Art and the Human Spirit 
 
 A HANDBOOK OF EIGHT LECTURES 
 
 BY 
 
 EDWARD HOWARD QRIGGS

 
 OF CHOI 
 
 LOS
 
 ART AND 
 THE HUMAN SPIRIT 
 
 The Meaning and Relations of Sculpture^ 
 Painting^ Poetry and Music 
 
 A Handbook of Eight Lectures 
 
 By 
 EDWARD HOWARD GRIGGS 
 
 NEW YORK 
 
 B. W. HUEBSCH 
 
 1908
 
 COPYRIGHT, 1908 
 
 BY 
 EDWARD HOWARD GRIGGS
 
 "I believe in God, Mozart, and Beethoven, and in their disciples and 
 apostles; I believe in the Holy Ghost and the truth of Art one and 
 indivisible; I believe that this art proceeds from God and dwells in the 
 hearts of all enlightened men; I believe that whoever has revelled in the 
 glorious joys of this high art must be forever devoted to it and can never 
 repudiate it ; I believe that all may become blessed through this art, and 
 that therefore it is permitted to any one to die of hunger for its sake; I 
 believe that I shall become most happy through death; I believe that I 
 have been on earth a discordant chord, that shall be made harmonious 
 and clear by death. I believe in a last judgment, that shall fearfully 
 damn all those who have dared on this earth to make profit out of this 
 chaste and holy art who have disgraced it and dishonored it through 
 badness of heart and the coarse instincts of sensuality; I believe that 
 such men will be condemned to hear their own music through all eter- 
 nity. I believe, on the other hand, that the true disciples of pure art 
 will be glorified in a divine atmosphere of sun-illumined, fragrant con- 
 cords, and united eternally with the divine source of all harmony. And 
 may a merciful lot be granted ine ! Amen ! ' ' 
 
 Wagner, in " An End in Paris," Art Life and Theories, p. 90. 
 
 2129919
 
 INDEX 
 
 PAGE 
 
 Note: Spirit of the Course 7 
 
 1. The Expression and Interpretation of Human Life in Art . 9 
 
 2. The Primitive Sources of Art . . . . . .14 
 
 3. The Race, the Epoch and the Individual in Art . . .19 
 
 4. The Meaning and Function of Sculpture and Painting . . 24 
 
 5. The Meaning and Function of Music 29 
 
 6. The Meaning and Function of Poetry 35 
 
 7. Literature and Liberal Culture 40 
 
 8. Beauty and the Culture of the Spirit 45 
 
 Suggestions to Students 50 
 
 Book List .... . ,51
 
 THERE is evident in our country to-day a great turning of energy 
 to the higher interests of human life, especially to the fine arts. 
 Apparently some part of the enthusiasm and youthful power 
 that has built so wonderful a material civilization is now set free for 
 the pursuit of beauty and wisdom. We send our students far and wide 
 to the schools and galleries of the old world; we build art museums in 
 all our cities, and cultivate music with a new earnestness. Unfortu- 
 nately the noble promise in this awakening is hampered by grave mis- 
 conceptions as to the meaning of art in relation to the human spirit. 
 Widely, among high and low alike, art is regarded as a pleasant adorn- 
 ment of life, worth seeking after the serious business of our existence is 
 fulfilled, but quite dispensable meantime. Others well-meaning peo- 
 ple hold art to be justified only by some obvious moral teaching it 
 conveys. In reaction against this view and as a result of the difficult 
 technical problems art presents, many artists fall into the equally 
 unfortunate error of regarding art as primarily an exhibition of skill, 
 interpreting "art for art's sake" to mean art for technique's sake. 
 
 There is no hope of giving art the place it should occupy in our 
 culture until these errors have been overcome. We must learn that 
 art is serious business, that beauty is the most useful thing we know, 
 and that art is not for adornment's sake, or preaching's sake, or art's 
 sake, but that it is for life's sake. 
 
 The aim of this course is, therefore, to consider as fully and search- 
 ingly as possible the place and meaning of the fine arts in relation to 
 the spirit of man. We shall study first the unity of the arts, their 
 expression and interpretation in common of the universal elements of 
 human experience. Then the historic sources of the arts and the great 
 forces that determine the specific characteristics of a masterpiec will
 
 be studied. The heart of the course will be an effort to define the par- 
 ticular meaning and function of each of the arts, the way in which it 
 can express and interpret some phase of the common human life more 
 effectively than any other. Finally, the work will close with a study 
 of the ministry of the arts to man's spirit and their place in culture. 
 
 If art is for life's sake for the appreciative student, even more is it so 
 for the creative artist. If often the lesser men have lived to paint, or 
 carve, or write, or sing, the great masters have ever found art a way of 
 life, have painted, carved, written, sung, to live, that through creative 
 expression in art they might grow up into the fullness of their own po- 
 tential humanity. Thus it is necessary that every one should be an 
 artist in this high sense of the word; and if that is impossible in what 
 we call the fine arts, it is possible in the finest of all, the one supreme 
 art of living. The need is, not that beauty should be added artificially 
 to daily life, but that life itself, in work, relationship and environment, 
 should be made a fine art. That this study may help a little to that 
 end and so add something of the joy that comes from supreme beauty, 
 redeeming the commonplace detail of life by clothing it with a trans- 
 figuring atmosphere and exalting the spirit to a place where a serene 
 vision of life in relation is possible, is the hope with which the work is 
 undertaken.
 
 I. THE EXPRESSION AND INTERPRETA- 
 TION OF HUMAN LIFE IN ART 
 
 Art is the adequate and harmonious expression and interpretation of 
 some phase of man's life in true relation to the whole. 
 Edward Howard Griggs. 
 
 Purpose of the course. To consider the whole meaning of the fine 
 arts; the relations they sustain to each other; the sources from 
 which they spring; their two-fold relation to the human spirit, as ex- 
 pressing and interpreting life and as contributing to the higher culture 
 of man. The need and value of such study to-day, especially in 
 America. 
 
 Popular superstitions in relation to art. Misconceptions met on the 
 threshold of our study: (1) The notion that art is a dispensable luxury, 
 to be cultivated as an adornment of life after our serious business is 
 accomplished. Prevalence of this error in the mind of the general 
 public; among those who regard themselves as polite society. The 
 artist's bitter protest against this attitude in all epochs: compare Car- 
 lyle; Goethe. 
 
 (2) The notion prevailing in the minds of many good people that art 
 is justified only by the moral lessons it teaches. Goethe's view that this 
 destroys the artist's vocation. The ethical significance of true art 
 organically in it, not tacked on in an ^Esop's fable moral at the end. 
 
 (3) In reaction against the second error, one prevailing in the minds 
 of many artists below the highest rank: the notion that art is for the 
 sake merely of exhibiting technical skill in the mastery of difficulties. 
 Causes of this error. 
 
 Essential that these three misconceptions should be corrected before 
 art can assume its rightful place in relation to our life. Our first ques- 
 tions therefore: What is art, and what relation does it sustain to the 
 spirit of man? 
 
 Unity and variety in art. Bewildering diversity of works of art: 
 compare in the same art; in different arts. Thus difficulty of gathering 
 all in a common statement. Yet the fact that we may appreciate all, 
 indicating a common basis. The arts, moreover, springing from one 
 historical source; while possible for the most highly developed works 
 
 9
 
 of art in different fields to produce the same dominant impression. 
 Illustrate in the groups of men who are brothers across the centuries. 
 The source of this unity in all art the expression everywhere of the 
 same universal basis of human life. 
 
