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Page 8
The artist seeks for material reward for his dexterity, his power
of vision and experience. His purpose becomes the satisfaction of
vanity and greed. In place of the steady co-operation of artists
is a scramble for good things. There are complaints of excessive
competition, of over-production. Hatred, partisanship, cliques,
jealousy, intrigues are the natural consequences of this aimless,
materialist art.
[Footnote: The few solitary exceptions do not destroy the truth
of this sad and ominous picture, and even these exceptions are
chiefly believers in the doctrine of art for art's sake. They
serve, therefore, a higher ideal, but one which is ultimately a
useless waste of their strength. External beauty is one element
of a spiritual atmosphere. But beyond this positive fact (that
what is beautiful is good) it has the weakness of a talent not
used to the full. (The word talent is employed in the biblical
sense.)]
The onlooker turns away from the artist who has higher ideals and
who cannot see his life purpose in an art without aims.
Sympathy is the education of the spectator from the point of view
of the artist. It has been said above that art is the child of
its age. Such an art can only create an artistic feeling which is
already clearly felt. This art, which has no power for the
future, which is only a child of the age and cannot become a
mother of the future, is a barren art. She is transitory and to
all intent dies the moment the atmosphere alters which nourished
her.
The other art, that which is capable of educating further,
springs equally from contemporary feeling, but is at the same
time not only echo and mirror of it, but also has a deep and
powerful prophetic strength.
The spiritual life, to which art belongs and of which she is one
of the mightiest elements, is a complicated but definite and
easily definable movement forwards and upwards. This movement is
the movement of experience. It may take different forms, but it
holds at bottom to the same inner thought and purpose.
Veiled in obscurity are the causes of this need to move ever
upwards and forwards, by sweat of the brow, through sufferings
and fears. When one stage has been accomplished, and many evil
stones cleared from the road, some unseen and wicked hand
scatters new obstacles in the way, so that the path often seems
blocked and totally obliterated. But there never fails to come to
the rescue some human being, like ourselves in everything except
that he has in him a secret power of vision.
He sees and points the way. The power to do this he would
sometimes fain lay aside, for it is a bitter cross to bear. But
he cannot do so. Scorned and hated, he drags after him over the
stones the heavy chariot of a divided humanity, ever forwards and
upwards.
Often, many years after his body has vanished from the earth, men
try by every means to recreate this body in marble, iron, bronze,
or stone, on an enormous scale. As if there were any intrinsic
value in the bodily existence of such divine martyrs and servants
of humanity, who despised the flesh and lived only for the
spirit! But at least such setting up of marble is a proof that a
great number of men have reached the point where once the being
they would now honour, stood alone.
II. THE MOVEMENT OF THE TRIANGLE
The life of the spirit may be fairly represented in diagram as a
large acute-angled triangle divided horizontally into unequal
parts with the narrowest segment uppermost. The lower the segment
the greater it is in breadth, depth, and area.
The whole triangle is moving slowly, almost invisibly forwards
and upwards. Where the apex was today the second segment is
tomorrow; what today can be understood only by the apex and to
the rest of the triangle is an incomprehensible gibberish, forms
tomorrow the true thought and feeling of the second segment.
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