The Banner-Democrat. [volume] (Lake Providence, East Carroll Parish, La.) 1892-current, 1894-04-28
THE TWO TYPES.

ing, high souled, imaginative; the other |
is strong, influential. They invariably |
attract their opposltes. Oftener still
we meet them in literature. Here
they are more clearly defined.
The dreamer carves pure. spirit faces
from shimmering flood of moonlight.
They have great beauty. but are tieeting.
He also erects vast architectural struct-
ures OF thought They excite pieasue,
but they are as the '.baseless fabric OF
vision" formed from out the mist OF
sunset clouds and trembling silver
lights. A real sorrow blots them into
blackness. They exalt, but they do
not sustain US.
On the other hand, the observer. the
man whose sympathies have reached
down into the common soil of humans
ty and have gathered therefrom the
richness of the earth that feeds alike
the vast forests and the fragile. tinted
flowers, lends us much support.
When the actual cares come, when
the heart aches with definite pain,
then does the writer that has learned
life from experience prove a thrice
dear friend. His books are like the
grand old oaks. Storm-winds and
rams, beautiful, joyous sunlight under
current of water. antlthe homely gravel
of rock and sod, have together, all ma
tured them. We lie under their holy
shade and the head throbs less vio-
lently, and the mind finds peace. The
blaze of the outside world only trlckles
through their branches. brokenly.
They prevent the cruel glare from
wouudiDg the sight. Indeed, they are
a deep solace, and we feel their author
is a present friend, and not ghost
like prophet, whost faint distant foot
falls echo through the corridors OF
time'.
When reading his compositions. we
know he did not stand apart from his
brothers, but that he moved among the
Ihrongs of men, and that there he saw
the triumphs of ambition, of wealth,
l.of fame, of love; and that there also he
saw those other pictures, those pictures
of baffied hope, ash-like poverty. brok-
en- loves and broken hearts. be saw
success and failure, and often he shows
us there is great pathos, and withal
a great sublimity In a noble ruin.
In literature. the observer is more
philosophical in fact, although the
dreamer is more logical in form. The
reason OF this is. the observer starts
from truer premises. He makes de
auctions from the things that are.
For instance, he depicts boy witt
, strong, vigorous, analytical mind
one not to be satisfied with the sem
blance of things. He finds this BIO.
starting life with companions that arr
willing to take the form for the spirit
The boy tries to solve questions tina
confront his earnestness and his hon
esty. Failing in these efforts, with
kind of dispair, he becomes wild ant
reckless. In him. people then recog
nize only young fellow sowing hi
wild oats. This view of the matter
: worse than absurd. Ii is mockery
The boy takes no pleasure in his course
. He is simply seeking vain relief. w
do. not mean to say he is hero
(No one that loses self-poise can b
"a that. Concentration, not dissipation
. is the secret of power), nor do W
mean to imply that all wild boys al
. afflicted with an empowering amour
II of soul or brains. Indeed the fact
quite the opposite. Most of them al
y wild because it is their natures to /
= so. They are but moral dwarfs, an
u consequently find it impossible to reae
: the stature of giants.
50 But this is what we mean: The o
~ sever, the man that has known me-
knows there is wide difference in Il
- causes of dissipation and is not afra
y of being misjudged by revealing LII
IL difference. But to the dreamer, all pc
re pie of class appear the same. Ther
III fore he makes no distinction in the
10 retribution or rewards where
Oh the observer proves the sufferin
II, of the strong minded man to be t
~ fold greater, more acute, more nnoes
o. able than those of the others, for su
Is is the truth in life.
Oy Now the dreamer is essentially
IN painter. All persons, places, even
ny thoughts and feelings, appeal to n
IA by virtue of their pieturesquene
ny not by virture of their reality: For
ZEE stance. he portraysa beggar. Probat
ne in this way, he draws an old man witt