 The simple, generic elements of life as always expressed in art through 
 the medium of personality. Thus true art ever fresh and vital a new 
 equation of old forces. Compare Homer's Odyssey and Stephen Phil- 
 lip's Ulysses. 
 
 Not all expression art. The conditioning principles of adequacy and 
 harmony of expression distinguishing true art from what fails to rise to 
 its plane. The further principle that the part must be treated in sound 
 relation to the whole of human life. Compare in the portrayal of moral 
 evil. What distinguishes Dante and Shakespeare from the vicious type 
 of novel in such portrayal. 
 
 Interpretation of life. All expression involving as well some measure 
 of interpretation; that is, all art inevitably ideal as well as real in the 
 presentation of life and nature. Compare even in amateur photography: 
 how there is inevitably selection of material and point of view. Com- 
 pare in the novel that attempts merely a realistic portraiture of life. 
 How even the selection of the part of the material out of the whole and 
 the adoption of a view-point in its treatment, bringing certain elements 
 into the foreground and subordinating others in the background, means 
 putting life and nature through the transmuting spectrum of the 
 artist's spirit in expressing them. 
 
 Further elements of idealism. Raising life to a higher plane of ex- 
 pression than is usual in the real world: compare the characters ot 
 Shakespeare; the paintings of Corot and Millet. 
 
 The tendency in art to carry the laws of life out full circle, thus giv- 
 ing an ethical completeness wanting in actual life. 
 
 The addition of a unifying and interpreting atmosphere. Compare 
 in Titian; Beethoven; Dante. 
 
 The definition of art. Summing up of all the aspects developed in 
 the relation of art to the human spirit: thus the inclusive definition. 
 
 Hence the serious business of art. The relation of the beautiful to 
 the useful. The meaning of art in the life of man. 
 
 ILLUSTRATIONS 
 
 "The useful encourages itself; for the multitude produce it, and no 
 one can dispense with it: the beautiful must be encouraged; for few 
 can set it forth, and many need it." 
 
 Goethe, Wilhelm Meister, translated by Carlyle (A. C. McClurg & 
 Co., 1890), vol. 2, p. 129. 
 
 10
 
 " I do not object to a dramatic poet having a moral influence in view ; 
 but when the point is to bring his subject clearly and effectively before 
 his audience, his moral purpose proves of little use, and he needs much 
 more a faculty for delineation and a familiarity with the stage to know 
 what to do and what to leave undone. If there be a moral in the sub- 
 ject, it will appear, and the poet has nothing to consider but the effective 
 and artistic treatment of his subject. If the poet has as high a soul as 
 Sophocles, his influence will always be moral, let him do what he will." 
 
 Goethe, Conversations with Eckermann and Soret, p. 228. 
 
 "The praiseworthy object of pursuing everywhere moral good as the 
 supreme aim, which has already brought forth in art so much medioc- 
 rity, has caused also in theory a similar prejudice. To assign to the 
 fine arts a really elevated position, to conciliate for them the favour of 
 the State, the veneration of all men, they are pushed beyond their true 
 domain, and a vocation is imposed upon them contrary to their nature. 
 It is supposed that a great service is awarded them by substituting for a 
 frivolous aim, that of charming a moral aim ; and their influence upon 
 morality, which is so apparent, necessarily militates in favour of this 
 pretension." 
 
 Schiller, Essays JSsthetical and Philosophical, pp. 361, 362. 
 
 " Just as the sun cannot shed its light but to the eye that sees it, nor 
 music sound but to the hearing ear, so the value of all masterly work in 
 art and science is conditioned by the kinship and capacity of the mind 
 to which it speaks. It is only such a mind as this that possesses the 
 magic word to stir and call forth the spirits that lie hidden in great work. 
 To the ordinary mind a masterpiece is a sealed cabinet of mystery, an 
 unfamiliar musical instrument from which the player, however much he 
 may flatter himself, can draw none but confused tones. How different 
 a painting looks when seen in a good light, instead of in some dark cor- 
 ner! Just in the same way, the impression made by a masterpiece varies 
 with the capacity of the mind to understand it." 
 
 Schopenhauer, The Art of Literature, p. 94. 
 
 " From the combined effort of the two schools of criticism, guardians 
 of public tranquillity, there results a salutary reaction. This reaction 
 has already produced some specimens of poets, steady, well-bred, 
 prudent, whose style always keeps good hours; who never indulge in 
 an outing with those mad creatures, Ideas; who are never met at the 
 corner of a wood, solus cum sold, with Reverie, that gypsy girl ; who are 
 incapable of having relations either with Imagination, dangerous vaga- 
 bond, or with the bacchante Inspiration, or with<the grisette Fancy; 
 who have never in their lives given a kiss to that beggarly chit, the Muse; 
 who never sleep away from home, and who are honored with the esteem 
 of their door-keeper, Nicholas Boileau. If Polyhymnia goes by with 
 her hair floating a little, what a scandal! Quick! they call the hair- 
 dresser. M. de la Harpe comes hastily. These two sister schools of 
 criticism, that of the doctrinaire and that of the sacristan, undertake to 
 educate. They bring up little writers. They keep a place to wean 
 them, a boarding-school for juvenile reputations." 
 
 Victor Hugo, William Shakespeare, pp. 208, 209. 
 
 11
 
 " The passions, whether violent or not, must never be carried in their 
 expression to the verge of disgust, and music, even in the most awful 
 situations, must not offend the ear, but always please." 
 
 Mozart, in Kerst, Mozart: The Man and the Artist, pp. 34, 35. 
 
 " He was a good man and on that very account, a great man. For 
 when a good man is gifted with talent, he always works morally for the 
 salvation of the world, as poet, philosopher, artist, or in whatever way 
 it may be." 
 
 Goethe, Conversations with Eckermann and Soret, p. 364. 
 
 "The historical painter also must take good care, if he would not pro- 
 duce a caricature, even in subjects of an action moved by passion, not to 
 give every one of his figures the sharply imprinted expression -of an emo- 
 tion. Thus, Orcagna, in his Last Judgment (in the Campo santo at 
 Pisa), represents with fearful truthfulness, and in a most startling man- 
 ner, on the side of the damned, terrified surprise, horror, lamentation 
 and despair; but for all that it would be but a crowd of people mak- 
 ing faces if the artist did not contrast it with the uniformly tranquil, 
 radiant joy on the faces of the saved, and the solemn gravity of the patri- 
 archs and prophets. In Leonardo da Vinci's Last Supper is placed 
 by the side of the .violent gesticulations and excited looks of some of the 
 apostles, in well-calculated contrasting relief, the composed demeanor 
 of others, especially of the one sitting at the right of the beholder at the 
 end of the table, but particularly the divinely mild gravity and the sor- 
 rowful resignation of the principal figure in the middle. Even in the 
 most tumultuous of all historical pictures, the celebrated Pompeian 
 mosaic picture of Alexander's battle, the universal horror at the fall of 
 the commander-in-chief is completely portrayed only in some figures." 
 
 Ambros, The Boundaries of Music and Poetry, pp. 56, 57. 
 
