Personality in Literature

DATION OF

of questions. We passed before a picture which to my untutored eyes was formless, meaningless and ugly. It was by a well-known artist, and my instructor admired it. He said it was the head of a woman, and he indicated certain hook-like

ain in his voice. "Why should it be beautiful? I

former puts it, "a really scientific natural history" for their basis. But I cannot hope to acquire the whole of knowledge or reform the whole of the world, and there are books which contain a great deal of sound knowledge and urgent opinion for which I have no use. Moreover, I deny Mr. Shaw's right to interfere with my enjoyment if I turn to literature which teaches nothing and serves no utilitarian or reforming purpose. It is only when I am in the scientific frame of mind that I desire accurate natural history, or when I am in the reforming fr

ist artist concluded with the remark: "I have never yet

o pat upon his lips;-he was repeating, parrot-like, a current view; he was adopting the fashionable attitude of scorn towards what is regarded as an ancient tyranny, long since indicted and exploded. This bland acceptance of the meaninglessness and the inefficacy of beauty is habitual to most young professionals who wield pen or pencil. They have learnt it from Mr. Shaw, forgetting that when Mr. Shaw demands

curean sweetness in a Romanes lecture delivered by Mr. Arthur James Balfour and published under the title Criticism and Beauty. It is worth while to study so responsible a writer, for we may be sure that he will w

uld have expected him to believe in the existence, not perhaps of artistic canons, but of artistic standards; to be convinced that in ?sthetics there is an ?sthetic right and wrong; to attach weight to the judgment of men of "trained sensibility." But it is not so. He holds in the most extreme form the ancient doctrine that seeming is being. Art, as such, has for him nothing to do with truth. He recognises no valid standard of exc

em is beautiful or sublime, you are asserting what is only true for you, a mere personal preference which others need not be expected to share. Not only do men of "trained sensibility" differ from the uncultured, but they differ equally from one another. He cites the evidence of Greek music to show how widely the cultured of one nation and epoch may differ from the cultured of other nations and epochs. Having laid it down as an axiom that our ?sthetic judgments are "for the most part immediat

ce more often used in political controversy than in the domain of art criticism-that of identifying the opinion attacked with another of an ignominious character. The view which he is rejecting is thus set forth. "An artist is deemed to be more than the maker of beautiful things. He is a seer, a moralist, a prophet." Surely he must realise that there are many who would

simism; materialism and spiritualism; theism, pantheism, atheism, morality and immorality; religion and irreligion; lofty resignation and passionate revolt-each and all have inspired or helped to inspire the creators of artistic beauty." The non sequitur of this argument lies in the fact that he only shows that artists have differed in

rld of the imagination which was opened up to the artist in his visions, and that was why he said: "Learn to see through, not with, the eye." Coleridge, too, asserted the primacy of Reason and imagination; and for Wordsworth poetry was "Reason in her most exalted form," just as for Keats "Beauty is truth, truth Beauty." Even so logical and prosaic a thinker as John Stuart Mill recognised that supremacy of the artist to which he himself could not attain; the artist, as he said in a letter to Carlyle, perceives truth immediately, by intuition, and it was his own humble function to translate the truths discer

o the spectator. There is no criterion of beauty outside the perception of beauty. For each man, that only is beautiful which affords him the experience of beauty; and whatever does afford him that experience has given him the ?sthetic pleasure which is the true pleasure of art. But there are many pleasurable thrills which have nothing to do with beauty or with art. That is why Mr. Balfour surely is wrong when he suggests that the youthful delight in blood-curdling a

crudest form by Mr. Balfour. It has been put in pe

sistent with those of our neighbours; with their convenience and well-being, with their convictions and prejudices, their rules and regulations. Art means an escape from all this. Wherever her shining standard floats the need for apology and compromise is over; there it is enough simply that we p

poetry, music, and pictures are personal things; that what they are worth to us is their sole measure of value. And here it must be mentioned that Mr. Balfour puts forth two hints which are inconclusive enough, but which do dimly suggest a truer way of escape than that to which his a

which is dragged from the depths of our duller natures but which burst forth in expression from the artist with his quicker and more apt perception. But let it be noted that there could be no such response or sympathy conveyed from one to another by a symbol unless there were some real bond, some existent principle possessed in common. Art is communicative, but not surely a communication of nothing. It commun

t it is of no moment to say that tastes differ. Men may differ about their friends, but they do not differ about friendship. They may have different codes of honour,

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o Round the Corne