, 1876-06-17
MAxlMs AND REFLECTIONS,

novelty; mar, tho Older Il Is, and the more We
arc accustomed to It, the greater Ito effect
The dignity OF art perhaps chiefly manifcsu
Itself in music, a. It contains no adyept,t[out
elements. Consisting chiefly In form and feel
Ing, II hcighteus and rchncs whatevar II ex.
},sesses.
Music Ia either sacred or profane. The sacred
character Is thoroughly suited to iss dignity, and
through this It exercises the most potent IN
fucnce on li!c,-nn Influence continuing The
same at all times and epochs. Profans music
ought to he pcsmeatesl by chccrtulness.
That SPECIES Of music which mixes up the sn-
cred and profane character Is goddess; while
that OF hybrid kind, which loves to cxprpsA
absurd; tos & Is MT grave enough for sas9eI-
meas, au lacks tue leading characteristics OF III
opppsitc.-gayety.
Tie sacreI character Of church music, tho
gaytty andtporttvenc.ao aoi popular melodies, nra
tte two hinges On which snuslc turns. Ats In.
fallillc eifect Is always produced bv either
klna,-dcvotlon Or dancing: Thu blending. Of
tuEns yaptl; and, when music endeay-
ora to accommodate Itself to didactiq
or descriptive poetry, IL becomes cold
Its highest stage On various accounts VIC ,nay
he impressed by mediocre works, but, on the
whole, they perplex more. than delight US.
Sculpture, therefore, should strive to lay hod
III II huDeiAlhIy 1nttLChL vi tut bAtJCELt huEH III
is fund In The fkencsses of rcu.arkablc men.
but in these, also q high degreu OF excellence
must bc att.Inci. In order to combine tha at,r
butes 81 truth and dignity.
tDg of all lie arth. The mnst facile becntlse,
even III caaes where Il Is more a craft tlan al
art. We toivrntc aud take pleasure In much Of II
sss e ae'9 II i"s ,S psp p.pss
IN point ri execution, ,'mpresses tue
educated and. une'lucatcd alike, so
that 4 Is generally @ ayeptnbls, Il T. rlaes but
ln surfaees, and IN the relation Of Visible objects
tn one another, Is In Itself plcaa.ng; and a. sle
eye. moreover, Is accustomed to see everything,
ml.stapcn object, either IN reality OF III coun.
terfct, Ii not US offensive to It as discord Is to
the ear., We tolerate the sorricst copy, because
We hahfiunlly SEE yet sorrter objects. II the
painter, therefore, Ia but In some degree an art
lit. be will find nore public appreciation than a
musician Of the ean,o rsilk; the minor uaintes,
at least CAN always net by himself, whereas
the musician Of like statl,llng must co-opcratr
with others, in orller 10 produce some effect by
means OF combined performances.
The question lis tD whether Or TO We ought to
Institute comparisons in critcisng works If art,
might be answered rs follows: Tie conHoisseur
| u,Eht to sornmre, for hc has forulel n conccp-
| tim, M tlca Of Wtat can And ought to be pFu-
| dl,red. The amateur, OH tic rUAd to culture,
however, finds most fnrthcrnncc In abstuih,ng
from vt,ln1nrlsoils, and viewing eaeh merit supa
ratcIy: BIZ this means feeling and perception Tor
! oped. The comparisons of tile unnitIated nEe,
Iii fact, species Ut indocnre fun to escape the
| trouble of Judgment.
( Love nj truth ahoWs iteclf In discovering and
appreelating what is good wherever It may e1Ist.
ny historically tempered human feeling, we
| understand nhe which Is 10 regulated that, In
estimating contemporary merits and capacities,
the past Is ulso taken intu account.
The hest results to he derived from history Is
the enthusiasm It k!ndlcs.
Originality challenges originality.
We must rcmcmber tiat there arc many pco-
! pic wtlo, although hacking originality, yet wish
| to any something striking, al THUS the most
| whnliya! things II all s0rts urc produced.