 "Beauty results from the harmony between spirit and sense; it ad- 
 dresses all the faculties of man, and can only be appreciated if a man 
 employs fully all his strength. He must bring to it an open sense, a 
 broad heart, a spirit full of freshness. All a man's nature must be on 
 the alert, and this is not the case with those divided by abstraction, nar- 
 rowed by formulas, enervated by application." 
 
 Schiller, Essays Msthetical and Philosophical, p. 330. 
 
 "A masterpiece exists once for all. The first poet who arrives, arrives 
 at the summit. You shall ascend after him, as high, not higher. Ah ! 
 Your name is Dante? Very well; but he who sits yonder is named 
 Homer!" 
 
 Victor Hugo, William Shakespeare, p. 101. 
 
 "The unpoetical lover of art, ensconced in his burgess-like comfort, is 
 apt to take offence at any part of a poetical work which entails trouble 
 on him, such as the solution, colouring or concealment of a problem. 
 The somnolent reader wants everything to pursue its natural course, 
 little imagining in his obstinate conceit how the extraordinary may also 
 be natural." 
 
 Goethe, Travels in Italy, p. 466. 
 
 12
 
 TOPICS FOR STUDY AND DISCUSSION 
 
 1. What is common and universal in the subject-matter of the fine 
 
 arts? 
 
 2. Compare Homer's Odyssey and the Ulysses of Stephen Phillips as 
 
 artistic treatments of the same theme. 
 
 3. Can you discover a musical composition and a work in painting 
 
 that produce the same dominant impression with the Agamemnon 
 Trilogy of ^Eschylus? 
 
 4. Can you find a type of poetry and of painting akin in impression to 
 
 the music of Chopin? 
 
 5. What makes possible our common appreciation of works of art in 
 
 widely different fields and coming from remotely separated races 
 and epochs? 
 
 6. Explain how all the characters of Shakespeare can speak such 
 
 beautiful poetry, and yet Shakespeare be regarded as the great 
 realist in the portrayal of life. 
 
 7. What relation do the paintings of Corot sustain to Nature? 
 
 8. How far may moral disease wisely be portrayed in art? 
 
 9. Show what is necessary to make expression truly artistic. 
 10. Formulate your own definition of art. 
 
 REFERENCES 
 
 NOTE: See Book List, pp. 51-57, for publisher and place and date 
 of publication of all books referred to. 
 
 Ambros, Boundaries of Music and Poetry. Carpenter, Angels' Wings. 
 Corson, Aims of Literary Study. Crawshaw, Literary Interpretation of 
 Life. Emerson, Art (in Essays, first series, pp. 325-343); Art (in 
 Society and Solitude, pp. 39-59). Hand, ^Esthetics of Musical Art. Hugo, 
 William Shakespeare. Knight, The Philosophy of the Beautiful. Lanier, 
 Music and Poetry. Leighton, Addresses. Lewes, Principles of Success in 
 Literature. Mabie, Short Studies in Literature. Parry, The Evolution of 
 the Art of Music. Partridge, Art for America. Rayrilond, Art in Theory; 
 Essentials of ^Esthetics. Ruskin, Lectures on Art; Modern Painters; The 
 Two Paths. Schiller, Essays. Schopenhauer, The Art of Literature. 
 Shairp, Aspects of Poetry. Stedman, Naiare and Elements of Poetry. 
 Tolstoy, What is Art ? Van Dyke, How to Judge of a Picture; Principles 
 of Art. Wagner, Art Life and Theories of. Wilde, The Critic as Artist.
 
 II. THE PRIMITIVE SOURCES OF ART 
 
 " The secret, mysterious relations of the human heart to the strange 
 nature around it, have not yet come to an end. In its eloquent silence, 
 this latter still speaks to the heart just as it did a thousand years ago; 
 and what was told in the very gray of antiquity is understood to-day as 
 easily as then. For this reason it is that the legend of nature ever re- 
 mains the inexhaustible resource of the poet in his intercourse with his 
 people." 
 
 Wagner, in "Der Freischiitz in Paris," Art Life and Theories, p. 99. 
 
 Evolution of the arts. The primitive hymns sung in honor of a God 
 and accompanied by interpretative dancing. How the various fine arts 
 are differentiated from this historic basis. The same law of evolution 
 applying to all expressions of life evident in the arts. A generic unity 
 in the primitive basis, sometimes wanting in the later differentiated 
 forms. 
 
 The original inspiration of art. Significance in the fact that all art 
 springs first from religion. Profound seriousness of early art. This 
 religious earnestness persisting in all great art. Thus deep meaning in 
 the primitive sources from which art springs. 
 
 The character of early art. Antecedent to written literature a great 
 storehouse of popular thought, feeling and imagination which we call 
 mythology. The process by which this is developed, accumulated and 
 handed down from generation to generation. Value of the product as 
 a condensed and refined result of long ages of human life. Compare in 
 value with great literary masterpieces produced by individual geniuses. 
 
 Vitality of mythology, due to the closeness of primitive man to 
 Nature and the simple tilings of human life. Evidence in the spon- 
 taneous metaphorical character of all early language: Illustrations. 
 
 The truth in mythology, due to a sound reaction on the world. Con- 
 trast the truth of incident with the truth of character. Aristotle's view 
 of poetry as truer than history. The true and the false fairy-tale: a 
 mere jumble of adventure contrasted with a portrayal of character 
 naturally unfolding in relation to circumstance and law. 
 
 Universality of mythology. The few, great, simple elements that 
 make up human life in all times and places. Tendency to hark back 
 to these from the conventions and artificialities of civilization. Con- 
 stant expression of these in primitive art: compare the Brunhild story. 
 
 14
 
 Thus ethical depth in all the gathered-up result of early life. Simple 
 but clear recognition of the great laws of life. 
 
 Natural but inevitable art in the great expressions of early life. 
 Characteristics of that art in comparison with the form of later master- 
 pieces. 
 
 The ethical value of mythology. The moral plane of primitive life 
 in comparison with later civilization. Thus elements in mythology 
 below the level of our ethical standards of to-day. Yet moral develop- 
 ment proceeding not only from the lower to the higher, but from the 
 simple to the complex. Compare the complication of ethical situations 
 and standards in our life. Difficulty in distinguishing good and evil. 
 Expression of this in Ibsen and Goethe. Contrasting simplicity of 
 primitive mythology: its simple and clear opposition of good and evil. 
 Usual representation of good as conquering. Illustrations in both 
 Greek and northern legends. Thus mythology presenting the basal 
 moral principles that should be clearly recognized before the liter- 
 ature is studied that portrays the ethical subtleties and complications 
 of modern life. 
 
 A further ethical element in primitive mythology: good not always 
 conquering; but when defeated, going down with colors flying, thus 
 making of defeat the noblest of moral victories. Compare in the 
 Prometheus legend; the story of Beowulf. 
 
 The relation of mythology to later art. The need of the late artist 
 to saturate himself in the springs of the race life: compare in Tennyson 
 and Wagner. The use of mythology and religion in Greek sculpture; 
 Renaissance painting; poetry; music. 
 
 Important types of primitive material. The three sources of early 
 material drawn from most largely by European art: (1) Hebraic 
 stories; (2) Greek and Latin mythology; (3) Norse legends. The com- 
 plementary character of these three bodies of material. The Hebraic 
 stories as presenting the dee'pest recognition of moral law and purpose. 
 Greek mythology as beautiful and artistic. Norse stories as most 
 deeply human and at the same time the ethnic background from which 
 our art springs. 
 
