The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1896-09-06
A yOTHRY OF NATURE.

l parts of the State, here seek an outlet for
their songs. They are, for the most part.
/ humble choristers whose homely melodies
may be likened to the modest pipings of
field sparrows, but now and then. to one
who is listening for it, comes a richer
strain-the bold carol of the lark. or faint
hintings of the catbird's ecstatic revel; and
where larks and catbirds are scarce the
lover of them grows alert with the first
/ notes.
Conspicuous among these names Is that
| of Evaleen Stein, and there is not among
| them, nor. indeed, so far as my knowledge
| goes, witllin the borders of our State, an
| other who so decidedly challenges the in
| terest of one who is watching the devel-
| opment of literature IN our midst Next to
! Riley and Thompson, Parker and Harris
may, perhaps, be fairly considered. as
standing at the head of our home poets;
but these belong to the older school, and 1t
is more than probable that they have
passed their period of development, While
Miss Stein, although her name has peen
before the public for several years, is still
In the formative stage and full of possibili-
ties that suggest themselves to the discern
ing and sympathetic critic. In addition
we have no other poet who stands so pro-
nouncedly for idea, not generally COM
pretended, of which the world of culture
stands in need. To justify to the interest
ed reader this estimate of her qualities L
must clearly define the lines within which
her talents run and the ideal towards which
her work points, as revealed in the study of
those poems that have appeared from time
to time, most of them in this journal.
Miss STEMS poetry is not the kind that
proves popular with the average reader
even the average reader of poetry, for her
subject-matter is such as does not greatly
interest the average person. Some senti-
ment-some happy thought or familiar
phase of life dressed in pleasing rhythm,
is what makes the popular poem; but this
writer shows special aptitude that way.
She is, before all, a poet of nature, and
the sensibilities that respond to the in
f1uences of nature, are her range.
Poets generally have this feeling for
nature, and it is more or less in
corporated' into their esthetic conscious
ness, but as a rule it is subsidiary to what
may be called the human element-the play
of thought and feeling in human relations,
and is continually swallowed up in them,
just as in Bryant or Wordsworth, intense
nature-lovers, the simple emotion is almost
invariably transformed into thoughts that
expand far beyond the emotion itself. This,
of course, is not said in any critical sense,
but the point to be made and emphasized
is that art follows many paths, and the
genius of the poet may lie in other direc-
lions. With this particular poet it does
lie in another direction, and it occupies
its preferred field with a positive assertion.
Those who are familiar with the work of
painters and the atmosphere in which they
move aware that their theories are not
infrequently in sharp opposition to the art
ideas of the world at large. For example,
the popular conception of picture, like
that of a poem, is that some familiar or
attractive phase of life be represented but
the artist. in far he draws his in
SEPARATION from purely esthetic sources,
knows that there are other phases of ex-
istence which are his province and which
it is his distinct office to deal with. This
office is the Interpretation of pure beauty
for it's own sake, and without reference to
human associations. The nature and i'm
portance of his function are quite unappre-
ciated by those who esthetically unde-
veloped, because they fail to realize the
power that resides in beauty. and the
fined pleasure that it adds to life. To the
landscape painter form and color with
their infinite modifcatons-sky, earth, at
II osphere-are of themselves complete and
sufficient. He need not put any human
touch into his picture to add to its value,
because the thing he seeks to express is
different kind of value. These qualities of
visible nature, which are all but meaning
less to the apathetic spirit, when acting
upon the spirit that is open to their inf1u-
ences are full of subtlest meaning, and this
is the fact that he wishes to teach, this
is his message. So persistently is this
realized by artists, and so slow is the pub
lie to understand it, that it may almost be
said, a literature of protest has sprung up
which, scouting the literary element" in
pictures contends for a recognition of the
artists idea. Whether or not the lit
erary clement may legitimately be
sidered an important factor in pictures, the
protest brings out one truth, which is that
here is at least one form of art which, de-
veloping spontaneously from natural
causes, represents fact which the world
were wise to accept at its value.
Now what is true in the other art is true
in poetry. Aside from the question as to
what may enter into the productions of a
poet or what should enter into them TO
season them to our special taste, is the
question of the poets idea" What is he
trying to tell us? Is it a message? Do
genuine discernment and inspiration lie
back of it? If SO we should by all means
be hOSpltaDle TO IL.
The art-expression of Evaleen Stein is
exactly analogous to that of the landscape
painter whose theory is beauty for beautys
sake Hers is the same subject matter, the
same feelings and motive; and what he
seeks to do with the brush she seeks to do
with the pen. For that reason her work
can never be estimated at its real value by
those who are Indifferent to out-of-door in
finences. But a student of nature per-
ceives first of all, a wonderful accuracy of
observations; and if the student is some
thing more-if he is lover of nature on
the esthetic side and is familiar with the
riches that poured upon the soul that
communes he discerns here something more
than a mere observant eye. Back of those
melodious lines. half hidden, half revealed
lies a spirit passionately in love with the
green earth and the blue heavens and all
the things that dwell therein. 1t is ex-
uuisite spirit, sensitive to the finest har-
MONIES responsive to softest breaths, and
which, not infrequently goes probing with
clear vision deep into the intangible mys-
Ist;z