New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-05-23
SELECTIONS FROM THE MAIL
MATE.RIAIlS FOI 4 NIONl'
NOT SATISFIED WITH THE METHOD IN AM
ADOPTED BY MR.. HOWELLs.

MATERIALS fOk y SiOhl'
NOT SATISFIED WITH THE METHOD IN ART
ADOPTED BY Mr. H0YELLs
TO the Editor of The Tribune.
sir: After publishing such an offence to the pup
lie as his Materials for story IN the May
IIarper's.' Mr.. Howells deserves that somcDolS
read Tim simple lesson in art To be sure there Is
certain something OF quality I'm the lines that LOOK
like verses which suggests power. Simplicity pii'i-
alone. are fascinating. and the gravity Of man
ner In which the writer sets down his words lc'uS
the reader TO expect something worthy OF the diHni'N
OF simple narration. But the fact soon ua"hs o''
him. much his disgust that he has been fooled tat
there is nothing WORTHY OF SO much Dlanncss'
Now for the lesson The object of art. all concede
is please: that Is to Interest the mind - a'ssV
it TO think or feel or enjoy. Now who Is to be pco
by art We. the public say. we are the ones 10 NC
pleased. But Mr.. IIowes and some Others wno ca''
themselves artists say that theoretically the per'oh
TO be pleased Is the highest type OF healthy MAI" al"
In searching for this highest type o. healthy man no
and his confrcres somehow decide that they arc uo
ones and consequently they proceed to please mem
selves. But We the public. maintain that we nav y
Just ms much right 10 claim that We are the hor"ai
and healthy ones and tra the woud-be artists arc
sick: and We even claim that VIC have great deai
more right since we are millions to on" nnmcrica'''
We might even suggest that we pay the bliS D"' VIC
will not give Mr.. IIowels and tho other arus'S ''o
chance t, call us sorid though we perhaps 'ae
a different view Of the matter. A.,
The prime object OF art l. TO please 10 please '"o
public AT least 10 please the audience To WHICH no
man who would be an artist appeals. In this case
Mr. IIowes has undertaken to please the r'u'rs vi
Uarpcl's Magazine Iiut he doesn't do It, ana We
should like TO point out 10 him Just why ne ooc""
do IT, Words are but symbols for things we see anu
hear and feel symbols Of things we know aoout OK
perlmentaly. and IL an artist Is TO produce an I'm
..t,,I L. rnrle lp
and phrases which suggest things when We """r
stand very we'll The substance of all literary art must
be the commonplace. The commonplace Is the h''c'i'i
that is in our minds, and with that the literary "'s'
must work. That is one side. The other sde Is 'io
original work Of the artist who must put toNc iuo'''
and thoughts and Impressions together In new way
lie must show rs how to do it-how TO think nc"
thought what the solution Of an apparent pahuoA
NAV be- the true point where a man aud woman come
In contact under certain circumstances. The phlVs
oplcr explains this relation the artist puts inc TWO
things side by side that VIC sec 1t for ourselves
without any explanation.
Mr. IIowcls seems 10 have got hold OF the truth
that the true materials Of art are the Impressions
and objects which are in cverybodys mlnd' ara
that the aim Of art l. to call up those impressions
But how is II about the other part that when the
impressions called mp BY the artists Story some
new relation must be revealed. some new thought sus
gcstcd some fresh impulse given In the lines re-,
fcrrcd to above nothing new is added We may rril
such n story any day In the ne"'papfs
and know exactly much about II - W.
Howcll> tells IL. Aftrr reading those lines we arc
disgusted because have wH-ted our brain energy
I'm putting oursclf In an attitude 10 receive icNci
ton and then getting none. $1,000,
The human mind Is like an INSTRUMENT 70 hc paved
upon II certain objects are held VlNidlN before u,
If certain noble gnOhlc actions arr hd'pudtrlY
portrayed. thc mind lnstincvely shape, h-gf 10 I'M.
int them, whether they be- good or bad We 90 no.
want 10 know what people do Just for the saNc %.
knowing: We wani 10 know for the Nahc 81 knowing
how we ourselves may do better or more ru'cuvvc
thing, ourselves. II artist falls 10 add materially
10 the wording effectiveness OF his readers, he ihis
I'm what ,hould be his chef aim. Thcr" nrc artist
cally lad books which. nevertheless. the mlrd Graves
because they suggest opening for ~ energy boy
for instance. has snpernuiiv OF energy, whch ~.
would find some outlet fo-. He reads u BOOK oi WIN
adventure and that BOOK show, him how he may
find exercise for his power. II NAV J." bad 'Ncr'l-
Iut book which should open 20 HIM ~" most
adequate exercise Of his Young NE "rer-f along 'i
best path would be Just Is attractive. pi c"nfSc
do suggest ~" conventional lines 81
good or bad. They often MT III" trnc lrr~. ana
therefore they do not lur' the youns chh. l'ut
the artist depends on instinct. and shond avail nm
self Of every impulse in the natural heart which i"nds
toward n larger nohlcr truor life.
Mr. UOwels Is right cnouCh IN believing that "" ar"
most interested IN little everyday nfn hut we are
Interested find ont about them something v" 90 not
know already. -e. " - ''pi'
Canterbury y. H.. April 90. 1902