at the moral degeneracy of ,rome in the initial odes of the third and last book of his first edited lyrics4 ,there the sva indignatio of ,horace brought him within distant sight of sublimity4 ,his progress in philosophy weighted the wings of his song but dowered him with the crystal and clean wisdom of his epistles1 of which it has been said one need not blot out a single line4 ,had ,horace retained the youthful vehemence of the republican amid the enervating peace of the new empire1 he might have followed ,dante and ,milton from lyric beauty to epic sublimity1 or might have risen with ,shakespeare and ,molire from song to comedy or even to tragedy1 but his hedonistic sleekness and his excessive self-consciousness kept his ripened philosophy in brief letters1 when a more vigorous mentality with the help of philosophy might have converted his ennobled power of satire into comedy or transformed the lyric portraits of his early days into tragedy or epic story4 ,,ii ,,art ,,and ,,the ,,individual #b4 ,,vagaries ,,of ,,individualism ,modern art has not followed ,horace very far4 ,it has broken with conventionality as ,horace did with the clichs of ,alexandria1 but it has not yet entered upon the path of right philosophy4 ,the ,spoon ,river ,anthology1 a typical specimen from the individualistic school of what might be called localists or village gossips1 is in the epode-stage of ,horace1 the stage of personalities1 lubricity and garlic gruesomeness4 ,hopes might be entertained that ,spoon ,river and ,main ,street and other individualistic photographs would progressively improve with ,horace except for one sad deficiency3 ,horace had humor and laughed at others1 and even at himself2 modern individualists are so heavily armored with the seriousness of their own views1 that they don't even smile4 ,to imagine the ,new ,art laughing is impossible2 if the ,new ,art had humor and laughed1 it would cease to be ,new ,art and would join the larger brotherhood of art uncapitalized4 ,had the new artists a sense of humor1 it would probably be their death sentence4 ,in the course of time they might catch sight of their own art products1 whether of painting or of poetry4 ,is it not an indication of individualism that so many recent novels are biographies1 that the stage is not holding up the mirror to life but applying the scalpel to an ulcer8 ,the biography or personal views of ,scott and ,shakespeare cannot be discovered in their works4 ,the modern pamphleteer distributes his paradoxes among various mouthpieces whose only difference is in name1 and this is called a play1 when it is in reality propaganda4 ,there are probably now no less than #ajj1jjj college graduates turning college escapades and flirtations into chapters1 which their authors consider typical of life because the incidents were individually experienced4 ,and1 as the long stories of the day are biographies or problems and as the drama is a diagnosis of diseases1 in the same way many of the short stories are pathological1 but all are tending to be individualistic4 ,the artist makes his own subjective experience the full measure of his artistic expression and seems to imagine that his own peculiarities are good art because he sincerely expresses what he feels4 ,individual nature is not human nature4 ,aristotle has described poetry as the universal in the concrete4 ,the 8new poets0 give the individual in the concrete4 ,homer1 ,shakespeare1 the true poets1 plumb to the depths of the human heart2 they voice ripened experience and enshrine mellow wisdom1 and so appeal to all men of all times4 ,much of the new poetry ostentatiously disdains tradition and rejects the wisdom of the ages in discarding its dress4 ,you may see the rouge on the cheek and the freckle on the nose1 but as far as life and experience and heart are concerned1 most of the new poetry is pitiably young and callous4 ,meticulous recording of disconnected and unrelated novelties is no adequate substitute for the warmth and depth of life crystallized by the ardent gaze of the true poet out of his experience4 ,new poetry is contemporaneous with the invention and use of the ,kodak and has all the responsibility and profundity of that instrument4 ,individualism has come to such a pass in modern art that everything in it is resolving itself into pure emotionalism1 and that an emotionalism which does not belong to art at all4 ,degenerates are the products of civilization2 they are decayed exotics4 8,the higher the organism1 the more noisome the decay10 a science professor used to say when paying his respects to diseased metaphysics4 ,as only a believer can blaspheme luridly1 so when an artist goes wrong1 he goes wrong hideously4 ,a pistol in the hands of a marksman gone mad is more destructive than in the hands of a savage4 ,colors1 sounds1 shapes1 fair words and gorgeous imaginings are instruments of degradation and death if they are a finer veneer over what is false4 ,individual vagaries and whims1 no matter how unusual1 will not have the permanence of art because they are based on no principles1 but devised simply to startle4 ,degrade the appeal of beauty to a spinal thrill and your artist will pander to concupiscence4 ,it is noteworthy that ,homer's worst lapse in story-telling takes place among the luxurious ,phacians1 ancient prototypes of degeneracy4 ,homer may have felt justified artistically because he was depicting the non-,grecian world through whose monsters and marvels ,odysseus was passing and making the first collection of sailors' yarns4 ,but ,homer shocked even the pagan world and set an unhappy precedent4 ,lucian and ,ovid1 ,petronius and ,apuleius and the ,byzantine eroticists made what was incidental in ,homer their chief concern and practice4 ,they perverted fiction into calculated suggestiveness4 ,that depraved and sensual theory of story-telling was1 however1 more ,aristophanic than ,homeric1 despite the single unfortunate precedent in the ,odyssey4 ,the tradition of ,greek and ,latin comedy was carried on by the medieval troubadours and by the story-tellers who catered to the decadent nobility of ,italy and ,france4 ,they retorted on their clerical censors and stimulated jaded appetites1 substituting in shameless intrigues priests and nuns for the pagan gods4 ,it was and is the glory of ,scott that he broke away from these evil traditions which made the novel a hateful thing to our forefathers4 ,scott deserted the continental school of novelists and their ,english imitators1 ,fielding1 ,sterne1 ,smollett1 the last of all ,byron4 ,scott gave up the satirical purposes which handed on in fiction the vulgar devices of low comedy4 ,he went to history1 to chivalry1 to healthy men and women and created romances1 not pathological studies4 ,english1 ,irish and ,american fiction for a whole century yielded to the healthy and bracing impulse of ,scott1 but the younger novelists in vogue today in ,england1 ,ireland and ,america have gone back to the continental type1 individual1 pathological biographical problems1 forsaking ,scott's revival through balladry of the best ,homeric manner1 where men 8drank delight of battle with their peers far on the ringing plains of ,troy40 ,the individualist must emancipate himself by the contemplation of nature4 ,pathological specimens1 freakish oddities1 all the surface impressions of the local colorists are not nature any more than a face contorted with a toothache is a man's likeness4 ,such exceptional exhibitions cannot form the enduring basis of art4 ,personal experience must be widened by length of time1 by merging into the stream of wisdom1 flowing freighted from the past1 or must1 in exceptional cases1 be won quickly by that intense and probing comprehension of genius1 which seems almost ,divine intuition4 ,excessive individualism1 like the latest fashion1 will be quaint and incongruous on the morrow4 ,homer lives eternal because through strange names and strange language and strange costumes we see our own sun and fields and ocean and sky and put our fingers on a pulse which registers the beat of a heart throbbing as ours4 ,,iii ,,art ,,and ,,human ,,nature #a4 ,,the ,,universal ,,element ,a serious defect in most modern art movements is that they start from art2 they are modifications of previous art movements4 ,true art movements start from human nature4 ,when perfection in any art is standardized1 when tradition and conventionality prevail1 and the artist has originality enough to chafe at the restraints of classicism but not originality enough to reveal finer ideals through classic expression1 his temptation is to rebel at conventionalities and to deem himself original because he is unconventional4 ,he wishes to be different from other artists and seeks for the difference by discarding the traditional medium rather than by improving his own personal message4 ,he prefers to be different and even original by cutting his ginger-bread into the shape of automobiles and air-planes instead of going back to mother's classic make and blending his ingredients into a new creation1 a creation which will make fresh appeal even in former animal shapes or in the traditional ginger-bread cart-wheels4 ,art is a social institution4 ,if not by the people1 art is of the people1 and certainly for the people4 ,when ,greek literary art grew conventional in its different forms1 the artists went back to the people for another medium to be transfigured by art4 ,ruskin has called architecture a 8glorified roof40 ,the sonata is a glorified folk melody2 epic is glorified folk lore2 and ,greek drama is a glorified folk song1 as ,elizabethan drama is a glorified folk chronicle4 ,both dramas have their roots in the religious services of the people4 ,homer told us about the public he had1 but the nineteenth century would not trust his word until ,schliemann dug up the great halls where ,demodokos and his fellows told the people their own folk stories in a glorified1 artistic form4 ,greek lyric and ,greek pastoral were as public as ,greek oratory1 ,greek choruses1 temples and statuary4 ,it was left for ,roman conquerors to begin the segregation of art into the cold storage of the modern millionaire and of the modern museum4 ,the permanence of ,greek art is based upon that public appeal4 ,art is long because it embodies nature1 and most of all human nature4 ,homer has appealed to man1 woman and child for thousands of years4 ,his human nature is our human nature despite external differences of every kind4 ,homer himself was aware of the appeal of nature in art4 ,on the shield of ,achilles1 he marveled at the field which grew black behind the plowing1 a marvel of ,homer's close study of nature as well as an expression of his ideal for art4 ,nature is a language all can understand and human nature is a language all must and do understand4 ,when lament was made over the body of ,patroklos1 the elegy of ,briseis stirred all1 8and thereon the women wailed1 in semblance for ,patroklos1 but each for her own woe40 ,similar is the appeal of art where in semblance of something else1 each sees what belongs to self4 ,aristotle in seeking to explain the characteristic pleasure of art ascribes it to mimesis or re-presentation in another medium4 ,such staging1 he says1 not only robs the terrifying of its terrors but enables all to understand and reason to the nature of each art product4 ,such understanding and reasoning mean surely something more than the mere recognition of photographic accuracy and likeness4 ,if we may press the meaning of the ,greek word used for reason1 the process of art enjoyment is similar to the syllogistic process which involves an appeal to a general statement4 ,the process is one which recognizes the general in a particular case1 as the grief of ,briseis found an echoing grief in every heart4 ,whether ,aristotle and this interpretation of him is correct or not1 it is evident that art must generalize4 ,art must select1 both by choice of the artist and by the limitations of his medium4 ,art does not photograph1 because it has no sensitive plate for its medium4 ,the photographer's art largely precedes the camera and consists in selecting that pose and that expression1 out of many1 which is yours4 ,the camera is nature1 controlled by mechanism1 and is not art4 ,if the photographer or painter or sculptor photographed you in some passing spasm1 we should not learn and reason that it was you4 ,the spasm was realism and fact1 but it was peculiar and individual2 it was not you whom we have known and generalized from experience4 ,in such a case1 ,aristotle says shrewdly1 we might get artistic pleasure from the workmanship or colors1 that is1 from the medium and the mechanics of art1 but we should have no artistic pleasure from the soul and substance of the art product because the product found no prototype in our experience1 because we could not define it or generalize it4 ,art selects4 ,it cannot give everything1 and if it would be true1 it must give what all may understand2 it must give what is generally true1 and what is generally true of all men is human nature4 ,selective idealism has usually the advantage of being intelligible1 but it labors under the disadvantage of becoming merely intelligible4 ,it gives the truth1 but through familiarity the beauty or artistic appeal of the truth has been dulled and tarnished1 or1 like the dandelion1 until a ,lowell gives it a new luster1 its very commonness leaves us unmoved4 ,we enjoy human nature in ,homer because he was the creator of sleeping winds and of rosy-fingered dawns and of the mother's smile alight through tears4 ,a modern who would transfer these same touches to his own composition would leave us cold4 ,he too must create2 he must be personal1 but he must not be individual4 ,personality is the knowing and loving principle1 and looks to the many with its thoughts and wishes4 ,individuality is the principle of separation and isolation and is looking inward1 not outward4 ,when the artist1 therefore1 creates and gives his own winds or dawn or mother love1 he should speak to us in his own concrete embodiments of nature1 and of human nature1 using a language man understands4 ,if selective idealism tends to become merely intelligible and unappealing1 individualism tends to become unintelligible and to mystify4 ,the poet1 the novelist1 the painter have more depth than silver nitrate on a photographic plate4 ,artists do not simply mirror nature2 they do not catch at the odd or freakish4 ,that is photography1 not creation4 ,horace did not give us a moving picture of a falling tree1 but he saw the humor and human interest of that 8sorry log40 ,burns did not give us an anatomical study of the typhus-carrier on a lady's bonnet in a kirk1 making it crawl upon ourselves and sending us after the kerosene can and bath tub1 but ,burns soared away1 from that sight with ,horatian humor and ,horatian human nature1 into the immortal lines1 8,o wad some power the giftie gie us40 ,the artist who confounds the generalized mental attractiveness found in true art with the shock of nerves or the tickling of concupiscence or with misguided realism1 will not produce things of beauty4 ,he gets a thrill1 but it is not the permanent1 undying thrill of art1 not the thing of beauty1 which is a joy forever4 ,,iv ,,art ,,and ,,human ,,nature #b4 ,,realism ,,and ,,reality ,at an exhibition in ,new ,york ,city there was displayed a picture of an ocean wave upon the crest of which the artist had nailed a real bar of soap4 ,the first idea of the spectator was to consider this peculiar product an advertisement1 but it seems to have been intended as a serious1 if perverted1 attempt at art4 ,if the artist was not slyly proposing the caricature of excessive realism1 the cake of soap will serve well as a parable for those artists who do not distinguish between realism and reality4 ,the ultra-realist forgets that art is a creation1 the making of another world4 ,the artist cannot really create what he puts into his new world of sight or hearing or imagination1 of color1 of sound1 of words4 ,if he could actually make something new1 not based on nature or on human nature1 he would do so on the penalty of being unintelligible4 ,neither should he go to the other extreme and not leave the world of reality at all4 ,he may not eat his cake and have it4 ,if what he takes from actuality is not merged fully into his art form1 he tries to give us fact and fiction1 history and art1 in the same product1 and he nails a piece of soap on a painted wave4 ,aristotle insists above all on probability in art1 or motivation1 as it is now commonly called4 ,a probable or well-motived impossibility1 he says1 is more artistic and pleasing than an improbable1 that is1 an unmotived fact4 ,for a like reason he demands that fiction be more philosophical than history4 ,we accept a chronicle of facts without necessarily being aware of their causal connections4 ,in the realms of art the connection must be established4 ,this principle1 so fruitful for art1 is not to be understood as justifying or approving that school of subjective novelists which is parsimonious in happenings but diffuse in reasoning and gives us a maximum of discussion with a minimum of incident4 ,aristotle is thinking more of the people who witness the drama4 ,the spectators want the motivation and plausibility of action rather than that of logic4 ,the soliloquy has gone from the stage2 the printed soliloquy should be curtailed in the novel4 ,a true understanding of motivation will send all artists back to nature and to human nature for those incidents which are the springs of action and do not require lengthy logic to labor at their explanation4 ,homer is completely lacking in logical refining4 ,incident leads to feeling and talk1 which gives rise to further incident4 ,action1 feeling and character1 ,aristotle's trinity of art subjects1 are mingled and detailed1 and the story moves on in a way plausible and pleasing to ,homeric audiences4 ,when ,homer runs short of motivation1 he does not resort to logic2 he refers the causality to the gods1 as modern writers refer all insoluble problems to evolution1 which puts hardly more restrictions upon imagination than ,homeric mythology4 ,the artist must transfer his product wholly to the world of art4 ,sculptured horses must not neigh1 nor painted flowers give perfume1 but neighing and scents may be suggested even in stone1 and in lines by art happenings1 which all may read running if the artist will use the language of human nature4 ,he should paint his cake of soap in1 not nail it on4 ,if the exigencies of the story demand it1 costumes of the night or costumes of bathing may be in place1 but it is nailing on a cake of soap1 it is outraging probabilities1 to force a story into a setting or to adopt a style of dress or of undress simply for the sake of producing a shock4 ,that is the shock of reality1 not of art and beauty4 ,should the dramatist have an excellent quartet and stop the play in order to give a song1 he is nailing on a piece of soap1 which may be magnificent soap1 but it is not art4 ,why is the so-called realism depressing8 ,why is the ,russian novelist left for the connoisseur but is caviar to the general8 ,is it the presence or absence of evil8 ,hardly that4 ,homer's stories are full of evil and of death2 ,sophocles' ,king dipus and the ,prometheus of ,eschylus are surcharged with evil1 but they do not depress4 ,euripides1 on the other hand1 and ,lucian have more alleged realism and are depressing1 even when they cause a smile4 ,the realist is cynical1 and cynics do not soar off into the world of art1 but keep tethering themselves to the real world4 ,they do not lose themselves in their story because they are always thinking of keeping some one's nose against their grindstone4 ,why should the optimistic moralizing of ,polyanna be resented by critics any more than the cynic moralizing of ,shaw or of ,main ,street8 ,the cheerful idiot and the purblind dyspeptic are depressing in real life1 especially when they are moralizing1 but in and out of art we can laugh at the idiot1 while we squirm at the assumed superiority of the cynic4 ,the moralizing is a cake of soap4 ,shakespeare is not depressing and ,homer is not depressing4 ,they do not blink the facts of life1 and beyond the humor and humanity which saves them and their audience1 they lose themselves in their story4 ,the evil they depict is true evil1 so recognized1 in their art-world4 ,it is1 besides1 evil called for by their story1 not lugged in for a moral or to exemplify a theory of art4 ,they know that drab is not the only color in life4 ,they know that bright things are as real as black things1 but they are not illustrating a theory but giving us a story4 ,we pass with them into a fictitious world1 and the things which depress the denizens of that world do not depress us if we are not brought back to reality by stumbling on a cake of real soap1 not integrated with the story4 ,the sight of his dog ,argos made the heart of ,odysseus sink4 ,even for those who think ugliness the only reality1 ,argos was covered with realities and squatted on reality4 ,he depressed his master but he does not depress us4 ,he lies upon ,main ,street and has a ,polyanna wag to his tail4 ,his optimism and his pessimism are1 however1 not tacked on4 8,and lo1 a hound raised up his head and pricked his ears1 ,argos1 the hound of ,odysseus4444 ,despised he lay 7his master being afar7 in the deep dung of mules and swine4444 ,there lay the dog ,argos1 full of vermin4 ,yet even now when he was aware of ,odysseus standing by1 he wagged his tail and dropped both his ears1 but nearer to his master he had not the strength to draw4 ,but ,odysseus looked aside and wiped a tear40 ,argos is the ideal dog of a far away master2 8who has lost his dominion10 as ,eumus1 the shepherd of ,odysseus1 says4 ,argos registers the fate of his master4 ,we feel1 but we do not feel depressed4 ,it is human2 it is all inevitable2 it is real as life but perfectly idealized by perfect transfer to the realm of art4 ,eumus gives us the morality of it1 the truth of it1 but he is far from moralizing1 either pessimistically or optimistically4 ,argos is the dog ,schneider that ,jefferson's ,rip ,van ,winkle could not find to recognize him2 he is the picture in brief of his master's fate4 ,eumus is as free from all obtrusive soap as ,argos himself4 ,the dog's fate is ascribed to the careless women who 8are no more inclined to honest service when their masters have lost dominion1 for ,zeus takes away the half of a man's virtue when the day of slavery comes upon him40 ,v ,,art ,,and ,,the ,,divine #a4 ,,religious ,,origin ,,of ,,art ,the recent discovery of the tomb of ,king ,tutankhamen has aroused the