 Thus the value of primitive mythology and religion: (1) as sources of 
 later art; (2) as inspiration of art to-day; (3) as valuable permanently 
 in education. 
 
 ILLUSTRATIONS 
 
 "Art rests upon a kind of religious sense: it is deeply and ineradicably 
 in earnest. Thus it is that Art so willingly goes hand in hand with 
 Religion." 
 
 Goethe, Maxims and Reflections, p. 174. 
 
 15
 
 "The essence of the Scandinavian, as indeed of all pagan mythologies, 
 we found to be recognition of the divineness of nature; sincere commun- 
 ion of man with the mysterious invisible powers visibly seen at work 
 in the world round him. This, I should say, is more sincerely done in 
 the Scandinavian than in any mythology I know. Sincerity is the 
 great character of it. Superior sincerity (far superior) consoles us for 
 the total want of old Grecian grace. Sincerity, I think, is better than 
 grace. I feel that these old northmen were looking into nature with 
 open eye and soul most earnest, honest; childlike, and yet manlike; with 
 a great-hearted simplicity and depth and freshness, in a true, loving, ad- 
 miring, unf earing way." 
 
 Carlyle, Heroes and Hero-Worship, p. 30. 
 
 "When imagination incessantly escapes from reality, and does not 
 abandon the simplicity of nature in its wanderings: then and then only 
 the mind and the senses, the receptive force and the plastic force, are 
 developed in that happy equilibrium which is the soul of the beautiful 
 and the condition of humanity." 
 
 Schiller, Essays Msthetical and Philosophical, p. 106. 
 
 "The law of simplicity and naivety holds good of all fine art; for it is 
 quite possible to be at once simple and sublime." 
 Schopenhauer, The Art of Literature, p. 31. 
 
 " To speak out once for all, man only plays when in the full meaning 
 of the word he is a man, and he is only completely a man when he plays." 
 Schiller, Essays Msthetical and Philosophical, p. 71. 
 
 "Ah! if you would and could but hear and see our true Freischiitz, 
 you might feel the anxiety that now oppresses me, in the form of a 
 friendly appreciation on your own part of the peculiarity of that spirit- 
 ual life, which belongs to the German nation as a birthright ; you would 
 look kindly upon the silent attraction that draws the German away 
 from the life of his large cities, wretched and clumsily imitative of 
 foreign influences, as it is, and takes him back to nature ; attracts him 
 to the solitude of the forests, that he may there re-awaken those emotions 
 for which your language has not even a word, but which those mystic, 
 clear tones of our Weber explain to us as thoroughly as your exquisite 
 decorations and enervating music must make them lifeless and irrecog- 
 nizable for you." 
 
 Wagner, in "Der Freischutz in Paris," Art Life and Theories, pp. 
 106, 107. 
 
 "You remember the fancy of Plato's, of a man who had grown to 
 maturity in some dark distance, and was brought on a sudden into the 
 upper air to see the sun rise. What would his wonder be, his rapt as- 
 tonishment at the sight we daily witness with indifference! With the 
 free open sense of a child, yet with the ripe faculty of a man, his whole 
 heart would be kindled by that sight, he would discern it well to be god- 
 like, his soul would fall down in worship before it. Now, just such a 
 childlike greatness was in the primitive nations. The first pagan 
 thinker among rude men, the first man that began to think, was pre- 
 16
 
 cisely this child-man of Plato's. Simple, open as a child, yet with the 
 depth and strength of a man. Nature had as yet no name to him; he 
 had not yet united under a name the infinite variety of sights, sounds, 
 shapes and motions, which we now collectively name universe, nature, 
 or the like, and so with a name dismiss it from us. To the wild deep- 
 hearted man all was yet new, not veiled under names or formulas; it 
 stood naked, flashing-in on him there, beautiful, awful, unspeakable. 
 Nature was to this man, what to the thinker and prophet it forever is, 
 preter-natural. This green flowery rock-built earth, the trees, the moun- 
 tains, rivers, many-sounding seas; that great deep sea of azure that 
 swims overhead ; the wind sweeping through it ; the black cloud fashion- 
 ing itself together, now pouring out fire, now hail and rain; what is it? 
 Ay, what? At bottom we do not yet know; we can never know at all. 
 It is not by our superior insight that we escape the difficulty ; it is by our 
 superior levity, our inattention, our want of insight. It is by not think- 
 ing that we cease to wonder at it. Hardened round us, encasing wholly 
 every notion we form, is a wrappage of traditions, hearsays ; mere words. 
 We call that fire of the black thunder cloud "electricity," and lecture 
 learnedly about it, and grind the like of it out of glass and silk; but what 
 is it? What made it? Whence comes it? Whither goes it? Science 
 has done much for us; but it is a poor science that would hide from us 
 the great deep sacred infinitude of Nescience, whither we can never 
 penetrate, on which all science swims as a mere superficial film. This 
 world, after all our science and sciences, is still a miracle ; wonderful, in- 
 scrutable, magical and more, to whosoever will think of it." 
 Carlyle, Heroes and Hero-Worship, pp. 7, 8. 
 
 TOPICS FOR STUDY AND DISCUSSION 
 
 1. Compare, in ethical vitality and artistic beauty, primitive mythol- 
 
 ogy and later masterpieces. 
 
 2. To what extent do the different arts depend upon primitive mythol- 
 
 ogy and religion as sources for their material? 
 
 3. What is the relative value, for the understanding of European art, 
 
 of Greek and Norse mythology? 
 
 4. Compare, in ethical vitality and artistic beauty, Tennyson's Passing 
 
 of Arthur and the concluding portion of Beowulf. 
 
 5. Why is the late artist led so frequently to saturate himself with the 
 
 expressions of early life? 
 
 6. What is the relative ethical value of Hebrew stories and Norse 
 
 myths? 
 
 7. From what early sources does Renaissance painting chiefly draw? 
 
 8. Compare the ethical plane in Greek and Norse mythology with that 
 
 achieved in later civilization. 
 
 9. From what historic sources does English poetry chiefly draw? 
 
 10. What is the value of primitive mythology for the education of 
 children? 
 
 17
 
 REFERENCES 
 
 Anderson, Norse Mythology; The Younger- Edda. Brown, The Fine 
 Arts. Bulfinch, The Age of Chivalry; The Age of Fable. Carlyle, The 
 Hero as Divinity. Cox, Introduction to the Science of Comparative 
 Mythology; The Mythology of the Aryan Nations. Donaldson, Theatre of 
 the Greeks. Fairbanks, The Mythology of Greece and Rome. Gayley, 
 Classic Myths in English Literature. Goldziher, Mythology among the 
 Hebrews. Grosse, The Beginnings of Art. Guerber, Myths of Greece 
 and Rome; Myths of Northern Lands. Gummere, The Beginnings of 
 Poetry; Handbook of Poetics. Mabie, Short Studies in Literature. 
 Malory, Le Morte Darthur. Parry, The Evolution of the Art of Music. 
 Posnett, Comparative Literature. Shairp, Poetic Interpretation of Na- 
 ture. Wagner, Art Life and Theories of. 
 
 18
 
 III. THE RACE, THE EPOCH AND THE 
 INDIVIDUAL IN ART 
 
 "We live in this world only that we may go onward without ceasing, a 
 peculiar help in this direction being that one enlightens the other by 
 communicating his ideas; in the sciences and fine arts there is always 
 more to learn." 
 
