The daily morning journal and courier. [volume] (New Haven, Conn.) 1894-1907, 1900-01-18
January Mark-dOVD Sale.
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~M3 GAQtL ST.

lar form, or group of forms, may prop
erly be characterized as fine art unless
associated with emotional or magma
tive ideas, we may distinguish these
arts of expression from other forms of
| art that have distinctly unitarian
aims.
When we consider the form by which
emotional ideas are expressed as en-
bracng the art principle-for it is the
4 form which constitutes art and charac-
terizes expression as such-then our
subject is resolved down to the simple
| consideration of form as comprehending
! all the elements of which 1 propose to
speak in pointing out some distinctions
between literary and other forms Of art.
And I have promised this with the
statement that art, in the sense in
which l use the term here, is the ex-
preston of emotional ideas, in order to
distinguish and emphasize the kind of
art to which I shall restrict myself in
these considerations.
The stress laid on the expression Of
emotional ideas for the Characterization
of fine art, is important. A change in
the quality of the thought expressed
will often induce a corresponding
change in the form of expression, some
times insensibly, showing how intimate
and involved is the form with the quail
ity of thought that seeks to clothe it.
self appropriately. Let me give you
familiar example: In a certain pass
age in one Of the epistles of Paul to
the Corinthians, where speaking of
love the language of the apostle, under
the influence of this emotional idea,
unconsciously changes from the quality
of prose to the quality of rhythmic ex-
preston; this change is also noticea-'
BILE in the prophets, where their thought
rises to the plane of emotional aspira-
ton. Among the poets the clothing of
the thought in rhythmic form is not
matter of taste, but necessity; the
emotional quality of the idea demands
it; for it Is the nature Of the idea that
determines the form-and this is true
in their degree, In all the arts of ex-
preston.
Interpreting art therefore, as the ex-
preston of emotional ideas, we may
conceive that the various forms of this
expression may possess something in
commonwealth ideas or principles
variously manifested according to the /.
quality of the emotional cause and the
forms employed. 1t is because there is
this affinity in common emotional
source that we may distinguish ele-
ments Of comparison between their re-
spective expressional qualities and pow
ers; and it is on this ground that l
may hope to indicate some of their diff
ferences and distinctions, as well as
their resemblances.
~ y
Were sculptor asked to define his
of a Greek spirit, as mani
tested In their art and life, he might
find himself at loss for words; for
the sculptor, in the more subtle
phases of his thought, is accustomed
to think and reason through the terms
Of his art; the better part of his mind
IS educated in this way. He values his
art because, in its higher forms, 1t is
80 logical, as well as expressive. He
knows that words cannot convey what
Is expressed in the finer qualities of
sculpture-qualities which express
through plastic form the very spirit and
he life. If asked to explain a work of
sculpture he would say, Look at it,"
Let it explain ITSELF" It's interpreted
-loH III WofuS Is largely Hclltlous; WORDS
Will not convey to the mind or feeling
that which the statue or the
'elief conveys. Verbal expression has
ar wider range and peculiar power of
is own; but not that same power
which sculpture, or painting, or music
las Let us recognize this as prom
Sc that we may avoid common fall
acy of confusing the merit of works of
lrt with what may be said of them,
II of placing in the same category, for
Instance, the sculptured LAGOON and
4essing's critical analysis of this group