interest of the world4 ,the perseverance of the explorer1 the variety1 artistic excellence and intrinsic value of the discovery gave the news a place in the press and signalized the latest triumph of the spade1 which ,schliemann converted into the best of historians4 ,dig in your back-yard1 and you can read its past in the layers before your eyes4 ,make a cross-section of the country1 and successive deposits will tell you its story4 ,lay bare the strata of the earth1 and the buried fossils1 the minerals1 the gas1 the oil1 reveal the history of the world4 ,grave-digging is the most productive occupation to which science1 art and even commerce can now be vocationally guided4 ,what was it that enriched the ,egyptian tomb and other tombs of the past in which man was buried8 ,it was religion1 and specifically it was belief in the immortality of the soul4 ,the latest opened tomb repeats the truth that was manifest in the pyramids of ,egypt1 which were temples as well as tombs4 ,the beehive tombs of ,mycen from which ,schliemann actually shoveled gold ornaments of various kinds were also temples as well as tombs4 ,the altar-stones in ,catholic churches with their tiny loculi for the relic of a saint keep still the memory of the days when persecuted ,christians found the ,catacombs of the dead places of worship as well as of escape from the persecutor4 ,the caves of ,cro-,magnon and ,aurignac and other ancient deposits in ,france and ,spain have disclosed the earliest evidence of man's art4 ,the man was no mean artist1 and the coloring and skillful drawing have astonished every one4 ,why dark caverns1 inaccessible to light1 should have been so decorated has puzzled observers4 ,reinach calls the pictures early 8magic10 painting of animals to capture them4 ,but there are paintings of men as well as of bisons and reindeer4 ,professor ,osborne is quoted as saying that it seems to be art for art's sake1 namely1 that the sheer pleasure of the drawing is its reason4 ,an admission1 it would seem1 that the professor has no real explanation to offer4 ,sir ,bertram ,windle has recently asserted the religious origin of these pictures4 ,they would seem to be the earliest appearance of stained-glass windows4 ,the caves were temples1 and the explanation is confirmed by a comparison with the beehive tombs of ,mycen and with the ,egyptian tombs4 ,the altar1 the sacrifice1 the victims1 the food1 clothing and other accompaniments of life1 are all evidences of religious feelings and a belief in a continued existence4 ,the absence of the bodies in these caves may easily be accounted for4 ,fleeting time with prowling animals has destroyed them while it left the pictures on the wall4 ,art is even longer than ,longfellow imagined4 ,if the earliest art so far found is religious in origin1 these so called ,cro-,magnon or ,aurignacian artists exemplify again what is a commonplace in the history of art4 ,it would be easy to add to the following statements found under 8,art0 in ,hasting's ,dictionary of ,religion3 8,the religious aspect of art in ,egypt includes almost all that is known of it40 8,there is hardly any doubt that the high level of ,assyrian and ,babylonian art is due to the deep religious feeling of the two nations40 8,the history of art in ,greece is throughout its course intimately connected with religion40 ,the fact is beyond all denying4 ,religion and art are united1 in music and song1 from the dances of savages to the ,hebrew psalms and the stateliest liturgies2 in painting1 from the early caveman to the modern man2 in sculpture1 from the crudest icons dug up at ,troy to the idol statues of ,greece and ,rome1 in the lions and bulls of buried ,mycen and ,crete1 of ,assyria and ,egypt1 in the tiny seal rings1 in the ornaments and statuary of our modern churches2 in oratory1 from the prayers of the priest in the ,iliad1 to the fulminations of the prophet and the eloquence of the pulpit2 even in civic oratory we find ,demosthenes and ,cicero in their sublimest heights touching upon religious motives2 in the poetry of incantation1 of oracle1 of revelation1 in liturgy and drama2 in the little tale of the fable and in the mighty story of the epic1 for the full sweep of which ,homer and ,virgil1 ,dante and ,milton must stage their events upon the background of a ,divine ,providence2 in architecture1 from the tombs and temples of the eastern world1 to the temples of the ,aztecs and to the ,gothic cathedral4 ,aquinas gave in his ,summa a synthesis of all science2 ,dante gave in his ,divina ,comedia a synthesis of man's life and destiny2 the ,gothic cathedral of the same age gave a synthesis of all the arts in one structure1 exemplifying in fullness and excellence the mutual interaction of art and religion in the middle ages1 where manifestly religion held sway as never before or since4 ,the ,morgan 8,collection0 in the ,metropolitan ,museum of ,fine ,arts in ,new ,york exhibits the dusty wreckage of that wonderful union of religion and art4 ,no poet's imagination is needed to rebuild those fragments into that marvelous structure1 under whose myriad statuary of serious saints and grotesque gargoyles1 you pass through carved portals into the spacious aisles over which arches leap aspiringly4 ,the painter fascinates you with the story of many colors in the windows4 ,the weaver hangs other pictures on the rich tapestry curtaining the walls4 ,the wood-carver is everywhere evoking beauty with cunning fingers4 ,music and song in the dramatic and antiphonal liturgy1 the sublime eloquence of the pulpit in turn charm and rest the ears4 ,the minutest detail is as artistic as the rich magnificence4 ,the missal on the altar will be a 8,book of ,kells10 a reflection on illuminated parchment of the religious and monastic life which produced it1 by its patience1 learning1 devotion1 silent application1 and scrupulous exactness2 8examined with a microscope for hours10 says an authority1 8without detecting a false line or irregular interlacement40 ,near the missal of the ,gothic cathedral would be found a jeweled chalice1 like that of ,ardagh1 with three hundred and fifty-four distinct pieces1 classic and rich in all kinds of ornament4 ,baldwin ,brown was surely right in declaring3 8,it is probable that nothing more artistically beautiful has ever been seen than the ,gothic cathedral10 and the ,gothic cathedral is the crowning glory of a deeply religious age4 ,,vi ,,art ,,and ,,the ,,divine #b4 ,,the ,,kinship ,,of ,,art ,,and ,,religion ,the history of art from its lowest manifestations to its highest gives evidence of its union and intimacy with religion4 ,the fact is admitted1 and might easily be confirmed by the very way in which religious movements violently reacted against art4 ,hebraism knew the power of art over its followers1 and ,hebraic antagonism to sculpture and painting served to give religious impulse freer outlet in ,hebrew poetry and oratory and other literature4 ,the ,bible is the supreme illustration of the influence of religion upon literary art4 ,islamism opposed art1 but gradually succumbed to its influence at least in architecture4 ,that ,islam has not yielded more to art is an evidence of arrested civilization1 as well as of baser and more sensual religious feelings4 ,puritanism1 the intensest form of ,protestantism1 opposed art in all its manifestations1 but ,puritanism either diverted art energy to poetry and literature or provoked excesses by its attempt to check the natural impulses of art1 and ,puritanism finally yielded to art4 ,it is clear then that religious opposition to art serves but to show more strikingly the union of religion and art4 ,the religion that opposes art must direct the art impulse into other channels or the religion degenerates4 ,by their nature religion and art are congenial4 ,what now is the explanation of this close and continuous union of art and religion1 found everywhere and in all ages8 ,taine and his school1 led astray by some details in the artist's subject matter1 have tried to explain art by environment2 but environment is an explanation absurd in itself1 and cannon be adequate for an ubiquitous fact which transcends all environment4 ,the theorists who ascribe the origin of art to play and the deploying of superfluous energies liken1 with ,herbert ,spencer1 the art impulse to the acts of a kitten playing with a ball4 ,play may be partly an excess of energy1 but not all energy is artistic1 and animal play is the stirring of appetite1 bearing but a slight1 superficial resemblance to man's early strivings for artistic expression4 ,how many games are imitative and made more attractive by art6 ,from the very first1 mind enters into early and even child art1 and at the last the devotion of the artists to their ideals in the higher manifestations of art1 a devotion quite unlike play1 shows that the art impulse is essentially different from the instinctive impulse of the kitten1 which pounces on a rat as it pounced on a ball of wool4#a ,another school1 striving to explain the connection between art and religion1 takes a directly opposite view to the play theory4 ,fear and magic are1 according to these authors1 the controlling factors4 ,the difficulty in this theory is the utterly selfish element in the fear and magic impulse1 whereas the art impulse is disinterested and unselfish4 ,besides1 religious belief precedes the fear and magic propitiation of offended powers4 ,the voodoo and the hoodoo mark degradations of religious impulses4 ,impulses in harmony with man's nature may go down as well as up1 and even should we suppose that the unselfish impulse of art1 which finally becomes the evidence and glory of man's highest civilization1 could be traced back to the sordid details of selfish superstition1 why should such an ugly duckling evolve into a fair swan8 ,devolution and degradation are easier than evolution4 ,why did the art impulse take the narrow1 upward path and shun the broad way down to perdition8 ,the perfection of the oak must have been in the potency of the acorn4 ,the oak could not come from a peanut1 nor can all the powers of sun1 rain and soil or any other factor of the environment evolve the fruit of the peanut vine into the majesty of the oak4 ,we can explain by an extrinsic cause the stunting of an oak or the rotting of an oak1 but we cannot account for the existence of the oak--except by an acorn4 ,we may find perhaps a thwarted or corrupted art tendency in superstitious fear and its products1 but that element of fear could not write a poem or compose a sonata or rear a ,gothic cathedral4 ,the perfection reached by the art product must have been in the potency of the first artistic impulse in germ4 ,religion and art were then united potentially in the original art impulse just as the strength and lofty beauty of the oak were latent in the acorn4 ,the art impulse is natural to man2 it is intellectual4 ,it requires brains to be artistic1 as it requires brains to laugh1 and no animal has done either or will ever do either4 ,the bird in building its nest displays an intelligence not its own2 its nest building is inherited just as its song is4 ,jean ,fabre's observations have shown conclusively the wonders of instinct1 coupled with the stupidity of the creature possessing the instinct4 ,but the earliest scrawl or daub of the child displays the mind working on matter and the deliberate shaping of means to an end4 ,all intellectual testers from ,simon-,binet to the latest have found the making or interpreting of pictures a measure of intellectual power4 ,they are right4 ,art is rationalized pigments or sounds or words with their images or some other rationalized material4 ,dr4 ,james ,harvey ,robinson in ,mind in the ,making says that we are wrong in rationalizing the past to make up our minds1 and how does he show it8 ,by rationalizing another past for us4 ,the truth is we must rationalize the past1 and ,dr4 ,robinson should induce us1 not to stop rationalizing1 but to rationalize correctly and should give us something better than universal skepticism with which to rationalize4 ,the art tendency is one with the religious tendency in being rational and intellectual4 ,art and religion strive for high ideals2 they are disinterested and unselfish4 ,la,farge says to ,saint ,gaudens3 8,that work is not worthy of you10 and ,saint ,gaudens picks up a hammer and smashes the sculpture4 ,that is an instance paralleling the heroic following of religious ideals with like sacrifices4 ,was it fear of bogies or love of their dead which filled so many tombs with precious articles8 ,believing in immortality1 ,egyptians and ,myceneans gave to the dead what was most precious1 and what was most precious was the finest art in the costliest material4 ,love keeps graves green3 fear erects a crematory4 ,art and religion are personal and emotional4 ,each has its own proper expression4 ,of religion the expression is worship and of art it is concrete embodiment of the ideal1 and in both cases the expression is intimately personal and permeated with feeling4 ,art is more sensible and so more emotional because its expression must be presented to the senses or at least to the imagination4 ,religion whose primary expression is an act of the will1 need not of its nature be attended with emotion or external display but it usually is1 and feeling and expression commonly help to the fuller expression of religion4 ,the rapture of art and the ecstasy of religion1 though differing in much1 have also much in common4 ,in their social appeal art and religion are akin4 ,the artist and the saint have their hours of solitary contemplation4 ,st4 ,peter at ,pentecost1 describing the religious ecstasy of the inspired apostles1 cried out3 8,these are not drunk as you suppose10 and1 continuing1 he quoted the prophet ,joel3 8,your young men shall see visions and your old men shall dream dreams40 ,in the forming of their visions and dreams saint and artist are alike1 though the substance of their visions differ4 ,they are alike also in their impulse to give their visions expression and to influence men with them4 ,religion is apostolic and art is social1 and that is why in history they have gone forth so often hand in hand to subdue the world4 ,whole nations had to conspire to erect the ,egyptian pyramids1 the tower of ,babel1 the temples of ,israel1 of ,rome1 of ,greece and of the ,orient1 and the ,gothic cathedrals4 ,only a union of art and religion could produce such stupendous results4 ,patriotism and the state have at times come near to these great effects1 when patriotism or love of country assumed the nature of religion4 ,to produce these national monuments a lasting cause as well as a cause of wide appeal was necessary4 ,here again art and religion are akin4 ,art is long1 and religion is immortal4 ,art reaches its highest and most perfect expression in the sublime4 ,here religion does not walk hand in hand with art1 but bears art on high and gives to art some of its own divinity by endowing the artistic expression with sublimity4 ,the literature of the ,bible attained to heights which writers of other nations could not dream of nor ambition4 ,genesis sets poets and all artists upon a lofty eminence4 ,by the revelation of creation1 the imagination and the vision of the artist became coterminous almost with that of the ,creator4 ,newton's theory of gravitation which shepherded the starry hosts of the universe into one obedient flock1 gives us a realization of the effect of ,genesis upon the world's imagination4 ,the creation motif in literature emancipating man's imagination1 enlarging the boundaries of vision1 and dowering the artist with sublimity1 deserves a treatise by itself and a history worthy of its greatness4 ,art and religion are united in fact1 so history teaches2 art and religion are akin1 so the study of their attributes reveals4 ,what then is the only and full explanation of that fact and of that harmony8 ,philosophers hold that the only and the full explanation of the harmony subsisting between the mind and reality1 which is called truth1 is found in the fact that both mind and reality are reproductions in creation of ,god's truthful knowledge of ,himself4 ,ethicists hold that the only and full explanation of the harmony subsisting between the will and law1 which is called moral good1 is found in the fact that both will and law are reproductions in the finite of ,god's love of ,himself4 ,so philosophers must hold that the full and only explanation of the harmony subsisting between the soul and art1 which is called the expression of the beautiful1 is found in the fact that like the innate tendency to truth and good1 the tendency to beauty is a reproduction of ,god's contemplation of ,himself4 ,creation1 as has often been declared1 is a manifestation of the art of ,god1 a mimetic presentation in finite matter and spirit of the infinite ideal4 ,all advance in truth and virtue is an approach to divine truth and goodness1 and all true progress in art is an approach to divine beauty4 8,filled with enthusiasm10 says ,de ,wulf in ,l'uvre d',art et la ,beaut1 8before the greatness of the artist's power1 ,dante ,alighieri compares it to that of ,omnipotence3 8#8,your art like the grand-child of ,god' 7,inferno1 ,,xi1 #ajc74 8,art is the grand-child of ,god because it is the offspring of man's creative power as man himself has come from the hands of ,god40 ,,vii ,,art ,,and ,,the ,,divine #c4 ,,art ,,in ,,its ,,relation ,,to ,,virtue ,the fact that religion and art are connected is abundantly established by history4 ,the naturalness of that connection is made clear by the many traits art and religion possess in common4 ,as philosophers have argued to the existence of ,god from the fact that the universal belief in ,his existence can be accounted for satisfactorily on no other supposition2 as philosophers also argue to the immortality of the soul from man's universal and inevitable tendency to unending existence1 so in like manner1 it may be argued that since always and everywhere the art impulse is connected in its origin and growth with religion1 that impulse too1 like belief in ,god and desire of immortality and conscience for law and tendency to truth1 is a projection of the divine upon humanity1 not the anthropomorphism of ,god but the theomorphism of man4 ,the structure of our eye1 made to respond to light1 justifies us in concluding there is light4 ,the nature of the soul1 which can respond to infinite beauty1 justifies us in concluding there is infinite beauty4 ,he who said1 8,let there be light10 said also1 8,let us make man after our own image and likeness40 ,an explanation of the nature of these two human acts of art and religion will disclose more analogies while revealing essential differences4 ,religion is a virtue of the will1 a habit developed by the free act of man1 a virtue which culminates in worship of ,god as the supreme being4 ,the impulse of art has not been analyzed as fully and as satisfactorily as the virtue of religion1 but from ,aristotle's analysis in the ,poetics1 through the ,neo-,platonists and the ,scholastics down to ,kant and his followers1 there is common agreement that the tendency to beauty does not belong to the inclination towards good1 actuating appetite and will1 but that the enjoyment of beauty is a function of the perceptions1 the imagination1 and the mind4 ,the admitted disinterestedness of the art impulse is the paramount and irresistible evidence that it differs essentially from the self-seeking tendency of will and appetite which cannot be indifferent to good1 since good is the very cause and condition of the appetite's existence4 ,the enjoyment of a painted fruit is akin to the enjoyment of verified theory or of a triumphant conclusion1 and not like the satisfaction felt in the ownership of the painting of fruit or in the actual craving or eating of the fruit4 ,it is evident1 therefore1 why a man may be artistic without being religious4 ,there is no more difficulty in understanding why an artist is not a saint than in knowing that conscience is one thing and acting up to it another thing4 ,improvement in art does not always mean improvement in morals or in religion1 any more than to know is to will4 ,nor1 on the other hand1 will the evil of an artist or of his work be evidence against the divinity of art4 ,the divine origin of conscience and the natural law is evident in the vice of the sinner as in the virtues of the saint4 ,the essential difference between art and religion shows also that the school in which the prophet is ,ruskin1 the school which finds a religion in the beauty of world or of art1 is incorrect in its teaching4 ,love and fear are the mainsprings of action1 the incentives to virtue4 ,beauty may grace the attraction of good2 it cannot take the place of good in virtue and religion4 ,estheticism is not asceticism4 ,francis of ,assisi was a poet and a saint1 ,francesca da ,rimini enjoyed poetry1 might have been a poet1 but was not always a saint1 and many a ,francisco and ,francesca may be found neither artistic nor religious1 as many are talented without being virtuous and virtuous without being talented4 ,despite the sad lack of harmony between the beauty of their art and the virtue of their lives1 artists have nevertheless always been revered4 ,the honor of their art has won them in their lapses a gentleness of treatment not accorded to less favored mortals4 ,they are fallen angels if they fall4 ,does the union of religion and art mean then that the artist must be a moralist8 ,to moralize is not a function of art as such4 ,i enjoy the beauty of a tree without any feeling that it conveys a truth or inculcates a virtue4 ,the artist may transfer the tree to canvas1 where ,i enjoy it as ,i did in nature without any accessory implication1 informing or ethical4 ,joyce ,kilmer may put the tree in a poem and with it add beauty to the truth that1 8only ,god can make a tree40 ,the psalmist may put a tree in his sacred hymn and with it add beauty to his praise of the life of a good man1 who shall be 8like a tree planted near the running waters40 ,logical truth and moral good are not excluded from art1 although the artist by profession is not a teacher4 ,modern critics are often inconsistent and hypocritical in welcoming every dramatist or poet or novelist who undisguisedly advocates various theories1 but will be withering in their scorn for any one who advocates the ten commandments4 ,to moralize1 to dogmatize1 to theorize is not the function of art1 and though these actions are not incompatible with the functions of art1 very rarely in the history of art has it been successful when it undertook to teach or to preach4 ,didactic poetry1 satire poetry and propaganda drama1 have great