The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-21

prcachablc, newer, and the vision IL
blurred.
We all know that what now seems
to us the supreme felicity Of Keats's
sty'- sccmed to his contemporary BY
ron fantastic fopperics"; we snow
that Jcffrey's structures upon his CON
tcmpordries seemed later on to critics
"a complete lack of carncstness"; that
the supremacy of Tennyson while he
lived has been lowered certainly by
one and perhaps two steps on the lad
der of rank. and that age after e
alters the judgments of the past. SO
do the estimates of Watts, Gustave
Murrau and above all of Richard
Strauss seem trans to-day.
To begin with the first essay on
Rodin. the critic happily says: Other
sculptors turn life into s%culpture; he
turns sculpture into life. His clay is
part Of the substance of earth and the
earth still clings about 1t as II comes
up n lives. II IL at once the flower
and root: that of the others Is the
flower only. and the plucked flower"
1,odin believes. not as a mystic hut as
a mathematician. in the law of cor
responsiveness. He spies upon every
gesture, believing that he will seize
n rhythm Of nature. When a woman
combs her hair she believes she IL only
combing her hair; but no; Rodin will
say to you. "Shc Is making n gesture
which flows into the eternal rhythm.
which is beautiful. because IL lives.
because II Is part of that gcometrical
plan which nature is always weaving
for us"
This reminds us of an account
given elsewhere of Robins studio and
protected grounds where no model Is
posed hut where nudes wander about
at will until the imagination Of the
artist is struck and held.
Rhythm is balance. a means of pre-
serving equilibrium in moving bodies,
SO that what we call harmony is also
utility and beauty itself a necessity.
the exquisite growth Of a need. The
same swing and balance of forces. Mr..
Symons points out. make the hump
ON u dwarf's back and the mountain
in the lap of the plain. The ono Is
not more beautiful than tho other II
YOU take II simply in its own place.
There was a time. Rodin confesses.
when he sought for beautiful models.
The time passed. and now he no longer
chooses and rejects. lie has rome TO
trust nature 80 implicitly that he will
not pose a model. leaving nature TO
find its own method Of presentation.
Moreover II Is Robins creed that the
artist must begin Will strength and
that beauty follows rs a natural con-
comitant. "L'cnergie. c'est la grace
supr'"'e'
below ~ MT. SEWohSS penetrating
description OF the process or an ART
lists growth:
IT. r,,.r ,o ~, r,oo. ar,i.,,
4, .,c,y 1,y,.,o, =, ar. oh.v. IN. same
,,. =, .-ov.h N,tn, ,iy,ys n, tho No.
-" ,rasa =, .an,nu st. .,,,oo.
ma,,,, ,no att. .omas ,,.d,,iv % ,,ls
a different view Of what precision really
is. II" begins hy seeking a form which
can cypress everything without leaving
'h''n'nS "or' NJ ueSr's 10 INV M
- a. -. ,.a .,,.aa -
Mot. ,b,rs o,,y nan ,chcI, some.
thing remains over. stay. ou,s,d. the
circle. The breath has gone ont ~ the
body. the mystery has gone OUT Of the
sonl. He ha. cut on his fragment. II
you WIN, eu' ne mas 'n' II on rom me
W IN po,"' w ru''. ~. m ~ -.
h> ,ea,zos how far no ia ron attainment.
and he -.,s h,m.c,, 20 the o,errnI search
He breaks down the stralrh, limits 81 his
form. he s"eks TO ind new links by witch
a't'ch ms creature OF MS hands TO me
" sass ,'Ann'S
ana ,.,n ~. ~ c.r 49,, ,.', 500, ~,
tina, I have to saw. n. gives a ,wotc,d
burden to tho lines Of his work: that
which theV "Npr's>' and that which they
thing 10 IN" soul. IN a remote voice, and
YOU must lsien IN "tier To hear H. The
eE nave something more 10 do 'han "a
SOC. tn" nina mut collahorrt" with the
eyes ana h'th must ho content 10 share
WIN M" i'srIt IN" dissatisfaction OF an
Mora ara r,oro poa;r ,,,, go
49, moro,,, oyn,,,,, nar,orma.a ~"
,ao;, .,nros,inn M. ..t,a'naH" 49,.
Mr. symons ia n d,vi,a,,nn~a, ,na
no, ~. n,rsar, ,hn ,h,n, a,,',,.s
nu ~. a,,,roa go. on,, -
ono - Iaal. ~. 4, WY
A.. S,.,a. -
s.rin,,n, 81, ~. .u.n, ~, cnS- ~,
,bo ".cc d.Ar.ir ard or at, y-i.,le
uaa,u-t..au cra.. 49,.
's' co.
"o'".'S VI i'"ssuI' an" Hct u
STOOD III the taruehs OF L~uNcihpouIE
in 1909.
Like all supreme artists, Rodin was