New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-01-10

/ a. IIrl they fLOlGEt thtY Hhh I"t"" " ''Iyl-t
= ~, IN! Tituuty orc intense. But Of all things
al ho"s' bv ilac.fIiars bridge Edward BurneJonc4
aud William Horr.s. who added more eNqlrlW sp,l,
tnars , for pcri.c ION Morris felt that the close
Imitation ui nature was o'iufhhs tIcueu, III y,
| ofIye MT To him we poetry the perfect
precision o which. aud the eielres, OF worn a w.
have not been eGcec IN me % h "c, cyos not
oul, Of Increased ceiling bat also Of new tccina I'M
r ,c,,,t rTc rcynition in modern music has been
ti-t amy hc deferred revolution o. binthoiHe SIM
! Ply to the Lack Of tee meal means. - !,
! has been with this romantic movement OF
ours The painting Of Blrne-J2hgs S 7 vs.
q intricate wonder Of desgn nnd snirnior "l
color than English imaginatiycart had ever shown ne
fore. The poetry OF Norris Rossctt ana aWlnP}arnS
cnch word which Thcnphc Gauties advice to the Young
poet TO read his dictionary every day as Dels e and
book worth poets reading, admirably cxpie'7oS As
yet what people call the poefS inS piailon Hsa no, US
is wings but have accustomed ourselves 20 CONT CONT
their nnume-ahe pulsqtons, TO estimate their imtiess
strength, and to govern their ungovernabe freedom
TIE CHOICE OF SUBJECT
And now would point out you the operation OF the
artistic spirit in the choice Of subject Like the phlos
opher OF the Patonic VISION the poet the spectator OF
all time and all existence For him form il obsolete
no subject of date rather whatever OF life and pas-
sion the world known In the desert of Judea or In
Arcadan valley by the ruins Of Troy or OF Danascns III
the crowded and hleous streets OF the modern city. or
bv the pcasant ways Of Camcl0t all lies before him IKE
beautiful life He viii take of It what IL saluay for his
own spirit, choosing some i9cts aho e
with calm artistic control OF one VINO " IN possession
Of the secret beauty It. - no avail that the muse
Of poetry called even by such clarion moe ms Nht
NM t1toigrafr from Greece and onia and to pacnTd
removed ami to let on the rocks ~ the snowy f't-
Of Mr. Swinbnric's is very life Itself ana knows no,hng
! of death. Add so IL comes tlat ne wa" Ho''is
| 90 st.rJ ,pns+ his Is he
who mirrors best because he haR stripped Ire OF t9t
familiarity which, as Shelley used I" r'y' i"tS
Whafcvcr spiritual message artist brings to his age
Il l. for MS to do naught but accept his teaching 1ou
have most OF yuu probably that great mas crpcce
Rubcns whcl hangs In me gallery OF nTlsSoiS, l,
swift and wonderful pageant OF horst ana Ie i
III exquisite and fiery moment when "a. MlRas
are caught In banner and the Dir IL III by me
CLEAN and the 'sh OF plume Wen that Is Joy
| in art, though that golden hillside be- tr"dign py
tic Son OF Man that that gorgeous cayacad" ~ pasnS
| CHANNELS TIIGOUGI WHICH THE SOUL Is TOUCHED
In its primary aspect painting has no more Spltua
message than exquisite fragment OF venetian glass
The channels by which all noble and Imaginative work
in naming should touch the soul not those OF tho
truths of lives This should be done by certain inyen
tive and creative handling entirely independent OF any
thing definitely pOetioal In the subject. something
entirely satisfying in itself, which is. "s
the Greeks would say. In itself an cnd.
81 the joy OF poetry comes never from Inc SUBJECT D"t
from an inventive handling of rhy thinica language
TIE PLACE OF CRITICISM.