difficulty in becoming poetry and remaining poetry4 ,religion then is a virtue of the will1 resulting in acts of worship2 art1 a power of the mind1 resulting in various artistic creations4 ,religion may remain wholly spiritual1 even in its expression1 but1 though the mind's appreciation of beauty may rest on purely spiritual and intellectual objects1 such as theories or virtues or ,god and heaven1 art must express itself in sensible objects4 ,even in literature1 the most intellectual of arts1 words and pictures of the imagination are essential4 ,angels might be conceived as having an art whose sole medium was spiritual ideas1 not so man1 whose mind works through imagination4 ,aquinas1 stressing the intellectual nature of beauty1 calls attention to the fact that while men speak of beautiful sights and beautiful sounds1 they will rarely and only figuratively consider the acts of other senses1 as taste1 touch and scent1 beautiful4 ,the actions of these senses are immersed in the material1 whereas sight and hearing are closer to the intellectual and spiritual4 ,man has not yet succeeded in making a fine art whose medium would be tastes and touches and fragrances4 ,the unselfish enjoyment of art cannot be released in objects so material and so near to the appetites4 ,the sensualist is not an artist in yielding to sense enjoyment1 although he may wish to give his unhallowed ways an artistic gloss4 ,the one who sees only an apple pie in rosy apples or senses slumbrous ease in soft velvets and in iridescent silks or perceives only the perfume in flower and fruit1 is not experiencing esthetic emotions1 but rather stirrings of the bodily appetites4 ,if estheticism is not asceticism1 neither is it1 on the other hand1 concupiscence or mere sensualism4 ,does the connection between art and religion exclude the presentation of evil in art8 ,art would be much handicapped if it were restricted entirely to good objects4 ,art is a manifestation of man's intellect and must act in accord with the nature of that faculty4 ,if evil is artistically presented1 it must be depicted as evil4 ,to present moral evil as a good is a falsification as repugnant to the mind as would be the painting of a blue sunrise1 of a green moon or of a black-and-tan sea1 and as absurd as the sculpture of a five-legged lion4 ,the enlightened mind rejects such physical monstrosities1 and the enlightened mind1 despite the lower appetites1 rejects moral disorders with equal1 if not greater1 repugnance4 ,again1 art requires that the evil1 the moral ugliness or physical ugliness1 be a necessary and rational part of the presentation4 ,a fact of nature becomes at once the material of science1 because science concerns itself with unadorned truth4 ,but for a fact of nature to be material of art1 it must be idealized1 that is1 it must be made an integral part of the art product4 ,the pleasure of art does not arise from deception but from illusion which does not deceive4 ,painted grapes might deceive birds2 but did they deceive men1 then the effect would not be that of art but of reality4 ,the evil or ugly can never be pleasant as long as it is present and actual4 ,the transfer of evil to the world of art if it becomes an integral1 justified and rationalized part of the illusion1 is usually enough to rob evil of its actuality and unpleasantness4 ,sometimes in contemporary realism1 with every justification of ugliness from the art product1 there is depression and not true art pleasure1 because we cannot forget the actual world when contemplating the imaginary world of art4 ,suppose 8,macbeth0 or 8dipus0 were really historical and were acted in the presence of their contemporaries or of the next generation4 ,would there be satisfaction and the emotional relief arising from illusion8 ,hardly4 ,memories would be too much lacerated with the actual to surrender to the illusion of art and to enjoy its contemplation4 ,actuality would put back the salt into the tears that else might have been sweetened by transfer of evil to remote and imaginary realms4 ,the ,greeks and ,shakespeare were right in making their tragedies historical1 whereas modern realists are somber with pessimism because they never forsake the actual4 ,art and religion are both concerned with life and so they both must touch evil and ugliness1 unhappily a large part of life4 ,religion as a virtue must overcome evil and not permit it to master the will4 ,art depicts evil in such a way as not to offend the enlightened mind1 by approval of evil or by the artistically unjustified introduction of evil or by actual experience of evil4 ,in all these cases the mind would not experience the true and lasting pleasure of art4 ,the taste of fruit passes2 the contemplation of painted fruit is a joy forever4 ,art pleasure is not the playing with toys1 as ,plato would seem to make it1 but the fine occupation of rational minds1 which ,aristotle made it1 an occupation worthy of man because art interprets nature and man to himself1 because art exercises man's rational faculties1 because art releases man's emotions under conditions where the evil of actual life is removed4 ,macbeth and dipus in life were saddening spectacles2 the echo of that sadness felt through dramatic representation has high pleasure for the mind4 ,the cathartic function of art brings it close to the virtuous and the divine4 ,what virtue does really1 art does ideally1 transforming evil into good4 ,the vicarious sacrifice of ,calvary was the catharsis of mankind1 an infinite cleansing1 compared with which the vicarious feeling of dramatically enacted evil is but as a drop to the ocean4 ,close to the divine1 too1 although at the same time infinitely remote1 is the creation of art4 ,wisdom and love inspired ,god in ,his creation1 but so also did the quest of beauty4 ,aquinas called the universe ,god's sermon1 and the universe is a divine picturing and sculpturing and harmonizing4 ,the artist follows far after1 rethinking through finite images the ideals which filled the thoughts of the ,divine ,artist4 ,in idealizing1 in creating1 is art akin to the divine1 and1 lastly1 in its disinterestedness is art divine4 ,all appreciation of beauty is divine4 ,contemplation will be the occupation of eternity1 and contemplation is the proper and the congenial attitude of the soul towards beauty4 ,good inspires love and attracts to union1 but when union has been effected in eternity1 the enraptured ecstasy of the beautiful will be the soul's unending activity4 ,beauty is the supreme excellence of truth1 the polish on the granite of fact1 the uncloying fascination arrested upon perfection4 ,in eternity infinite good and infinite truth1 obscured in time1 will stream into the soul unclouded and refulgent1 and beauty will grace love and crown wisdom4 ,the millions of mankind who admire the red of every morning1 and the forests breaking green through the silver mists and the birds in awakened song rising from the flowers to the brightening sky1 these millions do not begrudge one another such beautiful spectacles1 nor are they mutually jealous as they listen to beautiful sounds4 ,that unselfish1 that unenvious contemplation of beauty marks off man from animals by an impassable chasm and makes him an image of the self-sufficing ,creator1 the source of all beauty1 the exemplar of all beauty1 whom the ,blessed forever contemplate and forever enjoy1 unenvying and unenviously4 ,,viii ,,the ,,visceral ,,test ,,of ,,beauty 8,what is the prime requisite of a critic80 was the question4 8,his sincerity10 said one2 8his sympathy10 said a second2 8his philosophy10 said a third1 8because everything he says will be ruled by his principles1 even his sincerity and sympathy40 ,the answer of the third speaker is pertinent to a symposium printed in the ,new ,republic on the function of criticism4 ,it is the common view of the seven writers that criticism is an art and the critics1 artists1 but no one1 except ,mr4 ,francis ,hackett1 tries to show what the label of artist means4 ,mr4 ,dickinson ,miller1 a professor in a theological seminary1 very justly and quite fittingly insists on the social responsibility of the artist1 as one who deals with life4 ,mr4 ,lovett goes to history and prepares the ground for a discussion of principles by grouping critics in several classes4 ,mr4 ,clive takes the humblest and most practical view of the critic1 calling him an appraiser1 a function which ,mr4 ,h4 ,l4 ,mencken vehemently repudiates and places a chip on his shoulder while belligerently proclaiming himself impressionistic4 ,he makes one deep remark which would seem to put him in the same school of esthetics with ,mr4 ,hackett4 ,presumably with humorous intent1 or perhaps seriously1 ,mr4 ,mencken locates the artistic impulse in 8hormones and intestinal flora40 ,hormones are secretions of the glands 7we just looked it up67 and 8intestinal flora0 may mean ferments4 ,mr4 ,mencken is abreast of the times4 ,graft on a new gland and masticate yeast1 these are the new specifics for all the ills that flesh is heir to4 ,the other contributors to this interesting symposium1 though not1 with the exception of ,mr4 ,hackett1 delving as deep as ,mr4 ,mencken1 would appear to be in philosophy individualists and subjectivists4 ,the former editor of the ,athenum1 ,mr4 ,j4 ,middleton ,murry1 accepts the dictum of ,rmy de ,gourmont3 8,erect personal impressions into laws10 as the 8true motto of a critic40 ,mr4 ,murry is1 however1 too sensible to accord to individual impressions undue freedom and with some violence to his consistency asserts that personal laws stand or fall by their agreement with common experience and with human nature4 ,mr4 ,morris ,cohen puts himself into a fallacious dilemma from which he does not successfully extricate himself4 ,according to ,mr4 ,cohen1 all critics are led by personal impressions or by the authority of others4 ,he should know that between the blind feeling of impressionism and the blind faith of authority there is enlightened reason4 ,mr4 ,cohen does not take the path of reason1 but endeavors to escape the horns of his own dilemma by recourse to pragmatism4 ,he claims1 what will be news to historians of philosophy1 that ,euclid was the first pragmatist1 although in the next breath ,mr4 ,cohen states that 8mathematicians of the nineteenth century have shown that ,euclid's axioms are mere guesses to be justified by their consequences in the factual realm40 8,factual realm0 seems to mean the indefinitely remote future of pragmatism where the gold of truth is separated from meaner elements4 ,some chosen spirits of the 8factual realm0 now assure us that the 8self-evident principles0 of ,euclid are 8guesses40 ,mr4 ,cohen is equipped to write an inside history of philosophy with some entirely original features4 ,the 8factual realm0 leads back to skepticism1 and ,mr4 ,cohen is still impaled by his dilemma4 ,mr4 ,francis ,hackett makes the most serious attempt to get at the philosophy of criticism and of art1 and attacks at once the question of the beautiful4 ,it is evidence of his thoroughness that he goes straightway to the great problem of esthetics1 8,can an object be at once beautiful and evil80 ,mr4 ,hackett answers promptly in the negative1 but then proceeds to confuse the point by going to another and different question1 8,can evil or an ugly object be represented in art80 ,the answer to this question is evident4 ,the elopement of ,helen1 the patricide and incest of dipus1 the galleries of ,dante's ,inferno and ,purgatorio1 and countless other happenings in the world of art1 show that the evil and the ugly have been and may be represented in art4 8,i can hardly conceive10 says ,mr4 ,hackett1 8an artist as subduing a cancerous object to an esthetic design40 ,but why not8 ,marriage with one's mother is more repugnant than a cancer1 and yet it was handled successfully by ,sophocles1 however repulsive some of his imitators have been in their details4 ,the very transfer to the realm of art robs the ugly object of its actuality and imminence4 ,surely the ugly and evil have been and may be represented in art1 but such objects may not be represented as beautiful and good4 ,that were as false and untrue to nature as a centipede cow in a picture4 ,perhaps a cancer could not appear in a picture or poem or story except by suggestion4 ,a stark realism would disgust1 but a true artist might subdue a cancerous object to artistic design as effectively as ,homer subdued in his story the fleas of the dog1 ,argos1 and the dung-heap where he lay4 ,beauty in art would lose one of its charms1 the splendor of contrast1 did not admitted ugliness or evil occur in art4 ,bad art disgusts and so does badness in art1 when badness is approved or when it is projected into art for purposes not artistic4 ,mr4 ,hackett's real trouble is that he has not properly isolated the feeling of art awakened by beauty4 ,he thinks that the esthetic sense is sexual and visceral4 ,if the mouth waters at painted fruit1 would ,mr4 ,hackett call art salival8 ,human beings are composites1 and external objects while producing their essential and proper effects may have concomitant effects accidentally brought into being4 ,to admire the beauty of an apple is an esthetic feeling entirely distinct in cause and faculty and in operation from the feeling of sensible satisfaction1 anticipated or actual1 which comes to the taste-buds1 and different again from any visceral qualms that may arise from associated ideas of unhappy experience with other apples4 ,mr4 ,hackett has been led astray by not distinguishing the disinterested emotions of beauty from the selfish emotions of appetite4 ,he calls beauty1 8disinterested satisfaction10 and in that word 8disinterested0 he has a fact about beauty1 a fact solving his problems1 a fact which has been admitted by every one who has studied the subject1 and a fact which is capable of experimental demonstration at any moment4 ,professor ,phelps of ,yale once called esthetic emotions a spinal thrill2 ,mr4 ,mencken would call them 8hormones or intestinal flora02 and ,mr4 ,hackett declares that 8the true sources of esthetic satisfaction and dissatisfaction are deep in our emotional and visceral life40 ,the one essential quality of disinterestedness1 found in esthetic satisfaction1 shows the absurdity of all such statements4 ,bodily emotions are all the outcome of appetites1 and appetites are never disinterested but always self-seeking by their very nature4 ,they are actuated by good2 they tend to an end1 an end which they do not and cannot seek disinterestedly4 ,even the act of the highest disinterested love may be akin to the sense of beauty1 but it is not as wholly disinterested because that unselfish love is still seeking good1 and good as such does not come within the purview of beauty at all4 ,it is impossible to be disinterested towards good or evil4 ,mr4 ,hackett speaks of beauty being a 8sensuous satisfaction40 ,here again there is a confusion between beauty of art and other beauty4 ,art appeals to the senses because art presents its beauty in concrete embodiments4 ,to that extent the satisfaction of beauty arises from sensible objects1 but the feeling of beauty transcends mere sensation4 8,art is long40 8,a thing of beauty is a joy forever40 ,the satisfaction of appetite is passing2 the satisfaction of beauty abides4 ,mr4 ,hackett does well to seek the springs of beauty in personality4 ,personality is an abiding principle of intellectual beings4 ,the enduring joy of beauty argues to an abiding principle which bears the dynamic charge of that joy4 ,beauty supposes a soul4 8,beauty is a light that may follow any reality whatever and give us the power to release our emotions happily in the presence of that reality40 ,so states ,mr4 ,hackett1 and he is right1 if he gives the correct meaning to 8emotions40 ,light or luster has been recognized from all time as an objective element of beauty1 which has been defined as the light of truth4 ,mr4 ,hackett paraphrases a definition which has been incorrectly attributed to ,plato4 ,kleutgen has defined beauty as the perfection of anything resplendently manifested4 ,let us hope that ,mr4 ,hackett will remove 8visceral0 from among the qualities of beauty and preclude critics from adding a fiftieth explanation of ,aristotle's catharsis to the forty-nine varieties already set forth4 ,wearers of ,murphy buttons or those who have lost or may lose sections of the intestinal tract should be assured in an amended edition of ,mr4 ,hackett's esthetics that their sense of beauty has not been abbreviated or impaired4 ,sane philosophy is the prime requisite of true criticism4 ,,part ,,second ,,art ,,in ,,the ,,teaching ,,of ,,literature ,,ix ,,looking ,,forward ,,in ,,literature ,the teacher of literature today is looking backward when he should be looking forward4 ,greek literature1 ,latin literature and1 to a large extent1 ,english literature are not orientated2 they do not face the rising sun4 ,it was not so in the ,greek schools of ,greek literature4 ,gorgias and ,isocrates taught literature for the morrow1 and for practical and immediately practical purposes4 ,in the ,roman schools it was so from first to last4 ,recall ,cicero's studies under ,greek rhetoricians and ,cicero's own preachment in the ,archias speech4 8,shame on those who bury themselves so deep in literature that they harvest nothing for the good of all and bring nothing to light for our eyes to look upon40 ,recall ,quintilian's ,institutes of ,oratory1 and all the intervening schools of ,rome4 ,rome had no vocational schools for road-building1 but ,rome did have schools of grammar1 poetry1 rhetoric and philosophy where it trained leaders with vision and with the power to act4 ,the brains of ,rome trained in literature guided barbarian hands to lay down the roads over which ,christianity traveled and civilization came down to us4 ,literature looked forward in every period of the world's schooling4 ,ausonius and ,isidore1 ,alcuin and ,petrarch1 ,boileau and ,pope1 ,england and ,france1 and even ,germany until about the middle of the nineteenth century and ,america until a little later1 kept the literatures of ,greece and ,rome orientated to the future by teaching them as arts1 by making composition of literature the goal of the teaching of literature4 ,science is ever growing old2 history is always being rewritten2 literature is ever young4 ,we know more about ,homer's history than ,longinus knew1 but we do not taste the delight of his poetry any better than ,longinus tasted it4 8,handing on the torch of learning0 is a trite phrase1 but it is literally verified in the true teaching of literature4 ,each age adds to the advance of science and information1 but art is long4 ,literature and art do not belong to the past4 ,literally and without figure of speech they are the past living in the present4 ,they are the flaming torch1 kindled in the past1 never dimming and never to dim4 ,write a history of artists2 do not write a history of art4 8,a thing of beauty is a joy forever40 ,the information of science changes every moment2 the appreciation of art once gained is enduring4 ,the ,encyclopedia ,britannica has rewritten all its science and history2 it reprints its appreciations of ,sophocles by ,campbell and of ,demosthenes by ,jebb and even of ,johnson by ,macaulay4 ,where the cause is the same1 the effect is the same1 and so the beauty of ,homer's rosy-fingered dawn awakens still the same appreciation4 ,of literature as a subject of investigation in university or graduate work there is here no question4 ,the investigator studies the origin1 the development1 the history of literature4 ,he looks backward2 his purpose is to amass information and to codify a science4 ,that is not or should not be the purpose of the teacher in high school and college4 ,he is educating2 he wishes to set in operation and perfect the faculties of the class before him1 to impress upon every faculty its own proper art1 that is1 its habitual and excellent way of acting4 ,the school teacher is concerned with the education of acts2 the university lecturer with the education of facts4 ,take the ,ratio ,studiorum of the ,jesuits1 a system embodying the traditions of education and not differing fundamentally from other systems of its time4 ,the ,ratio ,studiorum had no history of literature or lectures on the evolution of literature4 ,it did not approach literature as a science but as an art4 ,it took the standard authors of ,latin and ,greek4 ,cicero was the staple of every class in ,latin because for nearly every kind of ,latinity1 history and poetry excepted1 he was a model4 ,cicero was analyzed1 was appreciated1 was imitated1 that the student might express himself in writing and speaking as clearly1 as interestingly1 as forcibly as ,cicero1 that the student might be master of acts of literature1 not of facts about literature4 ,that was and is humanism2 that is1 making a man a man by equipping all his faculties with the art proper to each4 ,the humanities were so called because they embody man4 ,science is classified nature2 literature is nature brought into touch with man's personality and transmuted into art1 man's only creation4 ,you cannot get grapes from thorns or figs from thistles4 ,every other subject in the curriculum produces its kind2 so should literature4 ,mathematics makes mathematicians1 chemistry chemists1 and physics physicists4 ,art should produce artists2 literature should result in literature1 in artistic expression1 but it is made to produce historians1 biographers1 perhaps critics4 ,the history of literature1 the evolution of literature should be put out of high school and college and relegated to the university or handed over to the lectures on history1 leaving the valuable time of literature for appreciation and expression4 ,today we have literature in one class and composition in another and perhaps rhetoric in another4 ,departments are the offspring of universities and the instruments of science4 ,the rational school of literary expression correlates author1 precept and exercise4 ,information may be imparted piecemeal and from different sources2 it is multitudinous and capable of division4 ,formation is one and united2 it is the faculty or power brought to the perfection of self-expression4 ,art requires a teacher and unifying of means2 science may have a score of lecturers as its truths are found in a score of books4 ,let the teacher of literature therefore take standard literature1 make it understood1 feel its personality that students may feel it1 note and appreciate its beauty that others may take fire or at least get heat from the enthusiasm kindled within him1 and then let the teacher see to it that his class express their own selves