The Yellowstone journal. [volume] (Miles City, Mont.) 1893-1901, 1893-02-01
WOMEN As


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Never Have Became Artists.
Mr.. Edmund GuSSe delivered an
m,d,es, III tie hall Of Newman col
leye. Cambridge, on The Poetiy oil
Women" taking as his particular
text the poems of Christina l.ossetu
No sound critic will pretend that
N has added anything to the
sum Of NAL. attainment IN ma
ior branches of art The reason IS
apparently that the artistic nature Is
not strongly developed III her. She
has energy. imagination. sentiment
invention. but she has not the arts
tic impulse. The consummate poets
of the world have been great artists.
In Shakespeare. Corneille, Goethe,
Pope and Keats we see the artist
above all else. above the man OF IN
tellect or vision In much lower
rank Of poets we find the vision or
the ethical bias preponderatinS. In
the greatest men the art is para
mount
But II the main entrances
seem to be denied them. ascend into
the house Of poetry by other doors.
Lyrical verse owes SO much 10 them
that we may easily forgive Their
limited success III othc: directions.
The lyric, which Is IA spontaneous JET
of music, an ejaculation forced from
the heart hy an eNcesS of feeling, de
monas less art than any other form
of poetry. Ii Is perhaps tho only
Apecies of poetry which can be eX
cellent IN its kind and yet wholly
artless The border ballads have nc
art, and yet are exquisite; and TIM
history Of poetry is adorned 10y Ger
a female names which will always
their freshness. and which
vet we're entirely innocent OF art
Such are Emily Bronte III Engl;in'
and Marceline DcsbordeS Nalmore II
France. We do not know whether
with extended opportunities. womel
will continue to show themselves III
sensil,I, to or incapable of the high
est literary art. Hitherto they cel
tainly have been II or the other.
ANY one whose privilege It ha
been to enjoy the friendship Ut SUI
cessful women Of letters knows HOY
much more they are always occupie
. with literature profession than a
an art how little they are able to COZ
ceive the doing of work tor its ow
+. sake, not tor its result: how consc
. entious, industrious and persister
they are. and how little they al
troubled with the scrnples II IL
lassitude of the artist. 1t is the
i. lyric gift. their cry from the heigh'
or the depths of feeling that has we
+, them that place upon P%arnassus frol
which no De Quincy nor Guy {
M%aupassant a eject them
deniea poetic art to woiii'
! mainly that ! may give myself Il
luxury oT attributing 1t to Miss Shrl
tina Rossetti. TO screen myself fro
:, the charge g; extravaganza ! W.
say at once that think the main
/, terest of the position OF tins writ
n in the history OF poetry Is the ia
- that she individually possesses til
:. quality whicl. is denied to many M
of genius and to almost ali Wome
i Mrs Browning vas II force III htel
/; ture-a parsonage demanding III
Il ve,sai recognitiou for herintellectu
& power, her majestic imagination II
her independence of other lItera
influences. but she was mo- an arti'
That title applied 10 George Sand
George Eliot would be equally ii IN
) homer. What Lord T"nnyaon W;
ri what Flaubert was, 1t Is surely pla
t. that these great women could not !
IL But precisely this, III a restrict
IS measure, Ii Gems To Hc tnat NJ
m Rosselti is. and that isolation OF he
~ rs apparently the solitary WON
II poet of the Anglo Saxon race "
ii c%ultiyates poetry as Il OF the Il
til arts. gives the study OF her verse
~ especial interest. st James I
he Zette
4 iiacay Music Pen.
an \ pen tor copying music consi