 Mozart, in Kerst, Mozart: The Man and the Artist, p. 89. 
 
 Determining forces behind art. So far we have considered the great 
 common sources of art; now to turn to the causes giving unique char- 
 acteristics to each work of art. 
 
 The personal element. In art the great common basis of human life 
 expressed only through the medium of personality; thus the character 
 and experience of the artist always revealed in the work, and molding 
 it. Compare Mozart and Beethoven in music; Fra Angelico and Fra 
 Lippo Lippi in painting. 
 
 Compare Tennyson's Crossing the Bar and Browning's Epilogue to 
 Asolando. Differences in imagery, music, type of thought and feeling, 
 general view of life. Yet these two poems coming from the same time 
 and race. Complete revelation of Tennyson and Browning in these 
 fragments. 
 
 Relation of the material given in biography to the self-confession in 
 art. Compare the revelation of Andrea del Sarto in the traditional 
 biography and in his painting. The expression of Chopin's personality 
 and experience in his music. Revelation of the artist even when the 
 work is most objective and dramatic in character. Compare how it is 
 possible to find Shakespeare behind his dramas. 
 
 The development of the artist revealed where w"brks come from dif- 
 ferent periods of his life. Illustrations in Goethe, Wagner, Shakespeare ; 
 in the early and late Pieta of Michael Angelo. 
 
 The epoch. The forces of the time always molding the spirit of the 
 individual artist. The epoch a complex of many forces, yet out of 
 them a true "time-spirit" created. Effect of internal changes in a 
 land; of the reception of foreign stimulus; of the natural growth and 
 decay of the forces of life. 
 
 19
 
 Different types of epoch: in production and preparation, faith and 
 doubt, creation and criticism. The artist inevitably influenced by the 
 spirit of the age, whether conscious of the fact or not. The two con- 
 trasting types of relation the artist may sustain to his time. Compare 
 Emerson in relation to America's civilization; Fra Angelico as an 
 expression of the Renaissance. So compare Dante as a voice of the 
 middle ages; Leonardo da Vinci in relation to the Renaissance. The 
 common spirit in the Elizabethan dramatists. Wagner's operas as an 
 embodiment of modern life. Significance of the two dominant motives 
 in modern painting. 
 
 Possible further to trace the development of an epoch through the 
 art in which it is expressed. The half-circle through which every pro- 
 ductive epoch tends to pass. This due to the birth, maturing and 
 decay of the forces influencing life. Contrasting tendencies in the 
 artists appearing on the upward and on the downward slope. Illustra- 
 tions in Elizabethan drama and Renaissance painting. 
 
 The race. The epoch but a moment in the life of a people. As the 
 time-spirit finds varying expression in the different artists in which it is 
 clothed, so the deeper, organic life of a race as beneath all the epochs 
 characterizing its unfolding. Evidence in the fact that each race is 
 apt to find its highest expression in one art. Compare sculpture in 
 Greece; painting in Italy; music in Germany; the drama in England. 
 Similarly every expression of a race revealing its spirit. Compare the 
 coloring in Dutch and Italian painting; nature-imagery in English and 
 Italian poetry. 
 
 Possible also to trace the development of a race through its artistic 
 expression. The life of a race as comparable to a great on-flowing 
 stream with rise and fall, ever deepening and enlarging as the race 
 develops. Compare in the development of English literature. Ele- 
 ments which persist under all the changes. Compare Tennyson's Pass- 
 ing of Arthur and the closing portion of Beowulf. 
 
 Thus the least fragment of art embodying the spirit of the artist, the 
 deeper life of the epoch, the still more fundamental characteristics of 
 the race, while beneath all are the great, universal tendencies of 
 humanity. 
 
 ILLUSTRATIONS 
 
 " The most profound erudition is no more akin to genius than a collec- 
 tion of dried plants is like Nature, with its constant flow of new life, ever 
 fresh, ever young, ever changing. There are no two things more op- 
 posed than the childish naivety of an ancient author and the learning of 
 his commentator." 
 
 Schopenhauer, The Art of Literature, p. 52. 
 
 20
 
 " At a distance we only hear of the first artists, and then we are often 
 contented with names only ; but when we draw nearer to this starry sky, 
 and the luminaries of the second and third magnitude also begin to 
 twinkle, each one coming forward and occupying his proper place in the 
 whole constellation, then the world becomes wide, and art becomes 
 rich." 
 
 Goethe, Travels in Italy, p. 36. 
 
 "I carry my thoughts about me for a long time, often a very long time, 
 before I write them down; meanwhile my memory is so faithful that I 
 am sure never to forget, not even in years, a theme that has once oc- 
 curred to me. I change many things, discard, and try again until I am 
 satisfied. Then, however, there begins in my head the development in 
 every direction, and, inasmuch as I know exactly what I want, the fun- 
 damental idea never deserts me, it arises before me, grows, I see and 
 hear the picture in all its extent and dimensions stand before my mind 
 like a cast, and there remains for me nothing but the labor of writing it 
 down, which is quickly accomplished when I have the time, for I some- 
 times take up other work, but never to the confusion of one with the 
 other. You will ask me where I get my ideas. That I can not tell you 
 with certainty; they come unsummoned, directly, indirectly, I could 
 seize them with my hands, out in the open air; in the woods; while 
 walking; in the silence of the nights; early in the morning; incited by 
 moods, which are translated by the poet into words, by me into tones 
 that sound, and roar and storm about me until I have set them down in 
 notes." 
 
 Beethoven, in Kerst, Beethoven: The Man and the Artist, p. 29. 
 
 "Art has to leave reality, it has to raise itself boldly above necessity 
 and neediness; for art is the daughter of freedom, and it requires its 
 prescriptions and rules to be furnished by the necessity of spirits and 
 not by that of matter. But in our day it is necessity, neediness, that 
 prevails, and bends a degraded humanity under its iron yoke. Utility 
 is the great idol of the time, to which all powers do homage and all sub- 
 jects are subservient. In this great balance of utility, the spiritual 
 service of art has no weighjt, and, deprived of all encouragement, it 
 vanishes from the noisy Vanity Fair of our time. The very spirit of 
 philosophical inquiry itself robs the imagination of one promise after 
 another, and the frontiers of art are narrowed, in proportion as the limits 
 of science are enlarged." 
 
 Schiller, Essays dZsthetical and Philosophical, pp. 27, 28. 
 
 "People always fancy that we must become old^to become wise; but, 
 in truth, as years advance, it is hard to keep ourselves as wise as we were. 
 Man becomes, indeed, in the different stages of his life, a different being; 
 but he cannot say that he is a better one, and, in certain matters, he is 
 as likely to be right in his twentieth, as in his sixtieth year. 
 
 " We see the world one way from a plain, another way from the heights 
 of a promontory, another from the glacier fields of the primary moun- 
 tains. We see, from one of these points, a larger piece of the world than 
 from the other; but that is all, and we cannot say that we see more 
 truly from any one than from the rest. When a writer leaves monu- 
 
 21
 
 ments on the different steps of his life, it is chiefly important that he 
 should have an innate foundation and goodwill ; that he should, at each 
 step, have seen and felt clearly, and that, without any secondary aims, 
 he should have said distinctly and truly what has passed in his mind. 
 Then will his writings, if they were right at the step where they origi- 
 nated, remain always right, however the writer may develop or alter 
 himself in after times." 
 