as the author expressed himself4 ,let students do for ,lincoln what ,shakespeare did for ,julius ,csar4 ,if they cannot do a play1 perhaps they can do an act2 if they cannot create a character1 perhaps they can give one characteristic action2 if they cannot write a description or tell a story1 perhaps they can supply a noun for ,lincoln or visualize his deeds in a verb or paint him in an epithet or coin him in a metaphor4 ,and all this1 not for an ,elizabethan public1 but for the students' own public here and now1 looking forward1 not backward4 ,desperate efforts have been made to galvanize literary courses by lectures on modern novels1 current magazines and daily papers4 ,the lamentable fact is that most recent products are not literature2 that if there is in them art1 it has not been made available for students1 as the art of literary classics has been made available by centuries of criticism1 and that1 finally1 the contents of contemporary writings are so easy of access and so inviting to the reader and yet often so ephemeral1 that the artistic form is neglected4 ,there is no contemporary history1 neither is there contemporary criticism4 ,literature1 like all art1 must pass beyond the prejudices and passions of the day to be known and appreciated as art at all4 ,it is for the enlightened teacher of literature to make the students embody their own experience in the finest art molds of the past1 not distracting them by the multiplicity of modern literature1 but holding up the ideals1 like torches1 to light the paths before them and1 like expert guides1 to direct the trembling steps of beginners to new goals4 ,literature is not the study of words4 ,grammar or philology is the study of words4 ,science dehumanizes everything2 it eliminates the personal equation2 it is objective1 unimpassioned1 impersonal1 subordinating everything to laws and principles4 ,literature is the opposite in every respect4 ,it is embodied humanity4 ,science contains some of man's operations2 literature enshrines all2 not truth alone1 but good and beauty as well2 not simply the clear idea1 the accurate statement1 the correct conclusion1 the consistent reasoning1 but also the myriad visions of the imagination1 the subtle analogies1 the suggestive creations1 haunting beauties and idealized good4 ,so literature actuates every power of man whether that power is a constituent part of man's soul or is a bodily power whose operation by reaction terminates in man's soul4 ,as literature is therefore the whole man1 so far as humanity can be put in language1 the understanding of literature1 its appreciation and most of all its creation will make every power of the student operate1 if literature is taught as literature4 ,such results will not come automatically2 they come when the teacher by true appreciation creates again before the student the literary masterpiece and when the student strives to rival the masterpiece in the expression of his own experience and of his own dawning humanity4 ,literature is looking forward when it is making minds think and imaginations imagine and reasons reason and tastes taste and emotions thrill4 ,teach literature as an art1 which it is2 not as a science1 which it is not4 ,x ,,unifying ,,education ,,through ,,literature ,unity is most useful1 if not essential1 to a satisfactory course of studies4 ,in the university this unity is effected by the profession which the student has chosen4 ,his field of concentration in art1 literature1 law1 medicine1 science1 engineering or divinity dictates to him his subjects1 and his own earnest choice1 together with prescriptions and examinations1 insures unity and thoroughness in concentration courses4 ,lecturing is the predominant method of the university because professors of higher branches are few and students are comparatively numerous4 ,lecturing is the weakest and most ineffective of all means of education1 and is only saved from complete failure by the serious purposes of university students and much more by the sanction of repetitions and examinations4 ,in the colleges1 however1 with the advent of electivism there was no unifying bond to the studies4 ,university methods of studies and lectures prevailed where there were no university conditions4 ,thoroughgoing electivists1 like ,dr4 ,eliot1 admitted that the purpose of the college was a general education or culture1 but held that any and every study could give such general training4 ,president ,lowell1 ,dr4 ,eliot's successor1 began to put order into the chaos of extreme electivism4 ,he saw his coaches on the athletic fields build up expert athletes by a rigidly prescribed course of training1 and proclaimed the analogy between body and mind1 an analogy which would have been all the more cogent had his philosophy been materialistic like that of ,dr4 ,eliot4 ,the prescribed examination in one department at the end of four years is the latest advance of ,harvard toward definiteness and unity4 ,all colleges in ,america took up electivism to some extent1 and even where studies were still prescribed they adopted in their catalogs the language and methods of electivism4 ,no longer were there classes1 but everywhere you had courses and departments4 ,one effect of this system has been to make cordinate and of equal importance many subjects which had formerly been subordinate4 ,colleges whose major subject1 or field of concentration1 had been language1 with other subjects subordinate1 now tended to make every subject a major and every field a field of concentration4 ,the departmental system has helped to impair unity of education by disturbing the hierarchy of studies and by removing all subordination4 ,it does not appear to be feasible to concentrate on everything4 ,in some cases colleges seem about to give up the general-training idea and are tending to make their whole course subservient to a profession1 obliging every one to take a pre-medical course because the ,american ,medical ,association is mighty and medical schools are very exacting4 ,formerly high schools and colleges made language or self-expression the field of concentration1 and other subjects1 like history1 mathematics1 sciences1 were kept subordinate4 ,college and high school had then one purpose1 which unified all their studies1 as a profession unified lectures in the university--that purpose was the mastery of the art of expression4 ,the ,french lyces1 the ,german gymnasia1 the ,english public schools1 the ,jesuit ,ratio ,studiorum1 prepared for the university by making students masters of writing and speaking4 ,the writer and speaker could express himself2 his intellectual faculties could work properly1 and therefore they had received a general training which prepared them for professional work of a special kind4 ,the field of concentration was shown in the names of the classes4 ,the teachers were teachers1 not of ,latin1 ,greek1 ,english1 but of grammar1 of poetry1 of oratory1 of clear1 interesting1 forceful expression4 ,the departmental system destroys this fine unity or renders it very difficult of attainment4 ,the departmental system has been perhaps the chief reason why the classics have been taught as means towards the acquisition of various sciences rather than as exemplifications of literary art4 ,it is as literature and as models of perfect expression that the classics have hitherto survived2 as literature and models of expression they were taught in the days preceding the university system of departments4 ,cicero was a model of letter-writing1 of essay-writing1 of speech-making4 ,he was chosen with a view to composition2 he was graded with a view to composition4 ,how can a department teacher preserve the former unity of system1 where all literature was studied with one dominating purpose1 self-expression8 ,if the grade of the class is rhetoric or oratorical expression1 will each department teach its own authors1 ,greek1 ,latin and ,english1 following the same rhetorical precepts in the same order1 or will each department follow its own terminology and its own order1 or will1 as has happened everywhere1 the teaching of rhetoric be relegated to ,english or to a separate professor1 leaving ,cicero and ,demosthenes to be taught as grammatical documents or historical documents or as legal documents1 not as speeches1 not as models of oratorical expression8 ,will the professor of ,latin teach ,virgil as epic poetry1 and the professor of ,greek teach ,homer as epic poetry1 and the professor of ,english teach ,milton as epic poetry1 or will the teaching of poetry be avoided by the ,greek and ,latin departments entirely8 ,cicero and ,demosthenes survive because they are orators2 ,homer and ,virgil live because they are epic poets1 but the departmental system either forgets that fact entirely or has three professors teaching the same thing with confusion in the order and in the rules of art4 ,the departmental system1 which is a university device adapted for specialization1 makes unity of education extremely difficult1 and has taken all the interest out of literature by teaching it as everything else but literature6 ,besides1 as art is the power of doing1 and science is chiefly systematized information1 the process of education for doing will be different from the process of acquiring information4 ,too many cooks may spoil the broth because cooking is an art1 but too many sign-posts may not always confuse the traveler4 ,it is far easier to divide information among various agents and impart it piecemeal than to apportion the different faculties used in an art to different individuals who will train them to act together harmoniously4 ,different teachers may very well teach the geography of different countries1 but it would not be feasible to let one teacher have the right hand and another the left in teaching the art of piano-playing4 ,omitting the effect of personality1 which is paramount in art1 as the history of all religious movements shows it also to have been in the formation of character and in virtue1 one cannot fail to see that departments cannot well coperate in giving the formation of art4 ,in fact1 practically the art of composition has ceased to be the field of concentration in modern high schools and colleges4 ,all literatures1 even ,english1 are taught mostly as sciences4 ,the only wholesome reaction in modern education against the predominance of science or systematized information is found in the present vogue for psychological tests4 ,these are professedly tests of power1 not of mere information1 and in them the power of self-expression through language is preminent4 ,all the examinations are conditioned by the necessary medium of language1 and by far the greater number of tests are and must always be tests in linguistic expression4 ,language is the only practical measure of intelligence1 and if such tests win favor1 they may result in establishing once more the art of expression as the field of concentration or major subject in high schools and colleges which give a general education4 ,language1 when taught as an art1 educates the mind1 giving it the powers of expression which are the guaranties of the mind's adequate education4 ,professors become teachers of an art1 not lecturers in a science4 ,perfect unity is found where the finest models of self-expression in all languages1 especially the classical languages1 are directed by one teacher to the mastery of the art of expression in one's own language4 ,,xi ,,the ,,interesting ,,teacher ,,of ,,literature ,the nineteenth century was a century of science4 ,its atmosphere was surcharged with scientific discoveries and scientific theories1 and radiated a scientific influence in every direction4 ,among other effects of that all-pervading spirit we may mention two that entered the classroom and deeply modified the teaching of literature4 ,science insisted on concrete results and tended to emphasize mechanical methods1 enhancing system at the expense of personality4 ,system was looked upon in some sense as automatic4 ,such a widespread delusion1 which is not yet fully dissipated1 was the logical outcome of the mechanical explanation of the universe4 ,the world had evolved along the lines of inflexible laws4 ,man was part of the machine1 and though the mechanism was complicated in his case1 yet it was nothing but mechanism after all4 ,if system could run the universe without the help of personality1 it would not be hard for it to run the little universe of man4 ,the same reasoning would hold in a classroom4 ,the teacher might be asked to touch the button1 but the system would do the rest4 ,it would not seem to require much argumentation to show the fallacy of such a theory4 ,do we not all know that nothing in this world is wholly automatic8 ,motion is a function of personality4 ,perpetual motion in systems and organizations1 that would dispense with personality1 is just as absurd as the same proposal in the physical order4 ,nothing in this world will run of itself without personal coperation4 ,somewhere there must be a living1 breathing1 responsible individual4 ,we may have to travel a long way to find him1 but we shall find him1 the man behind the motion4 ,it is so with machines2 it is much more so with organizations and systems and laws2 it is most of all so in education4 ,latin or ,german or physics or anything else without a teacher 7cf4 catalog of correspondence schools7 are phrases that belong to the language of advertisement which has omitted from its ethics the chapter on lying4 ,all success1 all interest1 all enthusiasm are harvests whose sowing is in a human head or human heart4 ,even the universe calls for the constantly applied force of omnipotence to keep it from disintegrating into nothingness and the watchfulness of ,providence to prevent it from wrecking itself4 ,while writers on education have been tracing the causes of the decrease of interest in the classics have they not been overlooking the necessary factor of personality8 ,the other depressing effect upon education exercised by the scientific atmosphere was the insistence upon concrete results1 leading likewise to the elimination of human interest4 ,science said to every branch of knowledge1 8,collect your data1 classify your instances1 make your deductions1 enunciate your laws40 ,the literary classics were bade to stand and deliver4 ,they had to have data and deductions and laws4 ,homer and ,virgil1 ,demosthenes and ,cicero became the chosen camping-ground of the specialists4 ,the pupils that finished the ,iliad with a taste developed1 an imagination warmed1 a soul uplifted1 might be refused a degree4 ,the pupil who had ,homer undergo the surgical operations of specialism1 who had him pigeon-holed1 who had him weighed and counted1 was the honor man of the class4 ,he could write an essay on ,homeric olisms or ,homeric ship-building or ,homeric word-building4 ,he knew more about ,homeric pottery than ,homeric poetry4 ,what if his heart never beat faster as he read2 what if he was too busy measuring the length of ,homeric swords or analyzing the metal of ,homeric armor1 to drink in the imaginative delight of battle1 with ,homeric peers1 8far on the ringing plains of windy ,troy10 he was scientific1 he had some concrete results to show for his schooling1 and he was the pet child of the century4 ,assets of the mind could not be weighed or measured2 his doctor's dissertation in his grip could4 ,it contained just twenty-five thousand words1 and weighed one pound and a half1 and had a superficial area of about a hundred square yards4 ,the final outcome of the baneful influence of the scientific atmosphere is the almost complete perversion of the good old word1 scholar4 ,no one can lay claim now to the title scholarly1 unless he is equipped with a formidable array of facts and figures4 ,he must bristle with the fretful quills of half a hundred sciences4 ,in the study of the classics he is so busy with the words of the text that he has not time for their meaning4 ,when he has settled the conflicting claims of innumerable variant readings and all the arguments for the same1 he has no leisure left for the old-fashioned practice of trying to appreciate the accepted reading4 ,scholarship is now a matter of memory1 a something that deals with introductions1 footnotes1 excursuses and critical apparatuses4 ,plead guilty to an ignorance of all this1 and you may be indulgently permitted to call yourself judicious1 appreciative1 discerning1 capable of enjoying a literary masterpiece1 but you could not presume to call yourself scholarly4 ,justin ,mc,carthy1 in an article about his old schoolmaster1 alludes to the same fact4 8,i never knew a scholar10 he declares1 8so thorough who was less of a pedant1 but ,i ought to say1 perhaps1 that the general character of his teaching was not what would be called in our days scholarly40 ,this steady elimination of the subjective element of education with the corresponding development of the objective side during the years of the nineteenth century1 all tended to the extinction of the individual4 ,another factor also coperated in achieving this result4 ,the classes in school and college grew more numerous1 and the schoolmaster became in turn a teacher1 a professor1 a lecturer4 ,with each change he drew further away from his hearers4 ,the greater the audience the weaker the personal note1 the less individual the expression4 ,the lecturer on a classical author must stray more from the text than the teacher4 ,he is necessarily more general and hence more impersonal4 ,he feels bound to give facts more than impressions4 ,he is committed to the formulating of theories based on a dissection of the text1 and shrinks from setting forth the feelings which a masterpiece excites4 ,the lecturer tends to subordinate the author to his lecture1 where the teacher's more humble lot leads him to efface himself in the presence of the author4 ,this leads us to set forth the proper attitude of the teacher toward the text1 and we could not begin the discussion better than by giving a further description of ,justin ,mc,carthy's old schoolmaster4 8,i have10 he wrote1 in ,march1 #ahii1 8the most delightful and tender memories of my dear old schoolmaster in ,cork4 ,he was not1 indeed1 the first schoolmaster ,i ever had1 but he taught me all or put me in the way of learning all that ,i have ever known1 and after this long lapse of time ,i feel as strongly as ever how much ,i owe him4 ,his name was ,john ,goulding1 and he kept a school in the city of ,cork1 my birthplace4 8,to make us understand what we were reading and enjoy it1 to make us wish to read more and understand it better--such was the object of his whole method4 ,there was very little of what is called #8getting by heart' in his system1 unless when he wished to train memory merely for the sake of training it4 ,when we were studying some ,latin author he told us all about the author and the scenes described in the pages before us1 and he invited all manner of questions on the subject4 ,he showed us on the maps where the places were which the author was describing1 and he illustrated the author's meaning as if he were an artist illustrating a story4 8,i do not know to describe his method of teaching better than by saying that it was literary rather than scholastic4 ,his great desire was that a boy should be able to read ,greek and ,latin as easily as he read ,shakespeare and ,addison1 and he regarded grammar as a necessary means to that end1 but not as the end itself4 ,he always took care that historical and geographical knowledge should work in with and illustrate our literary studies4 8,i can only say for myself that whatever love of books ,i may have had ,i owe in the main to his teaching and to his influence1 and ,i can say with literal truthfulness that throughout a busy life in public and in private his influence and teaching have always been with me and are with me still40 ,john ,goulding would not be considered in our day a remarkable pedagogist and has not bequeathed his name to a system of education2 yet he presents many traits of the true teacher1 and these details of his life are pertinent to our question4 ,the true commentator1 whose suggestion we see in the ,cork schoolmaster1 will not be a philologist1 but will use philology2 he will not be a grammarian1 but he will refuse no point of grammar that will help4 ,he will press every science into service1 but he will be the slave of none4 ,he will remember that his supreme object in teaching is not to compose a dictionary of antiquities nor to collect extracts for rhetoric or examples for grammar4 ,his object rather is and should be to bring the pupil to the text1 to bring the mind of the author to the mind of the reader4 ,away from dictionary and grammar1 away from footnote and appendix1 back to the text1 should be the teacher's cry4 ,the text should be the center upon which every source of information should be focused1 not the center from which to radiate to the cheerless circumference of specializations4 ,we do not contend for superficiality1 for slipshod grammar1 for inaccurate erudition4 ,thoroughness1 care1 accuracy1 must rule in the classroom4 ,we are simply for liberal education1 which opposes early specialization in courses and must equally oppose it in the teaching of literature4 ,the study of the classics should key up the whole intellectual apparatus4 ,it should sharpen the critical faculties1 warm the imagination1 cultivate the judgment1 develop the taste1 ennoble the appreciation1 exercise1 partially at least1 the reasoning faculty1 and finally endow the student with perfected powers of expression4 ,to subordinate literature to any one of the swarm of sciences that sprang into life last century is to limit its efficiency and degrade it as a means of general culture4 ,the teacher1 however1 must not look for an infallible recipe in this matter4 ,he cannot expect to stir up interest in the pupils by any prescribed formula1 by a rigid system of handling the text4 ,a scheme of suggestions may be drawn up1 topics for discussion or observation may be arranged4 ,such devices are helpful1 but they should not become stereotyped1 because they deaden when they are hard and fast4 ,it is a mark of a crystal to settle into straight lines at fixed angles2 it is characteristic of organisms to be yielding and pliable in their outlines1 while they retain their life4 ,the meaning is the life of the text1 the meaning as it was in the author's mind1 with all the associations that it had for him4 ,let the meaning be the guide1 and the explanation will not be dead4 ,let the teacher use systems and hints and topics and all other devices as helps to arrive at the sense and meaning1 not as inflexible molds into which he must always pour his