, 1900-03-22
Criticism.


beauties ana 1aultS OF II literary
performance, or of a production
in the fine arts; as the rules of
criticism.
Now in order to be n Judge, one
must possess superior knowledge
of the subject under considera-
ton. Must have studied it thor
oughly, must have had practice,
taught it, experimental, must
have had opportunities of observ-
ing the highest order of merit in
others, must have become thor
oughly familiar with the rules of
criticism and be able to apply
them without prejudice, partially
or favoritism.
One must have perception, con-
ception, feeling, also ideas of mo-
ton space, time place, number,
etc.
figure costructed by a single
rule, is perceived, and declared
regular, a circle, square hexagon,
e~quitateral triangle, are regular
figures, uniformity, proportion
order, etc, must be considered.
The power of abstraction is in
dispensible. The portrait painter
examines a COW with reference to
contour, curved lines, color, etc,
as she would appear upon canvas.
The dairyman examines her I'D
der, the size and location of the
lacteal, and Emphatic glanos, size
and length of neck etc. The
butcher notes the number of
wrinkles or ridges in her horns
feels of her ribs stands in front
and carefully scrutinizes her bris-
ket, then from behind observes her
TANKS rump, etc, each artist con-
filming his judgement to the points
suggested by his profession.
To have then a just conception
of the importance of criticism, we
need but reflect upon the ordinary
method of education, first turn
over the pages of the classics, read
a few lessons in mathematics. and
learn the A b C's by contact with
the world. The man upon whom
nature and culture have bestowed
n delicate and discerning taste, de-
lights in the virtuous dispositions
and actions of others: he loves to
cherish them and publish them to
the world, avoiding or removing
out of sight their faults and full
ings.
On the other hand, Il man void
of taste upon whom, striking
beauties make but a faint impress
sion, INDUCES pride or envy with
out control and loves to charge in
competency and failure to others.
If however we aspire to be ere
ators as well as observers, and take
a place or part in ministering to
the pleasure or entertainment of
others, then n still more laborious
system of cultivation is necessary
No action right or wrong is in
different to Il mere spectator and
one may be disguised by excess, as
well as by paucity. Childhood
exemplitied by grown people, re-
quires the same forms, dress, col.
ors, ideas of innocence, of careless
gaiety, of unsuspectiGg confidence,
and of the hopes and fears that
seek to pierce futurity, and he or
she whose imagination is the most
powerful, and who is most accus-
toned to children and their ways,
will the most perfectly reflect the
childish character. The manner
Of acting must be in support
of the sentiment, also the force in
the expression.
That which is most agreeable
and the most perfect, may appear
from the amusement it gives to
children. juvenile exercises are
relished chiefly on that account.
Variety also must he carefully con-
sidered, congruity and propriety
should receive special attention.
A little performance intended
merely for amusement, is suscep-
tible of much decoration and H.
cence which would be intolerable
in tragedy. Congruity regulates
- -.lr A., 3r Ik Al.