 Goethe, Conversations with Eckermann and Soret, p. 512. 
 
 "That which distinguishes genius, and should be the standard for 
 judging it, is the height to which it is able to soar when it is in the proper 
 mood and finds a fitting occasion a height always out of the reach of 
 ordinary talent." 
 
 Schopenhauer, The Art of Literature, p. 88. 
 
 "It seems as though purely human feeling, grown stronger by its very 
 repression on the side of conventional civilization, had sought out a 
 means of bringing into use some laws of language peculiar to itself, by 
 means of which it could express itself intelligibly, freed from the tram- 
 mels of logical rules of thought. The extraordinary popularity of music 
 in our age, the ever-increasing participation (extending through all 
 classes of society) in the production of music of the deepest character, 
 the growing desire to make of musical culture a necessary part of every 
 education, all these things which are certainly obvious and undeni- 
 able, distinctly prove the justice of the assumption that a deep-rooted 
 and earnest need of humanity finds expression in modern musical devel- 
 opment; and that music, unintelligible as its language is when tried 
 by the laws of logic, must bear within it a more convincing means of 
 making itself understood, than even those laws contain." 
 
 Wagner, in "The Music of the Future," Art Life and Theories, 
 p. 159. 
 
 TOPICS FOR STUDY AND DISCUSSION 
 
 1. What different types of relationship may artists sustain to the world 
 
 in which they live? 
 
 2. Show how Tennyson and Browning are revealed respectively in 
 
 Crossing the Bar and the Epilogue to Asolando. 
 
 3. Compare Michael Angelo's two interpretations of the same theme 
 
 at opposite ends of his artistic career: the Pieta of St. Peter's in 
 Rome, and the Pieta of the Cathedral in Florence. 
 
 4. Compare English and Italian poetry in nature-imagery. 
 
 5. What relation does landscape painting sustain to the spirit of our 
 
 time? 
 
 6. In what ways are the tendencies of modern civilization expressed 
 
 in Wagner's operas? 
 
 7. Through what type of movement does a creative period tend to 
 
 pass, and why? 
 
 22
 
 8. What relation does sculpture sustain to the other arts in Greece? 
 
 9. What makes the Elizabethan drama the best expression of Anglo- 
 
 Saxon genius? 
 
 10. Show how the development of a race may be traced through its 
 
 artistic expressions. 
 
 11. Show the common racial tendencies in Tennyson's Passing of 
 
 Arthur and the closing portion of Beowulf. 
 
 REFERENCES 
 
 Bascom, Philosophy of English Literature. Carlyle, The Hero as 
 Divinity. Carpenter, Angels' Wings. Crawshaw, Literary Interpretation 
 of Life. Engel, Introduction to the Study of National Music. Goethe, 
 Conversations with Eckermann; Travels in Italy. Hugo, William Shakes- 
 peare. Kerst, Beethoven; Mozart. Lanier, Music and Poetry. Leighton, 
 Addresses. Mabie, Books and Culture; Short Studies in Literature. Mach, 
 Greek Sculpture. Morris, Hopes and Fears for Art. Palgrave, Golden 
 Treasury. Partridge, Art for America. Posnett, Comparative Literature. 
 Ruskin, The Two Paths. Schiller, Essays. Schopenhauer, The Art of 
 Literature. Sturgis, The Appreciation of Pictures; The Appreciation of 
 Sculpture. Taine, Lectures on Art. Van Dyke, The Meaning of Pictures. 
 Vinci, Leonardo da Vinci's Note-Books. Wagner, Art Life and Theories 
 of; Beethoven. Warner, The Relation of Literature to Life. Wilde, The 
 Soul of Man under Socialism. Witt, How to Look at Pictures. 
 
 23
 
 IV. THE MEANING AND FUNCTION OF 
 SCULPTURE AND PAINTING 
 
 "If you know how to describe and write down the appearance of the 
 forms, the painter can make them so that they appear enlivened with 
 lights and shadows which create the very expression of the faces; herein 
 you cannot attain with the pen where he attains with the brush." 
 
 Leonardo da Vinci, Leonardo da Vinci's Note-Books, arranged by 
 Edward McCurdy, p. 159. 
 
 Differences among the arts. Each fine art possessing its distinctive 
 line of appeal. This evidenced in the fact that it is rare to find an artist, 
 practising one, adequately appreciating others. Tendency in artist 
 and student alike to see the one art from within and appreciate its sig- 
 nificance, the others from without and perceive their limitations. Evil 
 of this. Great need that the artist should saturate himself with the 
 material of other arts than his own. Thus need to see broadly and 
 impersonally the meaning and function of each art in relation to the 
 spirit of man and in relation to the other arts expressing the same 
 universal basis. 
 
 The three questions: (1) What of the whole content of the human 
 spirit does the particular art express? (2) What is the means and 
 method of its expression? (3) What are its limitations? 
 
 Method of answering: not by philosophic theory, but by an open 
 study of works of art in each field. A little first-hand study of art 
 better worth while than much reading of criticism. 
 
 The fact of the permanence of a particular art proving that it ex- 
 presses or interprets some aspect of man's spirit better or more easily 
 than any other. Compare, otherwise the art would not persist except 
 as novelty. Note the rise and subsidence of certain arts historically. 
 The reasons why mosaic work has lost the place it occupied in the days 
 when Ravenna's churches were being adorned. Compare changes in 
 fresco painting. Significance of the permanence of sculpture, painting, 
 poetry and music. 
 
 Characteristics of sculpture. The Venus de Milo as a representative 
 work of ancient art. What is given in this statue? Character of the 
 conception embodied. Method by which it is expressed. Effect on 
 
 24
 
 the beholder of the color of the marble and of the beauty of technical 
 execution. The deeper feelings one has in the presence of the statue. 
 Significance that these emotions vary with different individuals; yet, 
 the conception, if understood, entirely definite and embodied in defined, 
 permanent form. Thus the conception given, the emotions, relatively 
 speaking, associated. 
 
 The Hermes of Praxiteles and the three Goddesses of the Parthenon. 
 What these express in idea and execution. Causes of the feelings they 
 tend to arouse in the beholder. Difference in the ancient and modern 
 feeling associated with such a statue as the Amazon of the Villa Mattei. 
 
 Michael Angelo's statues on the Medicean tombs. Comparison with 
 Greek sculpture in conception, execution and associated emotions. 
 
 Modern work in the field of sculpture analyzed. The Joan of Arc of 
 Chapu; other characteristic work in the Luxembourg gallery. Max 
 Klinger's Salome. 
 
 Transition from sculpture to painting through relief-work. The 
 Nymph and Infant Bacchus; the bronze doors of Ghiberti. 
 
 Painting. The Pompeian frescoes as painting in its nearest approach 
 to sculpture. These as presenting human figures, simply treated, with 
 slight background. Less complete and realistic form than in sculpture; 
 but vastly increased scope in both breadth and depth. Effect of the 
 much greater use of color. 
 
 Michael Angelo's Creation of Adam; his Last Judgment. Difference 
 in feelings aroused by the latter work in accordance with the training 
 and belief of the beholder. 
 
 Raphael's Sistine Madonna: the conception given; method by which 
 expressed. Direct emotional effect of the color used and of the grace 
 and beauty of execution. 
 
