The Jewish advance., 1879-11-28
The difference is in kind but not III ma

The difference is in kind but not III ma
ture."
Il cannot see what intellectual en-
joyment there is in social entertain
ment.'
But can. When | chat with people
| study them, [ study life. Watching
the different phases of human character,
the soft and emotional in ladies, the
stern and intellectual in men; the mo-
tives Of action, the modes and designs
of arriving at their desires no matter
how trivial and perhaps unworthy the
object is, the working of the human
mind is all the watching this, af-
fords me as much spiritual enjoyment
as a sharp philosophical argument in a
book"
80, SOP" Joseph said musingly.
" You have not assimilated yourself to
your high toned aristocracy, after all
You live in their midst like an artist in
a picture gallery, studying the art but
not becoming a statue or a picture"
There, I believe, you are again mis-
taken. The artist must feel with his
subject if he should produce it we'll. 1t
is not enough to give the exact lines
and shades of picture, but the ideas it
should convey, the life it should ex-
press must be felt before it is put into
it. When the architect draws the plan
of residence, he must be fully alive to
the sense of repose and comfort which
a home requires; when he sketches the
plan of courthouse, he must feel the
majesty of justice when he lays out
the sketch of a theatre, he must con-
ceive the sweetness and grandeur of
music and the drama when he plans
the structure of church, he must feel
the imposing solemnity and comfort of
religion. IF he does not feel so, and
bends his mind only on lines, angles and
proportions; his productions may serve
their purpose, but they will not express
the character and nature of their des-
tina ation, they will not be works of art.
The same is the case with the painter or
the scul ptor he must actually live and
feel with the character he intends to
produce on canvass or in marble. The
tenderness of the mother, the innocence
and bashfullness of the maiden, the af-
fections of the lover, the venom of the
hater, the resoluteness and bravery of
the hero, the pain OF the victim the
cowardice of the churl-aye, he must
feel all this if his production should be
works of art in the full sense of the
word. The same is also the case with
the artist of what is called "pen pic
lures, [ mean the writer's of novels, the
painters of characters. [ do not mean
to aspire for such a profession, but even
only to understand characters for my
own satisfaction, | must live with my
objects of study, must for time as
simulate myself to them entirely"
Joseph stopped and looked me sharp
in the face.
"The deucep' he said, Il can see
now how far you are in your study of
chemistry. You are quite assimilated
to gas"
Bother your nonsense !" said an
grily, " a fellow dare not speak his mind
to you but you will make some joke on
him."
There; sensitive again In order
to convince you that your argument is
not misunderstood by me, | will tell you
what [ have been thinking of just be-
fore you came into my room this eve
ming My serene musing and pleasant
recollection reacted in me into a biting
sarcasm, for which you-which such
truthful conceptions of human charac-
ter-must not be angry.
(T0 be C0ntinued.) J