People u! profound attl scrfGus turn Of mini
arr PLACED in difficult position as rcgurtls the
| public.
Let him who would have snc for listener
speak positively; of the problrmatlr have
ellnugh within myself.
to expea.lt IL retrrAts to the nd'lest nooks and
corners, rcapptnring UNEXPECTEDLY Wien It may
| hope for my SECURITY.
We should know tn.ny things better Jill VIC
| not wish to Know them too mfnutcly: for Ill
object first asslttllas Just proportions for us 1T
All angle of farty-fvc degrees.
! The microscope attl telescope have tendcn-
| cy to c1,nfuse nur IroJmr h,,1un understanding.
iolI my peace 'curi,rurning r,aly things, Us |
do MT wlsll to pcrpc3 my fc!luw-R!eil, ami am
| cuutcnt to sec them rejoicing ut wlat irritatcs
| me.
Everything IL perntrlous tl,mt cmanctpatcs our
intellect without ut thu salnc time strengthening
! our kclfcuHtr0i.
IL IS tie What yut'er than tue How which
| usually interests prjple III work u art: Tor
while uhr to gr;s,' the farmer In It's parts they
canln't appre!enl the latter as wslule. Hcl.cc
curnes tile love ot cYtrue,tng passagcs-tn the
coarsu Of Which, however, II We are careful Oh
servers, we sl,all sea taas the tutal elcct IL
agatn reproduced, only, iu this case, uncon.
| arluuHly to everybody.
The question as t6 whence the poet has de-
rived ilts work tonccrus lis suhjret-it!4tteF
linn
especially by poetry. 14Errc is nothing more
friEhtful thu, imagination devold Of taste;;
aane,iA Is rtnised y hy 'isinE rra1 ts ifa
forr, is wanting III ingenuity.
The phllo!oSint dsspein's on the eonsru!ty Of
wrlt,en tratlitl Thus, manuscript for'nius
onset t - o,sn atscr iu ~ Ks ~
qualities, necessarily producing corresponding
Eaps In The scnsc. Perhaps SECOND, pcshaps i
Third, eory.ls discovered, mud BY !nstttuiing totn-
If elIcltlng sensc and reason from thc manu-
script, SAy, the ph[!ologst makes still another
KteI', and trusts TINT hfS own Efforts, unai!cd
lin not stsST" sy i, D!p4sa prs"Ses x miller y In fnaSs sa
but tu reconstruct Il afrcsh ~ consistent
whole. hut special tact AMI absorption 'n tfs
departed author bcsng required for this, as well
nut blnrue the phio!ogist II hc also arroyate The
right VI judgment ~ matters Of tasto, III wi!ch,
however, lis is MT always equally successful:
The poets function consists fnrcprrsc'.tation.
This rcl.clsta ts climax we1 Il rivals reality, OF
liz othyr words, When l,s descriptions aEc yiyltcd
BY hls genius 10 such degree that thcy apRsa. "a.
paint, makes liz impression of soncthing abso-
iulry external, nn Us SOON Us It assa'1nes an In,
ward character It's decline brglns. That kind Of
poetry which uny represents the aMnes without
rlnboyng II IN stllnc external forisl, or without
making Us feet Thy exterior BY ueana u s,le 10.
ncr wurld, Is iM uithrr ciss tnu lust stays whence
, il rrtruwruJys Into cuyapnol. lie.
Oratnry cnjoyr al the rights and privileges Of
poetry; # uni abuses tllu1a is' order to Oh
t,.ln certain outward, moral aud Immoral, ends
nlo,urntarily advantageous in common llfc.
Tha real merit ut tic sotsllcl Potksh@l eon>
ststs III Its subject being directly inspired By na'
turc Hut ths poet Of cuturo coulti eIjoy thu
SANG advantage II he kucw how 10 avail hlsaaclf
.of It. . -..., ,,
Asn really edncatsa msn, ho,wcEss ne WI ~
less ut the consnmsd uf simply natural per-
! St}I,S. -.
,,,t,x In