 Characteristics of a Corot landscape: what we feel in the presence of 
 it as compared with what the Greeks might have felt. The interpreta- 
 tion of humanity in modern art : compare in Millet, Bastien-Lepage, 
 Cormon. Relation of conception to emotion in such work; contrast 
 with the painting of the Italian Renaissance. 
 
 Summary. What sculpture and painting are alike capable of giving 
 definitely. Elements common to both in methods" Differences between 
 them. What neither is capable of achieving. Why sculpture was the 
 characteristic art of the ancient Greeks, painting of the Renaissance 
 Italians. 
 
 All art appealing immediately to the senses ; danger if it stops there. 
 The true appeal through the senses to the soul. Thus how art may 
 degenerate and become dangerous. The problem of Faust's vision in 
 the mirror. 
 
 25
 
 ILLUSTRATIONS 
 
 "The eye, which is called the window of the soul, is the chief means 
 whereby the understanding may most fully and abundantly appreciate 
 the infinite works of nature; and the ear is the second inasmuch as it 
 acquires its importance from the fact that it hears the things which the 
 eye has seen. If you historians, or poets, or mathematicians had never 
 seen things with your eyes you would be ill able to describe them in your 
 writings. And if you, O poet, represent a story by depicting it with your 
 pen, the painter with his brush will so render it as to be more easily 
 satisfying and less tedious to understand. If you call painting 'dumb 
 poetry,' then the painter may say of the poet that his art is 'blind 
 painting.' Consider then which is the more grievous affliction, to be 
 blind or be dumb! Although the poet has as wide a choice of subjects 
 as the painter, his creations fail to afford as much satisfaction to man- 
 kind as do paintings, for while poetry attempts with words to represent 
 forms, actions, and scenes, the painter employs the exact images of the 
 forms in order to reproduce these forms. Consider, then, which is more 
 fundamental to man, the name of man or his image? The name changes 
 with change of country; the form is unchanged except by death." 
 
 Leonardo da Vinci, Leonardo da Vinci's Note-Books, arranged by 
 Edward McCurdy, pp. 156, 157. 
 
 "If the artist, out of ever- varying nature, can only make use of a 
 single moment, and the painter especially can only use this moment from 
 one point of view, whilst their works are intended to stand the test not 
 only of a passing glance, but of long and repeated contemplation, it is 
 clear that this moment, and the point from which this moment is 
 viewed, cannot be chosen with too great a regard to results. Now that 
 only is a happy choice which allows the imagination free scope. The 
 longer we gaze, the more must our imagination add; and the more our 
 imagination adds, the more we must believe we see. In the whole 
 course of an emotion there is no moment which possesses this advantage 
 so little as its highest stage. There is nothing beyond this ; and the pres- 
 entation of extremes to the eye clips the wings of fancy, prevents her 
 from soaring beyond the impression of the senses, and compels her to 
 occupy herself with weaker images ; further than these she ventures not, 
 but shrinks from the visible fulness of expression as her limit. Thus, if 
 Laokopn sighs, the imagination can hear him shriek; but if he shrieks, it 
 can neither rise a step higher above nor descend a step below this repre- 
 sentation, without seeing him in a condition which, as it will be 
 more endurable, becomes less interesting. It either hears him merely 
 moaning, or sees him already dead. 
 
 "Furthermore, this single moment receives through art an unchange- 
 able duration; therefore it must not express anything, of which we can 
 think only as transitory. All appearances, to whose very being, ac- 
 cording to our ideas, it is essential that they suddenly break forth and 
 as suddenly vanish, that they can be what they are but for a moment, 
 all such appearances, be they pleasing or be they horrible, receive, 
 through the prolongation which art gives them, such an unnatural 
 character, that at every repeated glance the impression they make grows 
 
 26
 
 weaker and weaker, and at last fills us with dislike or disgust of the 
 whole object." 
 
 Lessing, Laokoon, pp. 19, 20. 
 
 " It is neither charm nor is it dignity which speaks from the glorious 
 face of the Juno Ludovici; it is neither of these, for it is both at once. 
 While the female god challenges our veneration, the godlike woman at 
 the same time kindles our love. But while in ecstacy we give ourselves 
 up to the heavenly beauty, the heavenly self-repose awes us back. The 
 whole form rests and dwells in itself a fully complete creation in itself 
 and as if she were out of space, without advance or resistance ; it shows 
 no force contending with force, no opening through which time could 
 break in. Irresistibly carried away and attracted by her womanly 
 charm, kept off at a distance by her godly dignity, we also find ourselves 
 at length in the state of the greatest repose, and the result is a wonderful 
 impression, for which the understanding has no idea and language no 
 name." 
 
 Schiller, Essays jEsthetical and Philosophical, p. 72. 
 
 "As practising myself the art of sculpture no less than that of paint- 
 ing, and doing both the one and the other in the same degree, it seems 
 to me that without suspicion of unfairness I may venture to give an 
 opinion as to which of the two is the more intellectual, and of the greater 
 difficulty and perfection. In the first place sculpture is dependent on 
 certain lights, namely those from above, while a picture carries every- 
 where with it its own light and shade; light and shade therefore are 
 essential to sculpture. In this respect the sculptor is aided by the 
 nature of the relief which produces these of its own accord, but the 
 painter artificially creates them by his art in places where nature would 
 normally do the like. The sculptor cannot render the difference in the 
 varying natures of the colours of objects; painting does not fail to do so 
 in any particular. The lines of perspective of sculptors do not seem in 
 any way true ; those of painters may appear to extend a hundred miles 
 beyond the work itself." 
 
 Leonardo da Vinci, Leonardo da Vinci's Note-Books, arranged by 
 Edward McCurdy, pp. 160, 161. 
 
 " What the artist does or has done excites in us the mood in which he 
 himself was when he did it. A free mood in the artist makes us free ; a 
 constrained one makes us uncomfortable. We usually find this freedom 
 of the artist where he is fully equal to his subject. It is on this account 
 we are so pleased with Dutch pictures; the artists painted the life 
 around them, of which they were perfect masters.^ If we are to feel this 
 freedom of mind in an actor, he must, by study,"imagination, and nat- 
 ural disposition, be perfect master of his part, must have all bodily req- 
 uisites at his command, and must be upheld by a certain youthful 
 energy. But study is not enough without imagination, and study and 
 imagination together are not enough without natural disposition. 
 Women do the most through imagination and temperament." 
 
 Goethe, Conversations with Eckermann and Soret, pp. 417, 418. 
 
 " If you would have me speak only of panel painting I am content to 
 give an opinion between it and sculpture by saying that painting is more 
 
 27
 
 beautiful, more imaginative, and richer in resource, while sculpture is 
 more enduring, but excels in nothing else. Sculpture reveals what it is 
 with little effort; painting seems a thing miraculous, making things in- 
 tangible appear tangible, presenting in relief things which are flat, in 
 distance things near at hand. In fact painting is adorned with infinite 
 possibilities of which sculpture can make no use." 
 
 Leonardo da Vinci, Leonardo da Vinci's Note-Books, arranged by 
 Edward McCurdy, p. 162. 
 
 TOPICS FOR STUDY AND DISCUSSION 
 
 1. What peculiar excellences has sculpture that are shown by no 
 
 other art? 
 