commentary4 ,a chemist may have weighed and labeled all the constituent elements of a living cell1 and he may even succeed in mingling them in such a way as to have all these elements in the very places they are in life1 but his mixture will not have the principle of life1 that wonderful1 unanalyzable bond that unites into one organism1 permeates and vivifies the separate atoms and molecules4 ,because his analysis is complete and perfect1 it does not follow that his synthesis will be complete and perfect4 ,neither may a teacher expect to get the synthesis of a vital1 interesting commentary from the detailed formula of the literary laboratory4 ,he must have his finger on the pulse2 he must have seized the beating1 warm heart2 he must have grasped the permeating1 vivifying soul of his author1 if he would make his commentary living1 and there is no other way to the heart blood of an author1 except by loving1 enthusiastic meditation of his full meaning4 ,i remember the first time in class that ,homer ceased to be for me an example factory for grammar or a shop for ,grecian antiquities4 ,we had been translating ,homer and parsing ,homer2 we now began to read him4 ,the change was as easy as it was pleasant4 ,the teacher simply went back behind the dictionary and the grammar1 behind the cases and the tenses1 to the author's meaning4 ,he made us see the old priest of ,apollo walking along the seashore4 ,he made us realize the fact that he was coming to speak for his daughter4 ,our attention was called to the completeness and appropriateness of his little speech4 ,in a word1 we began to move in the poet's world4 ,we had used the grammar and dictionary to get there1 but when we reached our destination1 we alighted from the train4 ,we were bound for the land of ,homer1 not for that of ,goodwin or ,liddell ,scott1 and the sooner we left our dusty1 noisy cars1 the better for us4 ,our professor knew the translation and knew the grammar1 but he had left them behind him4 ,he was on higher levels1 and he threw away his mountain staff and his guide rope4 ,we were with him there1 and we entered into his enthusiasm for the broad view before us4 ,homer had been for us a venerable mausoleum of well-preserved and dignified1 but very dead mummies4 ,his enthusiasm let the life and light into that ancient tomb1 and the mummies took off their wraps and lived and moved4 ,from that day of resurrection until the present1 ,homer has lived for me2 from that time ,i have heard the ,homeric heart beat and felt the ,homeric pulse throb4 ,nor need the teacher who follows these methods have fear that he is going wrong1 or that he is neglecting the proper education of his pupils4 ,he is achieving1 too1 concrete results1 an achievement that must not be considered the monopoly of science4 ,science may not supplant literature in the school-room4 ,it would be a sad day for both if ever it did4 ,as regards observation and induction1 it has not been our wish to protest against the use of these methods1 but rather against the limiting of their scope4 ,to observe grammar only or archeology or philology and neglect the author's meaning is as ridiculous as to observe the paint and not the picture1 to put a microscope to the marble and not notice the statue4 ,we do not want less development1 rather we want more4 ,develop the powers of observation1 but do not think that the only powers are the senses4 ,the world of imagination and the world of thought offer wider fields for observation than the world of external sense4 ,the horizon of the mind is not restricted to the sky line that narrows the vision of the eye4 ,if you train the powers of observation in the laboratory by asking the pupil to see1 to touch1 to taste1 to smell1 train them1 too1 in the classroom1 by asking them to listen to the harmony of a sentence1 to trace out the development of a thought1 to appreciate the wit1 the beauty1 the sublimity of a passage4 ,there was observation and training of the powers of observation before the test tube was blown or the dynamo was wound4 ,science has opened up new and wonderful worlds1 not one of which would we see closed2 but the lands of literature have not ceased for that reason to be inviting1 and the soul1 wearied with facts and hampered with figures1 gladly escapes into the restful regions of higher and ampler realities4 ,the crossing of the borders of mere expression1 the living and moving in the realms of meaning1 the appreciative following of an author's mind in all journeyings1 may not develop grammarians or philologists or ethnologists or archeologists4 ,perhaps it is not the life-work of classical literature to stock the market with such commodities4 ,the student who travels with a master-mind through the land of thought1 now captivated with a view just under his eyes1 again catching a glimpse of some far-off scene1 all the more glorious in promise1 because it lacks definiteness of detail1 such a one may turn out to be more of a tourist than a local antiquarian and may suffer some inconveniences in consequence4 ,he will be set right by the local antiquarian on names and dates connected with some obscure town1 but in turn he will convey to his learned friend some ideas on the relative importance of localities and on the topography of the whole country4 ,the tourist will not be provincial or municipal or suburban4 ,he will not mistake his native hamlet for the world or make it the sole standard of excellence4 ,the tourist will give you a map2 the local antiquarian will draw up a surveyor's chart1 with the number of inches to the grade and the number of feet to the surface4 ,should not the teacher of literature consider it his duty to encourage the tourist1 to introduce the student into the world of meaning1 and not to keep him with theodolite and the leveling-rod along the borders of expression1 counting words1 measuring phrases1 or drawing up lifeless charts of tabulated facts8 ,when the student has come home from his travels1 he may1 if he chooses1 lay aside his guide book1 and1 having seen the world1 confine his energies to mastering a portion of it4 ,if1 however1 he should have brought home from his wanderings nothing more than a love of literature and all that means1 will his teacher's life have been in vain8 ,john ,goulding of ,cork might be considered not entirely useless1 if he gave us no more than ,justin ,mc,carthy1 who thus describes the results of his master's work3 8,i do not venture to say that ,mr4 ,goulding's method of teaching was directly adapted to create a thoroughly scholastic knowledge of ,greek and ,latin1 and ,i do not know whether his pupils would have been likely by means of his instruction alone to take honors in any university competition1 but ,i know that it made all of us1 who had a taste for such1 ready and fluent readers in ,greek and ,latin and as familiar with most of the ,greek and ,latin poets as with ,shakespeare and ,keats4 ,it was in truth literary rather than scholastic instruction40 ,,xii ,,educating ,,the ,,emotions ,life is full to the brim with emotions4 ,not war only nor political rallies nor the excited throngs at sports are vibrant with emotion1 but there is not a single act of life which has not some emotion1 quiet or intense1 as its source1 its companion and its effect4 ,man ought to be ruled by cold reason1 but he responds to feelings and succumbs to feelings4 ,today more than ever in the history of the world is emotionalism rampant4 ,civilization has made mankind a crowd4 ,we touch elbows with the world4 ,the ,egyptian hermit has now 8the privacy of a goldfish in a glass bowl40 ,an individual by himself may indeed deliberate and philosophize1 but a crowd feels and acts4 ,as soon as it stops cheering1 it begins to disintegrate into thinking individuals1 who creep silently back to the hermitage of home4 ,the war1 with its drives of all kinds1 the elections1 the athletic contests1 have made us familiar with the nature of a crowd4 ,the mob is a high-pressure crowd1 and the feelings which burn in the crowd explode violently in a mob4 ,civilization has brought mankind into the closeness of a crowd1 but not yet to the explosive confusion of a mob4 ,war taught us too the great value of morale4 ,what is morale8 ,what is that light in the sky1 that solid ground under foot1 that winged buoyancy of the heart8 ,morale might be described as organized emotion4 ,a crowd is fickle because it feels instead of reasons4 ,morale is the counter-force to fickleness4 ,emotions are awakened1 are focused on a given point1 are stabilized1 and the result is morale4 ,courage hardens to pluck1 duty flames into devotion and bravery is transfigured into heroism4 ,life therefore is flooded with emotion1 all the way from every action of the individual up to the responsive crowd1 yielding to panic1 exploding into violence or steadied by morale4 ,what then is education doing for the emotions8 ,whether education be considered a development of the individual capacities1 or an adjustment of man to the community1 education should not neglect the emotions4 ,the controlling tendencies1 however1 of the modern school would seem to ignore or belittle emotions4 ,modern schools pride themselves on being practical and scientific4 ,they have become more immersed in matter than in man4 ,they are materialistic in the wide sense1 or naturalistic1 but they are less and less humanistic4 ,three great fields lie before the spirit of man1 the field of truth1 the field of beauty and the field of good4 ,no traveler can reach beauty and good except through truth1 but education seems to think its work is done if it travels the regions of truth and ignores the regions of beauty and good4 ,all education formerly could be divided into two stages1 the earlier of preparation1 the later of application4 ,the individual was taught to speak and write and was equipped with the general information necessary to all4 ,he who was able to speak and write was able to express himself1 and self-expression1 which argued that man's powers were working normally1 was the satisfactory goal in the first stage of education4 ,after the development of the individual came his application to the study of his life-work in professional schools and universities4 ,in the former of these two stages1 as self-expression was the end1 language was the chief and almost exclusive means4 ,sciences were relegated to the university and informational subjects were left strictly subordinated1 and the whole course was predominately humanistic4 ,modern education has profoundly changed this simple arrangement4 ,the university method of education and electivism and specialization have been advanced to college1 to high school and to grade school4 ,many natural sciences have been systematized and brought into early classes4 ,the university chemistry and physics of fifty years ago are now in the grades4 ,besides professional courses1 pre-medical1 pre-law1 pre-divinity1 pre-engineering1 pre-journalism1 and in general pre-professional studies are in our schools or at the doors4 ,the trades are not behind the professions4 ,the million trades which concern themselves with the production of raw material or with the manufacture of raw material into finished products or with the distribution of finished products1 all these are knocking at the door or looking in the window of our school4 ,nor is that all4 ,as the professions want pre-professional and the trades pre-trade courses1 so the state demands pre-citizen courses in civic and hygienics and military tactics1 and the home exacts pre-family courses in eugenics and many domestic sciences4 ,do not close your curriculum list yet4 ,the profession1 the trade1 the home1 the state are not all1 and to leave out religion1 which calls for pre-religious courses in private schools1 we have the whole field of sport and play in pre-dancing1 pre-ball-playing1 and at last pre-movies4 ,to make the conquest of the practical complete1 it is seriously advocated by a special committee of the ,n4 ,e4 ,a4 that this bewildering multiplicity of sciences1 professions1 trades1 civic1 domestic and amusement courses should be begun at the junior high school or seventh grade4 ,there is the contrast4 ,life is emotional4 ,the early schools that used to be devoted chiefly to writing and speaking1 are now crowded with a multiplicity of fact subjects1 and even language and literature1 the most humanistic and emotional subjects of our courses1 are taught theoretically by university and scientific methods4 ,in the ,jesuit ,ratio ,studiorum1 which did not differ essentially from other systems1 four years of the lower schools were given to correct expression of the truth1 one year to the element of interest1 or beauty1 in expression1 and one whole year to the element of force1 or good1 in expression4 ,these two latter classes were called humanities and rhetoric and correspond to the present freshman and sophomore classes in ,jesuit colleges4 ,the reason why a whole year was given to the elements of interest and force in self-expression is found in the twofold nature of emotions4 ,one set of emotions arises from the apprehension of good or avoidance of evil4 ,another set arises from the perception of the novel1 humorous and beautiful4 ,these latter comprehend the emotions of surprise1 wonder1 delight1 awe1 in general1 the esthetic emotions4 ,the other emotions1 called appetitive1 include love and hate1 with desire and fear1 joy and sadness1 pity and anger and many others4 ,fortunately for the teacher the teaching of emotions is somewhat simplified by the fact that both kinds of emotions respond1 not to abstract truth but to truth in the concrete and concrete truth takes on beauty or good and awakens emotions through the imaginations of teacher and student4 ,teachers who themselves imagine will awaken emotions and educate emotions by exercising them4 ,teachers who imagine will make pupils imagine by making them translate all truth from the abstract to the concrete4 ,the perpetual question on the lips of the teacher1 8,for instance80 will embody truth in the concrete1 exercise students in imagination and make truth emotional and abiding4 ,interesting and enthusiastic teachers are always training emotions4 ,emotion is not imparted by instruction2 it is kindled by contact4 ,teachers who have their subjects transferred from dead books to their warm1 living imaginations1 will be interesting1 will be moving4 ,they will excite surprise and wonder by novelty and beauty of presentation4 ,they will make their classes expand with love or shrink in horror at the pictures of good or evil4 ,after imagination and actual feeling on the part of both student and teacher1 the next best means of educating emotions is the stimulating of action1 especially in the way of original self-expression through the written and spoken word4 ,one of the happy tendencies of our modern education is the restoring of oral expression to its former high place4 ,these means just mentioned will be helpful in any subject of the curriculum1 but the principal instrument in the schools for training the emotions will be literature4 ,literature is the embodiment of human emotions1 in story1 in essay1 poem1 and speech4 ,the schools must hold on to the teaching of literature4 ,they must make a stand against the imperialism of facts and so-called practical subjects4 ,the schools must never forget that it is at least just as practical to have a heart in life as to have a head4 ,a modern ,french scholar has said3 8,humanities and letters are man himself1 to remove them from education1 it would be necessary to commence by taking man from man40 ,instruction in trades is a knack1 not an education of man4 ,a savage can learn to run an automobile1 and there are many today running automobiles1 but a savage does not enjoy literature or produce literature4 ,science has its center outside of man1 it is impersonal and unemotional4 ,literature is human1 is personal1 it appeals to the heart which must not be starved while the head is stuffed4 ,but even when the teachers of literature have the works of man in their hands1 they must not rob them of all emotions by making their teaching of them historical only1 or analytical only or theoretical only1 lowering ,macbeth to a footnote in ,scottish history or to an argument for the theory of the romantic movement or to a dissertation on the psychology of temptation4 ,literature must be taught as literature1 not as history1 not as ethics4 ,literature should be taught as an art1 not as a science4 ,the teacher should keep self-expression in view4 ,the teacher will consider the work of literature as the expression of a man4 ,before the class the masterpiece of literature will grow and crystallize into unity4 ,the students will watch its creation2 they will reflect the light from the eyes of an enthusiastic teacher2 they will grasp the truth vividly and emotionally2 they will be thrilled with the truth that has taken shape in their teacher's imagination1 that has been dramatized before them in suggestive detail1 that will teach the students themselves how to think1 how to imagine1 how to find for the embodied truth a local habitation and a name1 how to express themselves in words which fascinate and inflame4 ,so will the emotions by their exercise be developed and by their expression be controlled4 ,the world of the classroom is a little world and its tiny emotions are as dew-drops to a deluge1 but for the young hearts in school the world of the classroom is a gigantic world and its slight emotions are adequate to teach beginners4 ,for a dew drop may be a deluge for a violet and its very food and life4 ,,xiii ,,keep ,,the ,,classics ,,but ,,teach ,,them ,this is not the time to drop ,latin or ,greek openly or under the subterfuge of optional electives4 ,colleges everywhere are crowded4 ,buildings are too small for the students2 classes are too large for the professors4 ,now is the time to impose stricter conditions rather than to open wider the doors to colleges1 and now is the proper time to restore the classical languages1 and especially ,greek1 if not to favor1 because knowledge maketh a bloody entrance1 and its weapons are resented1 at least to respectable toleration1 by teaching them in the right way4 ,do not empty the baby with the bath1 but do draw off the stagnant waters and let the bright showers sparkle and sing and refresh4 ,don't throw out ,greek1 but do teach ,greek as literature1 as the art of self-expression1 as a practical and permanent possession of the student through appreciation and through composition in his own language4 ,greek authors used to be put in the students' hands with a ,latin paraphrase4 ,in ,jesuit schools the explanation of the author included a translation which might be dictated to the class4 ,this was done because in ,latin1 and especially in ,greek1 which was not the language to be used in life1 the proper and real work began after the interpretation was known4 ,that proper work was artistic appreciation and artistic reproduction in one's own language1 formerly ,latin and now various languages4 ,rather than cast out ,greek1 furnish the students with ,loeb or ,jebb or ,murray or ,lang1 shorten grammatical drill1 and then center attention on the appreciation and the reproduction of the finest literary art of all ages1 exacting compositions written and spoken in the student's own language4 ,this is not a revolutionary proposal1 the system now prevalent is revolutionary2 but it is a proposal to relegate to the university the specialism and scientific handling of literature1 and an earnest plea to retain or restore to the classics1 especially ,greek1 their age-old method1 proper to the general training of academy and of college and profitable to every student if the art of speaking and writing is of lifelong utility4 ,the teaching of literature has a handicap which is not found in the teaching of other arts4 ,a painter must know some practical facts about preparing and applying paints1 but he need not know the whole chemistry of pigments or the physics of colors4 ,the sculptor must choose the right kind of marble1 but he does not take a course in geology4 ,in all arts except literature the contact with the artist's work is almost immediate4 ,but in literature a language must be mastered1 and in mastering that language a thousand sciences have obtruded themselves between the student and the masterpiece4 ,gustav ,foch of ,leipsic published some years ago a catalog of dissertations printed in ,germany during the latter part of the nineteenth century4 ,the catalog1 which was by no means complete1 containing only the items he was prepared to furnish1 listed #bg1jjj titles4 ,this formidable number concerned itself entirely with the ,greek and ,roman writers and embodied special studies on the history1 the evolution1 the text1 the erudition of classical literature4 ,practically nothing of this immense flood of special dissertations touched on the art of literature4 ,now1 if all this tremendous erudition were left to the university1 where it properly belongs1 not much harm would be done2 but unhappily the study of literature as a science has almost completely excluded its study as an art4 ,the small school of ,dissen1 ,rehdantz and ,blass1 who represented in ,germany the artistic appreciation of ,greek literature1 was submerged by the immensely greater number of scientific investigators4 ,the classical poets1 with the exception of ,homer1 fared better than the prose authors2 but all literature1 instead of being a help to the art of composition1 was subordinated to establishing a theory or to exemplifying a generalization4 ,france resisted almost entirely this scientific obsession of literature4 ,england held out long4 ,in both of these nations composition in the classical languages was a fixed feature of the schools4 ,victorian literature is steeped in the classics1 especially of ,greece2 the golden age of ,england's eloquence1 the age of ,chatham1 ,fox and ,burke1 preceded the scientific era of classicism and was the product of artistic appreciation and of composition4 ,what of ,america8 ,the earlier schools followed ,french and ,english traditions and taught the classics with literary appreciation and with fruitful results for the literature of ,america4 ,then later ,america sent its professors to ,germany2 specialism and the departmental system separated literature entirely from the classics2 composition ceased except as a means of learning grammar1 thus establishing a complete reversal of the original practice1 where grammar was a means to composition4 ,it would be untrue to say that all the erudition1 discovered and systematized by numerous sciences and centering upon the classics1 was useless or unprofitable4 ,even the immense library which the ,wolfian theory of ,homeric origins brought into existence has not been entirely in vain4 ,germany of the nineteenth century was the ,alexandria of the modern world1 and as ,alexandrian criticism was the forerunner of the best in ,latin literature1 perhaps the immense activity of scientific investigators may have an artistic outcome4 ,a selection of what is good and true1 and a clear1 concise presentation of well-established facts1 such as ,pre ,laurand gives in his excellent series1 ,manuels des ,etudes ,grecques et ,latines 7,picard1 ,paris71 will help the study of the classics4 ,erudition should take now its proper place of subordination4 ,the classics should resume the functions which history1 evolution1 origins and other scientific approaches have taken away2 the classics should once more be studied primarily as works of art4 ,the medium and materials do not dominate other arts2 they should not dominate literature4 ,self-expression is the goal of all art2 it should be the goal of literature4 ,have the teachers of the classics lost faith8 ,is artistic appreciation an idle thing or is it a thing of beauty1 a joy forever8 ,the experimental sciences are always changing in facts and theories4 ,the chemistry of a century ago is absurd2 the chemistry of twenty-five years ago is antiquated2 the chemistry of today will be old tomorrow4 ,as ,remsen long ago saw and insisted on1 what is valuable in the teaching of chemistry are the processes1 not the theories1 which will likely change tomorrow4 ,chemistry1 as a science1 is a bit of classified information always modified by research4 ,art and artistic appreciation is a thing of beauty and a joy forever4 ,give a man appreciation of literature2 let him taste the beauty of ,homer and of ,sophocles and of ,demosthenes1 and you have given him1 not a catalog of facts which must always be rectified1 not a theory which must change with the facts1 but a precious treasure in the mind which will always remain4 ,in teaching chemistry the processes are more important than the temporary information2 in the teaching of literature the processes are at least equally valuable1 and besides last through life in abiding taste and in perfected self-expression4 ,formerly reproduction was the aim of the teacher of the classics4 8,reproduction is the soul of the explanation or prelection10 is the way early ,jesuit pedagogy put it1 and every student of philosophy knows what the soul or formal cause contributes to the effect4 ,how many in explaining classical literature today guide themselves throughout by the principle that their students are to reproduce artistically the masterpiece which they explain8 ,no doubt professors insist upon the formation of clear ideas and further demand explicit judgments in the way of propositions4 ,most too require that the links of reasoning be sharply and definitely stated4 ,interpretation1 in a word1 is well done4 ,the intellectual element of the masterpiece is handled satisfactorily4 ,but what of the artistic form8 ,does the literature take shape in the student's imagination8 ,is the picture realized in the teacher's imagination and then by suggestion1 through the sparkling eye and sympathetic voice and interpreting gesture1 by vivid1 though not histrionic1 dramatization1 is the author's message staged in the student's imagination8 ,scientific analysis1 especially where a text becomes a tag to some learned generalization1 often prevents imaginative realization and thus precludes artistic appreciation of literature4 ,the teaching of the classics has been and is now justified by the general training they impart1 but it is chiefly when taught as literature that they impart that general training4 ,if the classics are subordinated to the university lecturer's specialty1 then the classics are imparting little general training and have hardly more right in the classroom1 except for indirect results which may accrue from contact with art1 than have special courses in conchology or entomology4 ,let the teacher look upon the classics as art to be reproduced after being appreciated1 and a general training will be the outcome4 ,composition should be made the aim of literature4 ,idioms of languages1 and their vocabulary and their structure differ1 but thought and imagination may be the same4 ,set all the languages of the world before a moving-picture1 and each language will tell the common story on the screen to its children in its own way of speaking4 ,so the student of any language may learn from ,homer how to select details and group them into artistic wholes1 how to carry on the narrative through significant and choice events1 how to dwell on the important and touch lightly on the insignificant1 how to relieve a story and intensify a part of it by appropriate comparisons4 ,as the student learns how to tell a story1 so too may he master the art of describing a scene1 of creating a character1 of making a speech4 ,he will be taught the way to focus an idea and give it discriminating expression by the right word1 the way to embody good or evil in concrete and picturesque words and the way to be proficient in all the elements and processes of composition4 ,the ,greek ,homer made the ,latin neid1 the ,greek ,theocritus made the ,latin ,eclogue and1 if ,stedman is right1 also the ,tennysonian ,idyll4 ,the literary art of ,greek and ,latin has given and will give artistic form to the student's vernacular4 ,the classics will give a general training if they are made to do so4 ,literature will not impart a general training automatically4 ,art is a habit arising from a repetition of acts4 ,the art of thinking is mastered by thinking1 and the art of imagining by imagining1 and that thinking and imagining will be done well if done under the guidance of masters4 ,has the literary art of ,greece1 which created ,latin literature and directly and indirectly shaped the literature of all civilization1 done its full work8 ,who can believe it8 ,every generation since ,homer has been influenced by the art of ,homer in translation and imitation1 and no generations more so than those of ,cowper and ,morris and ,lang in ,england and of ,bryant and ,palmer in ,america4 ,the time may come when literary taste and literary art will be as well studied and demonstrated in modern languages as in those of ,latin and ,greek2 the time may come when modern classics may be as well adapted for education as the classics of ,greek and ,rome which have been in the classroom for century upon century1 but that time does not appear to be tomorrow or the day after4 ,if the art of self-expression is the best test of education1 if the art of self-expression is the most practical thing in life and the most permanent treasure that can be gained in school1 then ,greek literature1 the finest masterpiece of self-expression1 should remain1 and ,greek literature should be taught1 as for centuries it was taught1 with interpretation and translation furnished to the student1 leaving the time of training to be devoted not to special sciences proper to the university1 but to the general training in appreciation and expression1 proper to academy and college4 ,,xiv ,,the ,,vitalizer ,,of ,,the ,,world ,this title is not an advertisement for a patent medicine2 it is the brief statement of an important historical fact4 8,every schoolboy knows0 that the revival of learning in ,italy came from the vitalizing touch of ,greek4 ,out of that renaissance1 which the ,jesuits took over and embodied in their system of teaching1 grew modern scholarship in ,england through ,linacre1 ,lilly1 ,colet and ,more1 the forerunners of the ,elizabethans4 ,it was the beginning of modern scholarship in ,germany1 through ,erasmus1 the friend of these ,englishmen1 and through ,melanchthon1 whose name1 like that of ,erasmus1 marks the power of ,greek3 out of that renaissance sprang the rejuvenated civilization of our day4 ,every schoolboy knows that ,greek brought the modern world to life1 but is it as well known or remembered that ,greek has always been vivifying everything it touched8 ,the civilization of ,rome in every part felt the influence of ,greece4 ,rome conquered the world by force of arms1 but itself was humanized and then humanized the world through ,greece4 ,every modern language today feels the force of ,isocrates and ,demosthenes through ,cicero1 and of ,alcus and ,sappho through ,horace1 and of ,greek tragedy through ,seneca and of ,homer through ,virgil4 ,when later the barbarians of the north severed ,rome from ,greece and the ,roman ,empire and its civilization lay dead1 who brought the world to life again8 8,when the accurate knowledge of ,latin was declining in ,gaul1 even ,greek was not unknown in ,ireland40#b ,it was the ,irish monks who freshened into flame the blackening embers of ,european civilization and began its restoration4 ,the revival was brought about through the schools of ,bobbio and ,st4 ,gall1 mostly indeed as the scattered books of their libraries show1 by means of ,latin literature but always with the help of ,greek1 as the same libraries testify4 ,that was an earlier renaissance in ,italy and ,switzerland4 ,and who was the leading figure in the revival in ,spain about the same time8 ,it was the ,greek scholars1 ,isidore of ,seville and1 a little earlier1 ,hosius of ,cordova1 and1 a little later1 ,john of ,gerona4 ,then ,france began to grope out of barbarism under the leadership of ,charlemagne1 resuming close relations with ,greece and importing the ,irish monks1 ,clement and ,dungal1 and the ,english monk1 ,alcuin4 ,but it was under ,charlemagne's successor1 ,charles the ,bald1 that this new renaissance took on a fresh energy which did not spend itself before the decline of scholasticism4 ,john ,scotus1 ,john the ,irishman1 who styled himself in his translation of ,dionysius from the ,greek by the title of ,erin-born1 for a quarter of a century kept ,france intellectually alive1 and did it chiefly by his ,greek4 ,john1 the ,erin-born1 was the forerunner of scholastic philosophy1 which caught the vital force of ,greek through another channel also4 ,when ,spain was conquered by barbarians and lost its civilization1 where did its ,arabian conquerors go for the seeds of the new life8 ,the ,arabs went to ,greece1 gave ,aristotle in translation to ,europe1 and ushered in the golden age of medieval philosophy4 ,rightly does ,traini 7#acde71 on an altar-piece in ,pisa1 picture ,st4 ,thomas ,aquinas receiving the light of knowledge from ,christ through the ,greek ,new ,testament and from ,aristotle on his right and from ,plato on his left4 ,as ,aquinas combined patristic and scholastic theology1 he merged in his works the twofold ,greek influences of ,plato and ,aristotle1 who were the human aids in each of these theologies4 ,pass over several centuries to the time when the ,italian renaissance had grown senile and when scholarship left ,spain1 ,italy and1 to a large extent1 ,france1 and found its home in the north4 ,these nations lost touch with ,greek and their scholarship died down1 while life moved northward in the wake of ,greek4 ,when ,f4 ,a4 ,wolf went to ,halle about the beginning of the nineteenth century1 he represented the reaction against the realism of that day1 and 8his conflict with the school of useful knowledge brought into clear relief his ideal of a culture founded on ,greek traditions40#c ,time has shown that ,wolf's theories of ,homeric authorship are all wrong1 but the stimulus he gave to scholarship lasted all through the nineteenth century1 and to no other single influence more than to ,wolf may ,germany ascribe its undoubted supremacy in classical learning during the last century4 ,his inspiration came from the ,greek1 and in his vitalizing of ,germany he was associated with others who had felt the same inspiration and were already beginning the influence that still in a measure persists3 ,heyne in the classics1 ,lessing in criticism and ,winckelmann in art4 ,england's partial reawakening under ,queen ,anne saw ,bentley1 the ,greek scholar1 and his contemporary1 ,pope1 translator of the ,iliad and ,odyssey1 and let scholars say what they will about ,pope's translation1 they cannot impugn the fine criticism of his introductions or the lasting influence for good of his versions4 ,passing over the prime of ,english eloquence1 whose living roots1 as ,goodrich has shown1 are in ,greek literature1 we come to the fresh memories of our own time and to the ,victorian era4 ,again it is ,greek which vitalizes every branch of literature1 philosophy and art with new and unexpected truth and life4 ,without ,greek the ,victorian revival would not have come about4 ,in poetry recall ,keats1 who awoke to life through the reflected glory of ,homer2 recall ,cowper1 translator of ,homer1 and ,byron1 who died for ,greece1 and ,moore1 who translated ,anacreon1 and ,landor and ,arnold and ,tennyson and ,browning1 all of whom took substance and form and fire from ,greek sources4 ,in essay-writing you have ,brougham1 eloquent advocate of ,greek oratory2 ,de ,quincey1 who could1 as his tutor said1 at the age of thirteen harangue a ,greek crowd2 ,macaulay1 who1 even in manhood1 weeps over his ,homer on the streets of ,london4 ,in art there are ,ruskin and ,morris and ,pater1 who are saturated with ,greek thought4 ,think of statesmanship and you will recall ,lord ,derby and ,gladstone1 political rivals1 at one in their love of ,homer2 think of criticism1 and ,lang1 ,saintsbury1 ,blackie1 ,butcher and ,jebb will say that through ,greek they have dominated modern criticism2 think of history1 and the names of ,rawlinson and ,grote and ,hallam1 ,grecians1 will come forward in your mind4 ,history6 ,why1 you will remember that all ancient history has recently been rewritten with the spade1 and it was ,schliemann under the spell of ,homer who turned the first sod4 ,go over the great names in literature and art1 in philosophy1 theology and scripture1 in the sciences of history1 mathematics1 law1 government1 and you will find ,greek giving life and vigor4 ,even in the newer sciences founded on observation and experience1 which have come into being within a century1 whenever an observer gets beyond the elementary stage of research and classification1 he will resort to ,greece for principles and intellectual categories just as he borrows the language of ,greece with which to name his discoveries4 ,history shows that every people and every system of education and every house of learning1 when it gives up ,greek1 is headed towards inferiority and decay1 but when it turns with fresh endeavor toward ,greek it reaches forth to life and to light4 ,nor is all this surprising or strained4 ,our civilization was born and grew for centuries in ,greece4 ,our ,christianity was early translated into the language of ,greece and for centuries spoke and thought chiefly in that tongue4 ,so then in our minds and souls our youth will ever have been ,greek1 and from ,greek must ever come1 as it has come in the past1 the new blood that will flush with dynamic energy the anemic arteries of cosmos1 the world1 and of the microcosm1 man4 ,,xv ,,true ,,principles ,,of ,,homeric ,,criticism ,the story of ,phidias and his pupil1 ,alcamenes has often been told4 ,they competed for a prize in sculpture4 ,the statue of ,alcamenes was about to be chosen because of its exquisite finish when ,phidias objected to any decision until the statues should be put in the high position they were designed to occupy4 ,at once1 the opinions of the judges were reversed1 for the apparently rough lines of ,phidias's creation stood out in sublime majesty1 while the polish of ,alcamenes's was lost when the statues were raised aloft4 ,the story illustrates a splendid rule of art which has often been forgotten in the study of ,homer4 ,the epics of ,homer were not made for the test-tube and the microscope4 ,they were not made even for readers2 they were composed for listeners4 ,put them on their proper pedestals and the minuti revealed by the grammarian's microscope will be lost in the grand sweep of the story4 ,you would as soon halt ,shakespeare's ,macbeth because of the anachronisms1 or condemn ,leonardo da ,vinci's 8,last ,supper0 because of modern masonry in the walls or carpentry in the table1 as apply the philological and archeological tests of the higher critics to ,homer4 ,apply the tests of art to ,homer and judge him by those4 ,take the matter of the contradictions which critics have talked so much about4 ,in many cases1 especially where mythology was concerned1 the material the poet had to handle bristled with inconsistencies and contradictions4 ,long ago ,aristotle laid down the sensible rule for drama1 and it is equally true for epic poetry1 that the poet is not responsible for the improbabilities in his materials4 ,the sculptor may have flaws in his block of marble2 the painter may have defects in his lead or oil1 or pigments2 and the epic poet found contradictions in the fairy stories of mankind which he wove into the story he sang4 ,that one consideration will sweep away instantly heaps of higher criticism4 ,again1 the artist is more taken up with the end than he is with the means4 ,in the fervor of his composition he wreaks himself upon expression1 he burns to embody his ideal and1 engrossed in that1 he is likely to be less observant of the material of his art4 ,the achieving of the effect is more to him than mathematical accuracy in the use of the instruments by which he achieves the effect4 ,he makes his hero win his battle2 he may unhappily forget some of the tactics or even the geography of the battlefield4 ,his object is not to teach the art of warfare or furnish the topography of the country1 but to tell an interesting story in an interesting way4 ,the ,iliad has a wall that vexes many critics4 ,it was built in the tenth year of the war1 which was no time to build a wall1 and was put up simply because ,achilles left the field4 ,besides1 according to these critics the wall appears and disappears strangely4 ,so the conclusion is3 ,homer did not build the wall1 but some other poet came along and projected his masonry into the epic4 ,in answer it has been shown that the wall behaves very well1 but1 whether it does or not1 it matters little4 ,the poet is not a surveyor or a street commissioner4 ,he wished to make his story interesting1 to make the character of ,achilles prominent1 to bring some agreeable variety into what might prove a monotonous catalog of similar battles4 ,those are reasons enough for a poet to build a ,chinese wall or reduce it to dust when he does not want it1 or conveniently overlook it in the heat of an imaginary charge4 ,a story-teller is more concerned to please his hearers than to guard against inconsistencies which they would never detect as listeners1 and which even close readers did not detect for about thirty centuries4 ,a work of art is not to be judged as a mass of machinery is1 nor is a poem to be scrutinized with dictionary and grammar as you would a schoolboy's exercise4 ,this is the statue of ,phidias over again4 ,a stage scene will differ somewhat from a miniature1 and an epic takes liberties with walls and rivers and even mountains and oceans1 liberties which would not be tolerated in a quatrain4 ,these principles are as obvious as daylight1 but apostles of the obvious are needed in abundance in the harvest fields of higher criticism4 ,what is needed for ,homer is a study of his art in a broad but not shallow way1 comprehensive and fundamental like ,aristotle's brief discussion4 ,for the wonderfully analytical mind of ,aristotle ,homer's ,iliad and ,odyssey were models of unity1 because he looked upon them as works of art1 not scrap-heaps of philology and archeology4 ,put the poems of ,homer on the pedestals for which he made them1 for listeners who had to be entertained and clamored for variety4 8,it is a trait of ,homer10 says a writer1 8constantly to shift the scene4 ,the motive may be weak1 but the eye of the poet was not on the motive1 but on the scene2 so he not only shifts the scene but varies the description of the events40 ,the poet's eye1 it might be added1 is also like the orator's1 fixed steadily on his audience1 and the audience must be relieved even if masonry or geography suffer4 ,the paramount principles of variety and growth of interest which govern every good story hold sway in ,homer4 ,take a staple action of the ,iliad1 the battles4 ,homer's audience wanted fighting1 yet jaded listeners and the artistic poet knew there must be in the fighting variety and growth of interest4 ,even in the matter of killing men1 which seems to us unimportant but which would not be to an audience of fighters1 ,homer has shown a wonderful variety4 ,a ,german professor has diagnosed the ,homeric surgery with all the thoroughness of his class4 ,the conclusions may be found in ,seymour's ,life in the ,homeric ,age4 ,the number and variety of the wounds1 the weapons used1 the percentages of fatalities1 are all given in full detail4 8,hardly could the poet have covered more completely the possibilities of wounds for the human body if he had proceeded systematically and mechanically40 ,some will have it that ,homer was a surgeon and an army doctor4 ,certainly the history of anatomy has its first chapter in the ,iliad4 ,but to pass over the variety displayed in the wounds and other smaller points1 consider the actual fighting4 ,for the maneuvers we may refer to two interesting chapters in ,lang's ,world of ,homer1 where the variety and consistency of ,homeric warfare are well described and defended against the dissectionists4 ,the point1 however1 we are working toward is the variety shown in even the external circumstances of the warfare4 ,a closer study than we can afford to give would reveal more variety1 but we may mention the plain1 the wall1 the river1 the night as in the tenth book1 the mist4 ,these are the various circumstances which the poet introduces into his battles1 relieving the monotony and sustaining the interest4 ,there is no falling off4 ,the different heroes1 too1 succeed one another2 the victory alternates from one side to the other2 the battle on earth has its echo among the gods4 ,the interest rises4 ,patroclos enters the fight1 and then his fallen body becomes the center of the struggle1 as the wall and the ships had been before4 ,something1 too1 is left for ,achilles4 ,ferocious as may have been the fighting before1 it becomes a veritable shambles when ,achilles enters the fray4 ,never were such frightful wounds1 never such rivers of blood as may be witnessed in ,book ,,xx 8when the black earth ran blood10 8when beneath the great-hearted ,achilles his whole-hooved horses trampled corpses and