What place has criticism culture think that
the first uy of critic Is to hold his tongue al All
times and upon all subjects. Laughter and aPpanseJ
You have listened to Patience for hundred nights
and YOU have only heard for II viii make no
doubt that satire piquant by knowing something
about the subject of It. But you must not JhuSo
of rstheticism by the sntire OF Ar Gilbert, any
more than Won Judge Of the strength and splend0r
OF sun or sea by dust that dance in the beam or the
bnhnle that breaks on the wave. Don't take your
critic AZ any sure Of AIT For artists,
ike the Greek gods. are only revealed
to one another. As Emerson somewhere. their
real value and place Time Only can STOW. lh' Wy wy
critic All Ircsscs ever but the puhc lis
work lie. them. Art can never nave any "lH'i
aim buj her own perfection nave no reverence H'l
E.os for IN. public or for anything In existence mt
inc Eternal Being, the memory Of great men, and the
snc, them il the spirit which believe to be guiding
AMI underlying English Renaissance, itehaa
OF sron3 "siIPiI acbovsnrIi = IN rnrtrv and the
decorative aojs and IN pIi ny oi al tn Increased
come lire ana Of dress and OF furniture 81 houses
"Ui beautiful national lie and thc commercial srtrt
o England hls killed that; no great dram WI Out q
noble lie, ana the commercial spirit o. Rag Idhu
las killed ;hAi too. lAppausrI
THE NOVEL AND THE DRAMA.
The novel has not killed the play, a. some critics
would persuade The romantic period OF france
shows that the work Of BaLac and of Hugo
grew up side 10y side tosr:her-nIy more. were compile
ueutary to other although neither OF them saw IT,
The raua IL meeting place Of art and life It deals
rs Nizzni said. merely with man, hut win social
man. with man rclatioHo God and to humanity Ii Ia
tr produ" o period OF great, national united energy
f. Is impossible without noble pablo, Iui II belongs 10
cc 10 a. the 90 OF Eli ben, london, aud Peri
ccs. at Athens. III part Of such lofty moral no Tir
itua ar or s came Greece after tine d"it al Ee Per
sln feet. ami to EnS isiIeh amer the "re'" "l 'He
s"''rv frt now iucomplete ou~ movement was in
mi, 1,.apcct aud Ia shown IN one great Tragedy ny
what tcrroraHl y 'e Woln nave "g,u9I our i.tic
form. through wh.ou tr genius OF hn-tIhl S'A' III 'ah
an Outlci aaI &a cNprtNs'"h'
AMERICA To COMPLETE THE MoNKIINE
Its rather p,rJps 5ou that would iusl to com
plrtc and perfect tl, c. movement o our', for there
is something Hellenic III yom air aud world some
Ing that hes quicker breath Of the joy and power Of
EIIlabetn's Eu4 gland abou than our uncirui cN1tl@a
ton can give fAppn1s"l For yon' at least are
Young; 10 hungry generations tread yoI down, and the
1at zoe, NOT moe, You with ruins OF beauty, the
secret Of whose creation you have Loaf That very al
s.urr tradition which Rus6n thought wouli ron your
river. oi their laughter and your flowers - their light
may he thor the source % your freedom ami strength
T. sneak in literature with the pcriccr r'cufudr OF tho
movement of animal. and me unptarh'pientS'ot 'he
o! trees and the Grass b' ire road bon
c.rrI br one o. your poet, the o. woSs triumph
g. art 10 triumph wlch yon above a. Other nd Ions
IN i, pc d. stunned io 1r,.cyc For the voices mat nave
u,Ir dwelling in and mointan are MOI the 'hu-en
o.. LIBERTY only. other ihtr.%SeS are ther- II y"!
win bUr listen 10 tAcI-'HA. !lr" Won 'H' sp'l"" ul
som" u"y -inalon tine marNCi oi S"ue ne" hrTiN
H. tncn, mi, = 40, ana llr lualcri. iur c'!lltu'M
lie ai around yuu. pruAi, VIII n~s me WI uh
hs study poets ami painters bring yoni might
frri. 81 Iacric object on an ami r and hstoricn prob
"u- that tIc demand of The Intellect II merely O." fet
thugthat il tHr knowledge 81 real strength In art
not you .nud Iutaie the works o. great n.n' BAT
WHERE MORALITY l. NOT IL QUESTION
In ua,ion IT, 100 yiJu5ls II tc passion Tor creation
m uo ,courani, III oy ;hr critical the aesthetic faculty
al-u t will sure wusre Its strength 1t is not an
increased moral sense moral supervision that your
| literature needs Indeed. should never tdlk Of
moral ur immoral poem Poems are either wen written
or badly written that IL al, Any lrmeni ~ moral, or
implied reference to "A standard of good evil IN art is
ol en- a sIen certain ucompetcuoss OF vision. All
sool work aims nj purely artistic effect But a Ia
,Iu. cities iu your literature II f. increased srs
nilns - beauty thai is srAiu-. All noble work not
mr.