The times. [volume] (Richmond, Va.) 1890-1903, 1892-07-10
Raantx In Literary Art.

nature OF that which IL termed beauty before
acknowledging that poetry can be no eXcep-
ton, but rather the chief illustration, wneh
il IS declared that an Indispensable function
of the arts is the expression Of the beautiful.
With respect 10 the artists and critics VINO
abjure that declaratiOn-as when, Tor In
stance. critic said OF an American drafts
man that he was too fine an artist 10 concern
himself about mere beauty am convinced
that they simply are IN rebellion against
hackneyed standards. They have adopted
some fresh, and therefore welcome, nouon as
10 what is attractive. This they have gwen
a new name, TO distinguish it from an estao-
lished and too familiar standard. They are
unwittngly wOOing beauty IN new dress
the same goddess, with more DISCUSSES than
Venus Mater Some day they Will recognize
her, ct vera ineessu patuit dea, and again De
taught that she never permits her sultors 10
escape. She has the secret OF keeping them
loyal 10 spite Of themselves. This belief shat
they are free is a charm by which she lures
them to her unknown haunts, rewarding them
with the delight OF discovery, or ironically
permitting them TO set up claims for inyeL-
ZION. one may even compare beauty ID the
wise and charming wife who encourages
tickle husbands attentions at masquerade.
she has a thousand graces and coquetrles.
At last the masks are removed, NV nat, IS II
your And still superior 70 all othersF de
Own that none can rival her adorable and
'inhnite variety"
No; the only consistent revolt is on the part
OF those who declare that she has no real eX-
istence-that beauty is a chimera. Let me
confess at once that am not in their ranks.
j doubt whether any artist, or any thinker
who honestly loves art and has an instinct Tor
il, believes this theory OF esthetlcs, though he
may advocate IL or be driven into its accept
no obi mar
side, granting certain premises. Even then
it is a dispute about terms, The claim may
serve for metaphy not for those whose
vacations relate 10 the expression OF artistic
ideas IN what Is called tangible form. 10
back % Berkeley and his fOrbears, II yOd like.
Deny the existence OF all things-for that IS
what YOU must do II you deny the actually OF
beauty, else you are instantly routed. Your
only safe claim is that naught but soul exists,
and this is not the general soul, but your own
soul. your Ego. You think, therefore you are
everything else is, for all that can prove, the
capriee Of your own dream. some OF our
modern trancendentalists, Wanting their
PlatOne allegiance 10 ideal beauty, Affected
Indifference 10 its material embiems. Inc
modern impression SITS, after all the most
ardent and ingenious technlclsts, are unWlt-
tinCly their direct successors. NOW. the trans
cendentalists often we're spectators, and mol,
as Lutl uetIltu lutbntAftof 81 Aiob' ehN f~-N--'
Having little command over the beautiful,
they took refuge in dscrediting IL. speak
OF certain Of the followers; their chief was
Argus-eved In Emerson the true poet con-
stantly broke loose. He, too, looked inward
for the ideal beauty, that purest discovery OF
the soul but in song be always recognized It's
visible reality.
For nature beats in perfect tune.
Aud rounds with rhyme her every rune.
Whether she work IN land or sea-
or hide underground her alchemy
Thou canst not wave thy stan IN all,
Or dip thy paddle III the lake.
But IL carYes the bow OF beauty there.
And the fipples ia rhymes the oar Iorsake'
But, as ! say, the recantation Of beauty, by
Observation-Disclosures, realists and impression
lists alike, Is the search for her In some Other
Of her many realms. Whatsoever Kingdom
the impressionist enters, he still finds her on
the throne. For him she may veil nerseh IN
twilight and haif-tints-or az rare lnstants oil
perception In still more witching drapery
worn for him alone. The individual impress
siOns enrich our museum OF her pOrtraltuTes'
The impressionist depicts her not as she was
known TO Pheidias, or Raphael,.Of Neias4ueI,
but as she appears 70 his own favored VISION
This is the truth that makes lmpressOnlsln q
brave factor in modern art and poetry na'
lessons its advantage IL the deluhlOn, absurd
as MalNOliO's, OF incOmpetents eaeh OF Wh0m
fancles that he is in SPECIAL favor aud that
mYOpic vision aud eccentric technlc result IN
impressions that are worth recOrdlng.-Ed'
mund Clarence Stedman, in the Century Tor
July.