shields together2 and with blood all the axle-tree below was sprinkled and the rims that ran around the car1 for blood-drops from the horses' hooves splashed them and blood-drops from the tires of the wheels4 ,but the son of ,peleus pressed on to win his glory1 flecking with gore his irresistible hands40 ,then follows the battle in the river1 and finally the battle of the gods themselves1 and after the necessary relief and lull and reawakening of interest comes the last battle of all and the climax of the poem in the conflict of ,achilles and ,hector4 ,a study of the art of ,homer along its great lines will give us the true principles upon which to judge him4 ,such a study will put him in the right perspective4 ,the statue of ,phidias will mount on high where its artist wished to have it enshrined4 ,the ,iliad and ,odyssey were meant to cross the bronze threshold of some great palace1 8where there was a gleam as it were of sun or moon through the high roofed hall of a great-hearted ,king4 ,brazen were the walls which ran this way and that from the threshold to the inmost chamber1 and round then was a frieze of blue and within were seats arrayed against the wall this way and that40 ,then 8after the men had put from them the desire of meat and drink10 they called upon the minstrel4 8,for minstrels from all men on earth get their meed of honor and worship2 inasmuch as the muse teacheth them the paths of song and loveth the tribe of minstrels40 8,and the minstrel being stirred by the god began and showed forth his minstrelsy and took up the tale where it tells how the ,argives sailed away40 ,that was the setting of the ,homeric ,epic1 and thus speaks one whose 8heart had melted at the song and whose tears wet his cheeks beneath his eyelids40 8,verily it is a good thing to list to a minstrel1 like to the gods in voice4 ,nay1 as for me1 ,i say there is no more gracious or perfect delight than when a whole people makes merry1 and the men sit orderly at feasts in the halls and listen to the singer and the tables by them are laden with bread and flesh1 and pours it into cups4 ,this fashion seems to me the fairest thing in the world40 ,there is the place that ,homer chose for his matchless poems1 and there they should be judged4 ,the hearts that melt with song are not searching for digammas or olic forms4 ,they want the story1 the long voyages and the strange adventures1 the swaying lines of battle and the prowess of heroes4 ,they look for and recognize the different characters which must be as varied and as clearly marked as in the life around them4 ,they must not be surfeited with too much of anything4 ,voyages and battles must vary and grow in intensity and be crossed with pictures of nature1 brief but thrilling and immensely relieving1--the lion1 the wheat field1 the tossing ocean and the steady downfall of an unending snow storm4 ,with these and the plot entangling and disentangling1 the listeners to ,homeric song and story will not look for that polished smoothness and frigid exactness1 the absence of which vexes the minds of modern ,germany4 ,phidias' statue occupies its proper pedestal1 and the true judges award to ,phidias his well-deserved prize4 ,,xvi ,,the ,,child-,,test ,,of ,,literature ,their elders are too busy these days devising tests for the children4 ,is it not time for the children to retort on their testers8 8,having pried and prodded into us to see if we measure up to you1 dear elders1 let us now see10 the children may well say1 8whether you measure up to us40 ,a great philosopher wished to make man the measure of everything4 ,we have a truer1 a divine philosophy1 a philosophy all the more persuasive1 and that philosophy makes the child the measure and test of man's worth and the arbiter of his eternal destiny4 8,whosoever shall not receive the kingdom of ,god1 as a child1 shall not enter it40 ,the millstone mooring the scandalizer in the ooze of ocean's darkest depths and the angels who see the face of their little one's ,father1 these are the extreme sanctions which guarantee the accuracy of the child-test for the measurement of man4 ,the child-test has often been applied to man's morals4 ,onan and ,sanger1 ,sparta and ,china1 ,calvin's unchristian infant damnation and the ,christless infant sanctification of ,pelagius1 ,malthus with his 8,decrease and subtract0 and ,moses with his 8,increase and multiply10 all1 from individuals to nations1 are ample evidence that the child is set for the ruin and resurrection of many in ,israel4 ,the child-test is surely potent in rating the world's moral morons and moral geniuses4 ,can the child-test be applied to man's art and literature8 ,recall the words of ,job1 8,who shut up the sea with doors1 when ,i made a cloud the garment thereof and wrapt it in a mist in swaddling bands80 ,that view of the sea in the swaddling bands of infancy is a proof of an imagination looking at the universe with the eyes of the ,creator4 ,the child-test is a measure of the sublimity of ,hebrew literature4 ,the revelation of ,genesis gave the literature of the ,bible an outlook never reached by other literatures4 ,as the promise of the ,messiah kept a hallowing guard over the cradles of ,israel1 so the vision of the ,creator blotted out from the concepts of the ,hebrew imagination the crude and monstrous nativities which make all pagan mythologies hybrid and miscegenetic4 ,homer has fewer than others have of these nightmares1 but it is not in them nor in the tinsel sublimity of his divine machinery that ,homer has touched a wider circle of readers than any of his epic brethren4 ,rather it is in his unaffected and transparent portrayal of the human nature we all understand that ,homer has set the heart of the world throbbing faster4 ,not the celibate ,virgil1 nor the ,puritanic ,milton1 dissolver of matrimony1 nor yet ,dante1 idealizer of the maiden ,beatrice1 gave us childhood and motherhood as ,homer has done4 ,homer is no sentimentalist1 but he has wider sympathies with mother and child than any author on the rolls of literature4 ,the mother cow1 lowing over its first-born2 the mother dog1 growling in defense of its litter2 the mother lion1 all its brow wrinkled with the greatest frown ever sketched2 the mother bird1 starving and dying for its young1 yes1 even the mother wasp1 solicitous for its menaced brood 7note that1 ,s4 ,p4 ,c4 ,a467 these are evidences of ,homer's tenderness4 ,achilles likens his friend ,patroclus to a little maid fondly catching at her mother's dress and getting in her way with persistent tearful pleading till the mother takes her up4 ,in the ,iliad1 ,helen's sorrow for her abandoned ,hermione is a pleasing element in her repentance4 ,odysseus proudly styles himself the father of ,telemachus2 the mother of ,odysseus dies for longing of him1 and his father1 ,laertes1 in the most exquisite of the many recognition scenes of the ,odyssey1 passes from view in that story1 while his long-absent son tells him of the fruit trees1 8which10 says ,odysseus1 8thou once gavest me for mine own1 and ,i was begging of thee this and that1 being but a child and following thee through the garden40 ,we have natural sketches of the babyhood of his two heroes1 ,achilles and ,odysseus4 ,yet1 more than all these pictures1 stands out in the world's imagination ,hector's boy1 whose future fate ,andromache1 after ,hector's death1 details with a mother's despairing vividness1 whose childish terror at his father's helmet1 while ,andromache smiles through her tears1 has brought home to unnumbered thousands the grim specter of war4 ,that scene has etched itself so deeply into the heart of mankind that it has almost ruined ,homer's poem1 alienating universal sympathy from ,achilles to ,hector4 ,after ,homer1 the child motif in literature is less in evidence4 ,drama1 of its nature1 has little place for the child except to put a keener poignancy in tragedy4 ,so ,sophocles used the children of dipus4 ,so in his time did ,shakespeare with the princes of ,richard ,,iii1 with ,marcellus in ,coriolanus1 with ,macduff's sprightly lad1 and with others4 ,theocritus has a child to furnish an aside for the gossipy ,syracusan dames4 ,anacreon introduces the counterfeit of childhood in the ,cupids1 whose sophisticated conventionality checked invention in ,elizabethan lyrics as it did in art from ,pompeii to ,rubens and later4 ,cupids are symbols1 children of the brain1 not of the heart1 and figure in song and painting as signs4 ,they have a message for the mind2 they do not touch the feelings1 while on the other hand1 they free the artist from seeking in life the expressive significance that ,homer gave the child4 ,literature had to wait long for the naturalness of ,homer to reappear4 ,virgil has a little of it in ,ascanius1 another ,cupid1 and it is significant that ,virgil's one outstanding natural touch is found in the famous ,messianic eclogue3 ,incipe1 parve puer1 risu cognoscere matrem4 ,as for other ,latins1 whether it be bachelorship or the erotic preoccupation of the lyricists1 or the supreme power of the father in ,roman customs and law1 ,latin literature does not mirror for us prominently the child and mother nor reflect their natural attractiveness as found in ,homer4 ,well1 even ,greece seems to have lost the art1 and a new inspiration was needed4 ,that inspiration came with the ,divine ,child of ,bethlehem4 ,,xvii ,,the ,,christ-,,child ,,test ,,of ,,literature ,the influence of the ,christ-,child on painting was tremendous and lasting4 ,a history of ,christian art could be written around the ,madonna1 and the subject has attracted the notice of many writers1 indexed in art libraries4 ,alice ,meynell has treated the subject attractively and with her studious insight in the ,children of the ,old ,masters4 ,in the ,catacombs1 ,christian art felt and portrayed the ,divine ,child and ,his ,mother4 ,byzantine ornamentation and mosaics gave the ,child a rigid majesty which veiled ,his winsomeness1 but the master painters came closer to childhood and brought ,madonnas from the walls of crypts and of cathedrals to the devotional shrine and the chapel1 making the ,child less architectural and more natural4 ,in literature the ,christ-,child had equal influence until ,puritanism tried to remove ,christmas from the calendar4 ,drama originated in the liturgy of ,easter and of ,christmas1 and although ,holy ,week was more elaborate and in substance more dramatic1 ,christmas to ,twelfth ,night1 offering more incentive to play and song and more holidays1 exercised a larger influence on the stage4 ,in lyric poetry at the beginning of the sixth century we have already the familiar1 intimate and loving contact with the ,christ-,child1 which finds its latest expression in ,thompson and ,tabb4 ,st4 ,ita1 the ,irish saint 7#dhj-egj71 is of their faith and tenderness in the song of 8,isucan10 8,little ,jesus10 given in ,sigerson's ,bards of the ,gael and ,gall3 ,jesukin ,lives my little cell within 444 ,jesu of the skies who art ,next my heart thro' every night4 ,the bambino shines through medieval song in ,adam of ,st4 ,victor and in other writers of hymns4 ,the ,catholic writers of the ,renaissance celebrate the same theme in the revived meters of classicism4 ,sarbievius1 the ,jesuit lyricist of ,poland1 is full of the ,christ-,child1 and in his well-known lines 8,to the ,violet0 he calls upon that 8dawn of spring0 to crown his 8,little ,lad0 with its flowers in place of the gold and gems and purple which weighted the ,infant4 ,sarbievius was doing what the painters did1 discarding the ,byzantine ornament and convention4 ,test ,puritanism with the child and it fails2 test it with the ,christ-,child1 and you will get the ponderous 8,hymn to the ,nativity0 of ,milton1 an imperialistic ode which must have gladdened ,cromwell4 ,no familiarity there1 no mirthfulness1 no ,jesukin with violets for crown jewels1 not even ,byzantine immobility4 ,milton does not even doff the helmet of war1 as ,hector did2 no1 he sees from ,juda's land ,the dreaded ,infant's hand2 ,the rays of ,bethlehem blind his ,osiris' dusky eyes4 444 ,our ,babe to show ,his ,godhead true ,can in ,his swaddling clothes control the damnd crew4 ,a ,prince of ,peace indeed with a mailed fist6 ,merry medieval ,england would not recognize ,jesukin in ,miltonic panoply4 ,fortunately for art it had attained excellence before the ,puritanic blight fell upon the world1 but for literature in the ,english language we must wait until the nineteenth century to see the child come to its own4 ,wordsworth attempted a revival of ,plato's philosophy and found immortality1 if not familiarity1 in childhood when he wrote his 8,ode on the ,intimations of ,immortality40 ,wordsworth took a more fruitful lesson from the ,greeks when he went back to nature in other poems to study childhood4 ,even before him1 ,blake1 painter and poet1 influenced no doubt by the traditions of painting1 began to see the heart in childhood4 ,the interminable moralizing stories of ,ann and ,jane ,taylor and of ,elizabeth ,turner1 which date from this time1 are heavy with grown up condescension4 ,e4 ,v4 ,lucas would have done better to republish in his ,book of ,verses for ,children the graceful and humorous lessons of the ,greek fables than perpetuate ,taylor and ,turner4 ,after ,wordsworth we see the child motif gradually taking a larger place in the literature of ,england and ,america4 ,despite ,francis ,thompson's vigorous effort in his famous essay1 he has not succeeded in making ,shelley pass the child-test4 ,shelley had no faith1 no humility1 no humor1 no real tenderness1 and even granting him the dreaming power of childhood1 which in ,thompson's essay is largely a reflection of ,thompson1 ,shelley had not the heard of a child to enter into the ,kingdom4 ,walter ,scott's friendship for ,marjorie ,fleming shows that the great poet and novelist had the necessary qualifications1 but no performance comes now to mind except a lullaby and the glorification of merry ,england at ,christmas4 ,swinburne glimpses gleams of a baby's pink toes and lists to low laughter of mouths of gold4 ,the child is picturesque for him4 ,moore1 ,byron1 ,browning1 for different reasons1 fail in the child-test4 ,tennyson touched the surface1 although in the 8,princess0 he came close to the mystery4 ,patmore1 uxorious and paternal1 came closer and even touched the depths of the child in 8,toys40 ,longfellow and ,whittier were of the same school4 ,it was ,stevenson1 in a ,child's ,garden of ,verses who brought back into poetry1 as ,lewis ,carroll did in prose and verse1 the natural child that ,homer saw about him1 and that painting discerned in the ,babe of ,bethlehem4 ,humor1 imagination1 sympathy1 these were the factors which discovered the heart of childhood for our modern world4 ,barry and ,belloc in ,england1 ,eugene ,field and ,riley in ,america1 ,earls and 8,tom0 ,daly and many others have furthered the discoveries4 ,there is no hope for the child in the 8,new ,poetry0 which takes itself too seriously4 ,who would hold up the world if the 8new poets0 started in to mind the baby8 ,one more element was needed1 and sorely needed1 to enter fully into the mystery of the child4 ,that element is faith4 ,evolution looked on the child as an epitome of its theory2 pedagogy plotted out1 weighed and measured the child and drew up formidable statistics2 eugenics faced the child as though it were a dire microbe1 source of poverty1 ignorance1 bootlegging1 war1 pestilence and famines4 ,the modern child had and still has before it a dismal prospect4 ,it is the camping ground of the specialist1 the experimental laboratory of the theorist1 and the peculiarly delectable victim of physical and moral vivisectionists4 ,faith must save the child1 faith in the ,babe of ,bethlehem4 ,tabb and ,thompson had that faith4 ,they are the counterpart in literature of a ,st4 ,anthony or a ,st4 ,stanislaus in life and art4 ,they play with the ,child ,jesus4 ,isucan has come into ,his own again4 ,tabb sings in 8,out of ,bounds03 ,o comrades1 let us one and all ,join in to get ,him back his ball6 ,and ,francis ,thompson with medieval intimacy asks in 8,ex ,ore ,infantium03 ,and did ,thy ,mother at the night ,kiss ,thee1 and fold the clothes in right8 ,and didst ,thou feel quite good in bed1 ,kissed1 and sweet1 and ,thy prayers said8 8,look for me in the nurseries of ,heaven10 said ,thompson4 ,he will surely be at home there1 and ,tabb and many another will be with him4 ,the first seven chapters of this work were given in substance as lectures at the ,champlain ,assembly1 ,cliff ,haven1 ,n4 ,y4 ,chapter ,,xii1 ,educating the ,emotions1 is a summary of an address given to the ,public ,school ,teachers of ,rhode ,island4 ,other chapters have appeared in ,america1 ,catholic ,world1 ,educational ,review of ,washington1 ,school ,interests1 ,classical ,weekly1 ,magnificat and are reproduced through the courtesy of the editors4 ,,appendix ,,greek ,,speaks ,,for ,,itself ,,an ,,etymological ,,phantasy#d ,during a period of lethargy ,i was petrified at a phantom1 bounding from my lexicon1 with this cataract of phrases3 8,are you ,baptist1 ,methodist1 ,presbyterian1 ,episcopalian1 ,catholic1 or ,christian8 ,without me1 you are anonymous4 ,do you stigmatize heresy and schism1 hypocrisy and blasphemy4 ,do you blame schemers against the ,mosaic decalog8 ,do you impose anathemas in apostates1 idolaters and atheists or exorcise the devil and his demons with their diabolical pomps8 ,are you zealous for proselytes1 and to baptize neophytes after catechism1 and to canonize orthodox martyrs with halos and emblems1 scandalizing frenzied iconoclasts8 ,then all that is done through me4 ,the ecclesiastical sphere is practically mine4 ,i am the architect of churches1 cathedrals and basilicas1 from the asphalt base in the crypts of the catacomb1 up to the apse and the chimes in the dome4 ,i am architect of monasteries for monks and anchorites1 and of asylums for orphans and lepers and maniacs4 ,mine is the ,hierarchy1 from the ,pope on his dais with his tiara1 to the mitered ,bishop in his diocese1 and to the parish priest in his presbytery4 ,deacons and acolytes1 clergy and laity1 ,papal encyclicals1 diocesan synods1 parochial homilies1 and all dogmatic theology1 with its mysteries and myriad topics1 are mine4 ,the ,bible is mine from ,genesis1 ,exodus1 ,deuteronomy of the ,pentateuch1 to the ,paralipomenon and the ,psalms1 to patriarchs and prophets1 to the ,evangelists of ,christ1 to the ,epistles and ,apocalypse of ,his ,apostles4 ,epiphany1 ,pentecost1 the ,parasceve are mine ,the tunes of the hymns1 the quiring of anthems1 the ,gregorian tones of the litanies and antiphons are melodious through me and ,i composed the canon of liturgy with its symbols4 ,go to your home with me4 ,bushels of anthracite for the chimney1 and a diet of fancied nectar6 ,chairs and plates and dishes2 oysters2 butter and treacle2 perch or trout or sardines in olive oil2 the aroma of capon or partridge or pheasant2 celery and asparagus and peppers2 cherries and dates and currants1 citrons and melons1 prunes and quinces and plums2 pumpkins marmalade and pastry2 chestnuts and pippins2 masses of purple hyacinths1 with lily and crocus1 with geraniums and heliotropes1 with narcissus and peony1 with asters and orchids and posies of roses4 ,what zest6 ,isn't that a panorama of paradise to tantalize you8 ,be not economical or dyspeptic4 ,masticate beneath your mustache4 ,let choruses echo in the parlor with music of organ and guitar1 or let there be anecdotes on the piazza around a bottle of cheering tonic4 ,i telephone or telegraph for my 8auto10 and my machine goes to my theater or hippodrome4 ,there is on my program the symphony orchestra with harmonious melodies2 or on my program are scenes melancholy with tragedy1 or hilarious with pantomime and melodrama1 with comic monolog or dramatic dialog1 with cyclists1 gymnasts and acrobats4 ,after the drama or kinematic photography1 with match and lamp you go to attic canopies1 and to the climes of ,morpheus4 ,for all these you are to reimburse me with the treasuries of the purse4 ,go with me to the ocean1 opposing the stratagems and tactics of barbarous pirates1 to meander by gulf and isthmus and archipelago1 nomads through all climates1 charting geography with my nautical atlases1 from the ,arctic to the ,antarctic through the tropic zone1 from ,polynesia to its antipodes4 ,then for my astronomy6 ,what a panorama through my telescope in the crystal atmosphere6 ,above the horizon in the empyrean are my planets and comets and meteors and galaxies of asteroids4 ,without me where is your 8zoo0 with its panthers and leopards with dolphin and crocodile and hippopotamus1 with lynxes and hyenas1 with ostrich and pelican1 with buffalo and dromedary1 with ichneumons and scorpions1 with the gigantic elephant and its proboscis and the pygmy squirrel6 ,oh1 what of my chimerical and utopian 8zoo10 with the phenix and dragon and griffins and chameleons and gorgons and gnomes and basilisks and sphinxes and hybrids6 ,but ,i am not archaic2 the scope of my dynamic energy is practical and not eccentric4 ,mine are politics1 the diadems of monarchs1 the scepters of tyrants1 barbarous anarchy and despotic autocracy1 the panics of demagogue and the parliaments of autonomy and democracy4 ,chemistry and chemical analysis1 physics with phenomena of electricity1 acoustics1 and optics1 mechanics1 botany1 geology1 entomology1 and all the 8ologies0 with their technical glossaries2 they are mine4 ,so are all the apothecaries and pharmacies with glycerine and licorice and creosote and the antidotes for quinsy2 for catarrh1 dropsy1 neuralgia1 and for every 8-itis0 and 8-osis02 emetics for the stomach2 the cathartics1 calomel and castor-oil2 doses of paregoric for colic2 plasters for imposthumes2 arsenic for spasms of epilepsy1 and tonics for anemic arteries2 a peptonoic diet for dysentery2 oxygen against bronchial phlegm2 bromides for asthma2 iodine for pleurisy and parasites2 narcotics to calm hysteria2 antipyrin for agonizing rheumatism2 antitoxins for diphtheria and for the deleterious microbes of cholera or typhoid1 and bottles of panaceas4 ,anatomy is mine and the surgeon1 diagnosing symptoms1 charting septic organs on the diagrams1 trepanning the cranium1 cauterizing for hemorrhage1 is mine2 so are his sponges and syringes and silk and his styptics1 and his prophylactic hygiene1 and his ansthetics1 chloroform and ether1 and his antiseptics against bacteria and gangrene1 and his autopsy and his skeletons4 ,the school is mine with its desks1 its programs and schedule and the scholars1 from their alphabet to their diploma1 their arithmetic and geometry1 their gymnasiums and athletics1 and the school diamond and amphitheater4 ,pause before you ostracize me from my schools4 ,would you be an essayist1 sketching graphic stories or typical characters2 an historian1 cataloging the treasures of archives1 and chronicling epochs of catastrophe and calm2 or a philosopher1 systematizing theories of ,stoics1 ,hedonists1 ,peripatetics and ,scholastics2 or a poet1 composing idylls and madrigals1 lyrics and odes with strophes and the epics with episodes1 you are mine4 ,without me you have not talents or ideas or paper or ink4 ,mine are your grammar and syntax1 your syllables1 your paragraphs with their commas and colons and parentheses1 your lexicons and encyclopedias and card-catalogs1 your topics and themes for ecstatic rhapsodies or for austere logic1 your fantastic paradoxes and your idiotic theories4 ',tis ,i who phrase for you your axioms1 caustic criticisms1 laconic epigrams1 all your irony and sardonic sarcasm4 ,if your technique is idiomatic1 your methods puzzling or crystal1 your tropes are metaphors graphic1 your fancies hectic or anmic1 you are mine4 ,i am your enthusiastic stenographer1 jotting down and synopsizing your ideas and typing them to be stereotyped in your authentic tomes1 whether anonymous or under a pseudonym4 ,i apologize for my tautologies1 for this monotonous labyrinth1 for the phalanx of technicalities and for the etymological mosaic which strangles your larynx with 8ics0 and 8isms40 ,whether it is all abysmal bathos1 or the climax and acme of the practical1 ,i am to blame for it4 ,but pause before you ostracize me from my schools2 pause ere the nemesis of chaos and disaster is yours2 but if you are to be characterized as adamant and without sympathy1 let the poets echo a threnody about my coffin2 let there be a chorus of pans under the cypress and cedar1 the larch and osier1 the myrtle and amaranth1 about my cenotaph2 let there be in my cemetery a mausoleum with a monolith1 and on it my epitaph3 ,the ,lexicons of ,europe ,are the ,trophies of ,greece4 ,,note3 ,,the ,,nature ,,of ,,esthetic ,,enjoyment ,esthetic pleasure or the enjoyment of the beautiful is generally admitted to be disinterested4 ,possession and ownership do not enter into the esthetic act4 ,the ownership of ,da ,vinci's 8,mona ,lisa0 is not an object of indifference or of disinterested attention4 ,thieves scheme for the ownership1 thousands covet it1 guards protect it4 ,but the enjoyment of 8,mona ,lisa0 is not selfish and exclusive in its nature4 ,esthetic enjoyment makes abstraction of possession and of selfish good4 ,it follows therefore that esthetic enjoyment is a function of man's knowledge1 not of man's desires and appetites4 ,the only condition upon which the appetites1 whether bodily or spiritual1 can operate is that they be energized by personal good4 ,volition may be free1 but it cannot be disinterested4 ,you may enjoy another's picture2 you cannot eat his dinner1 nor can you be indifferent to what you know to be for your good4 ,some have asserted that esthetic enjoyment belongs to a special power apart from both knowledge and appetite4 ,there is however no need of such power4 ,certainly beauty must be known to be enjoyed1 but is not the knowledge itself adequate to produce the characteristic effect of beauty8 ,is not ,aquinas right in saying1 8,pulchrum dicitur id cujus ipsa apprehensio placet0 7that is called beautiful which simply by its perception pleases78 ,good1 being an end1 cannot delight solely by being perceived2 good must be attained4 ,but for beauty1 is not its very perception an enjoyment8 ,the solution of this question will be found in the nature of enjoyment4 ,emotions and feelings1 pleasure and pain are easy to understand and for that reason difficult to express in satisfactory formulas4 ,by its very nature every faculty of man operating normally has an accompanying pleasure1 while if operating abnormally it has pain4 ,the faculty itself is therefore the subject of the feeling just as life is inherent in the organism4 ,indeed feeling is consciously localized life4 ,the feeling of the toe is felt by the toe2 the joy of seeing is felt by the eye4 ,no distinct power is required to carry the feeling4 ,so it is with esthetic emotions4 ,the mind itself feels the delight of beauty4 ,esthetic enjoyment is a function of perception4 ,does esthetic enjoyment belong to the senses and to the imagination8 ,here again there is difference of opinion4 ,it is probable1 however1 that sensible perception has no accompanying esthetic pleasure4 ,st4 ,augustine appealed to experience and declared that esthetic enjoyment of the beauty1 say1 of the sun1 was possible1 even when the sight suffered pain4 ,a better reason may be found in the behavior of animals which1 though clothed in beauty1 give us no certain evidence of esthetic appreciation and enjoyment4 ,esthetic enjoyment therefore belongs to intellectual cognition4 ,now the intellect has many operations4 ,which one of these carries the esthetic pleasure or esthetic pain1 which one is charged with the vital thrill that creates and appreciates the world of art8 ,the mind reasons1 the mind judges1 the mind apprehends4 ,esthetic enjoyment belongs to the last4 ,judgments and inferences may be objects of esthetic enjoyment2 to reason1 to judge may precede or follow or may be even necessary conditions1 but the esthetic act is most probably one of simple apprehension4 ,there would seem to be general agreement that contemplation is the characteristic attitude of the mind in the presence of beauty4 ,aquinas excludes distinctly the idea of end from beauty4 ,beauty is a form which we contemplate4 ,croce calls the esthetic perception intuition4 ,theodore ,watts-,dunton seems to be describing the same act when he calls poetry 8the renascence of wonder40 ,the efforts of reasoning and of judging appear to be alien to the mental attitude in the presence of beauty4 ,the simple apprehension is concerned with what is termed ontological truth1 whereas reasoning and judging result in logical truth4 ,now1 just as esthetic enjoyment abstracts from possession or good1 so does it abstract from the affirmations belonging to the logical truth of judgment and of rational inference4 ,there is esthetic enjoyment of fiction as well as of fact4 ,aristotle long ago saw that although the substance of art must be the persons1 actions and feelings of man1 the pleasure found in the work of art does not arise from its correspondence with reality4 ,the correspondence with reality gives the satisfaction of logical truth1 of scientific truth1 of historical fact4 ,the truth which is the object of esthetic pleasure in art is the truth of consistency1 of realization of ideal1 the truth of reasonable congruity1 of plot in a wide sense of the term4 ,this vision1 this dream of the artist1 scholastic philosophers call causa exemplaris or ideal4 ,if we are right in our understanding of ,croce1 his intuition is nothing else but the simple apprehension of the ideal4 ,esthetic enjoyment comes also1 as is clear1 from the simple apprehension of beauty in natural realities where there is no fiction of art4 ,to localize the esthetic enjoyment in this way does not determine the constituent elements of beauty1 but clear definitions help to exclude many false notions of beauty4 ,the ideal of the artist is embodied in his imagination before it is expressed in its proper medium4 ,the art of man always must have a medium which can be perceived by the senses4 ,that is why a vigorous imagination1 which stores up and dispenses to its owner quickly and abundantly of its riches1 is so useful to the artist4 ,through his imagination the artist is original and personal4 ,the pure thought of science is abstract and alike in all minds2 the artistic vision formed from individual experience will be different in every one4 ,therefore no two artists expressing themselves in the concrete can be alike as no two scenes of nature are alike in beauty4 ,aristotle put the pleasure of art in perception4 ,art for him is a mimesis1 which does not mean an imitation1 in the sense of mirroring or copying4 ,that was ,plato's notion1 which ,aristotle combated4 ,art is1 in ,aristotle1 a power analogous to nature1 working like nature in another and limited world1 of sound1 of color1 of human thoughts4 ,art is fiction1 a dramatizing1 a staging of life1 to be judged1 not by correspondence with fact1 but by its own plausible and convincing rationalization4 ,no one has done more for art than ,aristotle in his insistence upon the necessity of cause and effect1 of a motivation1 sufficient at least for the artist's public4 ,intrinsic unity1 the fruit of perfect motivation1 was another necessary requisite in ,aristotle's analysis of art4 ,it is only when the varied elements of the artist's imaginative experience have fused themselves into a unity by having a well-motivated beginning1 middle and end that the mind feels the beauty of its vision4 ,universality in art is another fruitful idea of ,aristotle4 ,while confined to his sensible medium1 the artist must link up the separate elements of his vision more closely than in the realm of fact4 ,he will by that very reason be general and universal because his motivation must approve itself to all4 ,a moving picture of the death of ,csar as it really occurred would be valuable history4 ,it would1 however1 be individual4 ,shakespeare's death of ,csar has a beginning1 middle and end1 and the spectators see in it the working out of a plot in which every word and act has been carefully planned and fitted into the design4 ,the individuating notes are left out1 and the death of a ,csar has universal appeal4 ,artistic creation1 motivation1 unity1 universality1 these are great principles of art formulated by ,aristotle and not likely ever to be superseded4 ,the cognitive idea of beauty and those principles of ,aristotle have been followed in the chapters of this book4 ,for further discussion of the nature of esthetic pleasure1 see author's 8,art of ,interesting10 ,chap4 ,v1 ,interest from ,emotions2 ,chap4 ,,xvii1 ,is ,esthetic ,emotion a ,spinal ,thrill8 ,a ,,forward-,,looking ,,lesson ,,in ,,literature 7,to exemplify ,chapter ,,ix7 ,,the ,,method ,,the dry bones in the cold print of this lesson are to be galvanized into life by a teacher in constant touch with the class and enlisting the coperation by questions1 by having the passage read aloud1 by writing on the board1 by interchanges of ideas1 by lively disputes between individuals4 ,no mere lecture with passive listeners1 no mere study period with a passive overseer1 but real teaching1 which is a fine conversation1 directed upon select subjects and carried to a destined end under expert guidance4 ,all of the technical terms1 apprehension1 judgment1 inference and the rest are to be omitted4 ,the intelligent use of such terms belongs to college1 although the operations and objects which the terms designate belong to all grades4 ,through simple1 untechnical questions the whole truth may be understood by each1 and every student may be made to go through operations which are of daily occurrence and which the student must make habitual by repeated exercise to insure a mastery of the art of expression4 ,the teacher is an expert mental director1 and1 setting before the class a good passage of literature1 he will make them think again and put in order again and express again what the author has done2 he will make them conceive1 arrange and express thoughts of their own with the excellence which teacher and class have noted and appreciated in the passage4 ,the teacher of literature will be no lecturer in history or in philosophy or in mathematics1 but will be like the teacher of music or like the physical trainer1 who makes his class go through exercises which he himself has exemplified and which the class immediately practice to acquire bodily skill then and for the future4 ,a passage of poetry is designedly taken in this lesson to show how poetry can be made to contribute to the art of expression4 ,literature for some is history1 for others philosophy4 ,these center attention on the facts or ideas4 ,literature for others is a dreamy1 mysterious thing1 which you must look at with awe1 speak about with esoteric rhapsody and carefully lock up again in a glass case4 ,a forward looking lesson in literature must know what the passage means1 but is usually not concerned with the origin and past history of the author's meaning4 ,the forward-looking lesson will not pretend to solve all the mysteries of art and beauty but will take out of the clouds and put clearly before the class some point in the art of expression1 a point which will be practical and of everyday use4 ,such a lesson will be as decidedly vocational as hammering a nail or rigging up a radio set or rushing around a gymnasium4 ,the purpose ever before the literature teacher's mind is appreciation1 leading to mental action and through repeated action to the art of expression4 ,,the ,,lesson ,the curfew tolls the knell of parting day1 ,the lowing herd wind slowly o'er the lea1 ,the ploughman homeward plods his weary way1 ,and leaves the world to darkness and to me4 ,i4 ,,analysis ,,of ,,thought #a4 ,understanding4--,the meaning of each word1 the meaning of each line1 the meaning of the whole stanza4 ,this should not be a mere passive understanding4 ,students should be made to rexpress the ideas1 not only by paraphrase in other words but especially by imaginative realization4 8,for instance10 8,just like what80 are two phrases to be often on the teacher's lips4 8,have you a heard a curfew80 8,have you heard a knell tolling80 8,did you ever see in picture or in reality a lowing herd winding o'er the lea80 ,a thought illustrated by the thinker's imagination is realized fully1 is felt as well as grasped1 and will persist4 #b4 ,judgment4--,what is the logical subject and logical predicate of each line and of the whole stanza8 ,that is1 what is the author's chief topic and what does he say about it8 ,this need not always be the grammatical subject of the passage4 ,the art of expression is not only apprehending by vivid understanding1 but it is also judging by predication1 by affirming or denying something of the subject4 ,there is not a class of any grade which cannot profitably exercise itself in clear and concise judgements4 ,the successive judgements briefly put are3 ,the bell tells the end of day3 the cows return to the barn3 the ploughman comes home3 ,i am left alone in the darkness4 #c4 ,reasoning4--,as as single sentence may be analyzed into a definite subject and a definite predicate for a judgment1 so two or more sentences may be compared to grasp the relation between them4 ,poetry does not go through a process of reasoning4 ,it states thoughts and presents pictures1 permitting the mind to infer4 ,the three pictures in the opening lines have a common trait which the mind detects3 all three pictures are signs of nightfall4 ,the mind draws an inference which is inductive in nature1 and the whole stanza may be briefly stated3 ,the coming of night leaves me alone in darkness4 ,these stages in analyzing the thought are elaborated here4 ,in practice they may be expedited4 ,before being read1 the judgment and inference may be presented as problems for solution3 ,what does the writer say in each line8 ,what one idea is found in the first three lines8 ,what will be the title1 the head-line1 the summary of each line and of the whole stanza8#e ,,ii4 ,,analysis ,,of ,,form ,form includes not only the words and sentences1 their choice and their arrangement1 but also the texture and color of the thoughts and their modification ending in their perfect expression1 as contrasted with the bare and limited statements already determined4 ,in the study of literature1 words are not merely materials for philologizing1 or merely sentences1 free opportunities for grammatical anatomizing with all the bones properly numbered and labeled4 ,such analyses look chiefly backward and are not productive of writers4 ,language anatomy has its great utility1 but literature1 or the art of expression1 must look to the flesh and blood of the thoughts1 to the personality1 to the imagination1 to the concrete embodiment of the writer's art4 ,the student will take up1 therefore1 the thought already analyzed and note and appreciate how his author has clothed the ideas1 the judgments1 the reasoning4 ,he will renact the creative process the author went through1 and so here1 with a view to expression1 he will strive to rival the excellence of ,gray1 but will do so with his own thoughts4 ,grading4--,at this stage the teacher may point out incidentally many excellences in the art of expression1 but will drill and have practice on the particular excellence in expression1 proper to his class4 ,the textbook ordinarily determines the grade1 but if there is no textbook or prescribed program1 the teacher will determine his own order of matter4 ,right ,word4--,let us suppose the teacher is teaching the art of using the right word 7,model ,english1 #c71 the word which states the thing exactly in kind4 ,he may center attention on the line3 ,the lowing herd wind slowly o'er the lea4 ,the class will be drilled in the author's choice of the right word by considering other possible but less exact combinations1 e4g43 ,a number of noisy cows went reluctantly along4 ,after this drill1 the class will appreciate what the right word is and be ready for the expression of their own ideas in right words4 ,they are not to paraphrase ,gray's meaning4 ,that has already been done1 but they are to provide subject-matter of their own and express it with a like excellence4 ,did they continue to speak of cows1 they could not better ,gray1 but if they speak of bees or bloodhounds or cavalry or autumn leaves or rioters or anything else that has come under their experience in life or in reading1 they might approach the exactness of ,gray in giving the right word for the sound1 for the collection1 for the action1 for the manner and for the place4 ,bees3 the buzzing swarm of bees circled thickly about the hive4 ,bloodhounds3 the baying pack of hounds followed the trail eagerly4 ,cavalry3 the clattering squadron of cavalry galloped swiftly along the road4 ,autumn3 the heaps of rustling leaves were swept into every corner by autumn winds4 ,rioters3 the yelling mob of rioters rushed wildly towards the jail4 ,imagination4--,suppose the teacher is giving a lesson in imagination 78,model ,english10 ,chap4 ,x74 ,if one of the ,general ,methods1 say ,reflecting 7,no4 #fi71 is to be taught1 then the class must vividly picture in their imaginations ,gray's stanza4 ,with the help of books on the desk and with a gesture or two the scene and all its characters may be dramatized4 ,all this suggestively rather than with exact mimicry1 unless there is in question a passage that may be reproduced by the class in a miniature pageant or play4 ,to test whether the class is actually imagining1 have them quickly number1 one after another1 the things they see and hear directly by the words and indirectly suggested by the words4 ,or test in another way4 ,let each draw an outline of the frame of a picture and show how they would illustrate any line or the whole stanza1 putting numbers on the blank space to locate the details and explaining to the side what the numbers stand for4 ,suppose a particular method1 significant part for the whole 7,no4 #gc7 be the matter of the lesson1 then the whole which is expressed by ,gray is 8evening10 or 8parting day10 pictured by three significant details--curfew1 cows and ploughman4 ,have the class take an opposite situation--not evening in a graveyard in preparation for gloomy thoughts1 but morning on the farm looking to a busy1 joyous day4 ,or again1 what significant details will suggest the hush of evening in a city or on the sea2 noon in a factory1 closing of school in the afternoon1 coming of winter in ,december1 dawning of spring in ,april1 etc4 ,interest may be accentuated if one student gives the details and others imagine what is the whole suggested4 ,for example3 ,the cock crows a greeting to the rising sun2 the team of horses is hitched to the mowing machine1 and soon the clicking knives lay low the waving grass 7farm72 the crank is whirled about with a swift revolution and jerking stop2 the low purr of a hidden engine steals upon the ear and a cloud of dust swallows up the rattling car 7a ,ford72 a sprig of shamrock graces the lapel of the coat2 green ribbons flaunt gayly above ruddy cheeks1 and down the street steps a band jigging ,garryowen 7,st4 ,patrick's ,day74 ,in the same way elements of force or interest1 metrical charm or poetic thought and many other points could be taught from this stanza1 according to the grade of the class before the teacher4 ,whatever the passage taken1 once the grade has been settled1 the artistic drill should be carried through the stages of grasping the thought definitely1 of appreciating it with discrimination1 of repeating the process of creation1 of dramatizing the complete product1 and finally of self-expression on the part of the student1 striving to rival the author in the excellence he has studied4 ,,footnotes #a ,cf4 ,de ,wulf3 ,l'uvre d',art et la ,beaut1 p4 #dj4 #b ,sandys3 ,history of ,classical ,scholarship1 ,i1 #dch4 #c ,sandys1 ,,iii1 #ed4 #d ,this 8mosaic of etymology0 which ,i offer is not1 ,i think1 simply an ingenious tour de force4 ,it has a significance and a practical value4 ,it may illustrate the composite nature of the ,english language2 it may amuse a curious reader2 it may enliven a ,greek class with the touch of actuality2 it may disclose dim vistas into the distant past through the medium of everyday language1 exemplifying history through common things4 ,all the words of this phantasy are of ,greek origin1 except the article1 the pronouns1 the prepositions and conjunctions1 and a few other small words3 8so1 as1 then1 home1 let1 go1 do1 all0 and parts of the verb 8to be40 ,skeat's ,etymological ,dictionary 7,student's edition7 is the authority4 ,the exclusively technical words of modern sciences which are almost wholly ,greek have not1 for the most part1 been mentioned4 ,it is needless to remark that the prescriptions of the phantom's pharmacy are not authoritative4 ,this jeu d'esprit has attracted so much attention as to be reprinted by the ,american ,classical ,association and to be noticed by several metropolitan editors4 ,that attention is the motive for giving the article permanent position in a book with which a novel plea for ,greek has a certain1 though remote1 connection4 #e ,for analysis of thought1 see ,model ,english1 bk4 ,,ii1 chap4 ,x1 by ,f4 ,p4 ,donnelly1 ,s4 ,j4 ,allyn and ,bacon3 ,boston1 ,new ,york and ,chicago4