 2. What special excellences has painting that are shown by no other 
 
 art? 
 
 3. What cannot be directly or adequately expressed in sculpture? In 
 
 painting? 
 
 4. Compare in conception, execution and associated emotions Andrea 
 
 del Sarto's and Leonardo da Vinci's painting of the Last Supper. 
 
 5. What effect has the color and texture of marble upon the emotions? 
 
 6. Analyze carefully the effect of Michael Angelo's Last Judgment upon 
 
 your senses, intellect and emotions. 
 
 7. Compare carefully, in the effect upon the beholder, the Venus de 
 
 MUo, Michael Angelo's Pieta (in St. Peter's) and Chapu's Joan 
 of Arc. 
 
 8. Study the relation of significance to beauty in Raphael's Sistine 
 
 Madonna and Millet's Sower. 
 
 9. What is the significance for the function of sculpture and painting 
 
 that in both arts form is statical and relatively permanent? 
 10. Study the respective effects of form and color in sculpture; in 
 painting. 
 
 REFERENCES 
 
 Brown, The Fine Arts. Caffin, How to Study Pictures. Goethe, Trav- 
 els in Italy. Holden, Audiences. Knight, The Philosophy of the Beautiful. 
 LaFarge, Considerations on Painting. Leighton, Addresses. Lessing, 
 Laokoon. Mach, Greek Sculpture. Noyes, The Enjoyment of Art. Pal- 
 grave, Poetry Compared with the Other Fine Arts. Parry, The Ministry 
 of Fine Art to the Happiness of Life. Puffer, The Psychology of Beauty, 
 chapter iv. Raymond, Painting, Sculpture and Architecture as Repre- 
 sentative Arts. Ruskin, Aratra Pentelid; Lectures on Art; Modern 
 Painters. Sturgis, The Appreciation of Pictures; The Appreciation of 
 Sculpture. Van Dyke, Art for Art's Sake; How to Judge of a Picture; 
 The Meaning of Pictures; Principles of Art. Vinci, Leonardo da Vinci's 
 Note-Books; Treatise on Painting. Witt, How to Look at Pictures. 
 
 28
 
 V. THE MEANING AND FUNCTION OF 
 MUSIC 
 
 "Continue to translate yourself to the heaven of art; there is no more 
 undisturbed, unmixed, purer happiness than may thus be attained." 
 Beethoven, in Kerst, Beethoven: The Man and the Artist, p. 12. 
 
 The art of music. Music the most difficult of the arts to define in 
 function and meaning, because the most subtle, seeming to produce its 
 effects as by a miracle. 
 
 The relation of music to Nature. The sounds utilized in music all 
 found in the natural world. Compare the effect of the wind sighing in 
 the pine-trees; bird songs; the rhythmic beat of waves upon the shore. 
 Yet music not often directly imitating nature as do sculpture and 
 painting. Music resolving natural forms into their elements and then 
 recombining these independently. Thus music accomplishing in time 
 relations more what architecture does in space relations. Compare the 
 use in architecture of forms given by Nature, as in the tree column or 
 cave roof. Hence deep significance in the oft-repeated comparison of 
 music and architecture. Architecture as "frozen music"; music as 
 liquid architecture. Illustrate in Notre Dame de Paris; in Beethoven's 
 Moonlight Sonata. 
 
 The appeal of architecture. The effect upon the beholder of the 
 Greek temple at Psestum. Sensuous delight in beautiful forms and 
 colors; conception given; emotion aroused. Contrast a mediaeval tem- 
 ple such as Notre Dame or the cathedral at Milan. What is dominant 
 and what subordinate in each work. 
 
 The effect of music. The appeal in a relatively slight musical com- 
 position such as Schumann's Arabesque (Op. 18) or Chopin's Impromptu 
 (Op. 29). Type of sensuous pleasure as compared with the other arts. 
 The dynamic series of forms arousing a series of emotional states. The 
 reflections associated with these states of feeling. Thus the two-fold 
 contrast between music and the arts dealing with space relations: (1) 
 What is dominant in the one, associated or subordinate in the other; 
 (2) In the one form dynamic and evanescent, in the other statical and 
 relatively permanent. 
 
 The direct intellectual element in analyzing the composition: com- 
 
 29
 
 pare the study of motives and harmony. Relation of tliis to the imme- 
 diate response to the appeal of art. Intellectual analysis possible in 
 relation to all the arts; yet while this may lead to deepened apprecia- 
 tion, standing somewhat aside from the response to the art itself. 
 
 Fuller illustration of the line of appeal of music in the best of Chopin's 
 Nocturnes and the Ninth Symphony of Beethoven. What is given in 
 each of these works. The means by which the effect is attained. 
 
 The unique sphere of music. Significance that music must be re- 
 created every time it is enjoyed. Forms in music successive in a dyna- 
 mic series, each element dying in the same moment in which it is 
 created. Thus sublimation of form in music and the freeing of the 
 content from sensuous association. 
 
 Possibility of expressing for the emotions what cannot be represented 
 for the imagination. Note, possible to conceive God, an immaterial 
 soul, a transcendent heaven; but impossible to carve or paint these. 
 Power of music to express or awaken the emotions we associate with 
 the conceptions of the transcendent, the supernatural and the divine. 
 True sense in which music is the one art "capable of revealing the 
 infinite." Browning's illustration of this in Abt Vogler. 
 
 Music as the most personal of the fine arts in expressing emotions no 
 other art can adequately embody; at the same time music the most 
 social of the fine arts in arousing the feelings that unite men, where 
 intellectual opinions and convictions tend to separate them. Illustra- 
 tion in the Ouverture to Tannhauser. 
 
 The obvious reason why it is so much more difficult to put music into 
 intellectual terms than is true of the other arts. Various attempts to 
 associate a definite series of intellectual conceptions with the sensuous 
 and emotional appeal of music. Compare in naming compositions ; in 
 "program music"; in interpretations. Rigid limits to these attempts. 
 
 Composite arts. The reasons why music lends itself so readily to 
 combination with other arts. The song: its appeal as compared with 
 music unassociated with words. Church music and its development. 
 
 The opera as a peculiarly characteristic composite modern art. Ele- 
 ments composing it; the question as to which should be central. The 
 value of Wagner's answer. 
 
 The cultural value of music. Peculiar danger in music since it may 
 arouse emotional sensibility without directing its expression. Plato's 
 view. The effect of merely sensuous music. The need to choose your 
 companions wisely in hearing even great music. 
 
 Yet the danger in music merely the corollary of its peculiar strength 
 and power. Supreme value of its refining and exalting influence. Its 
 high significance for our time, indeed for the human spirit in all time. 
 
 30
 
 ILLUSTRATIONS 
 
 "And indeed the greatness of the poet may be best measured by that 
 concerning which he is silent, in order to let the unspeakable itself speak 
 to us silently. It is only the musician who can bring this that is silent 
 into clear expression; and the unerring form of his loud-resounding 
 silence is endless melody!" 
 
 Wagner, in "The Music of the Future," Art Life and Theories, p. 
 180. 
 
 "The more definitely a composer aims at making his music an ex- 
 pression of emotion, the more firmly must he fashion it according to the 
 dictates of intellect, for were he to attempt emotional expression with- 
 out preserving the supremacy of the reason in his work, he would speed- 
 ily fall into formlessness, and instead of enlightening would merely be- 
 wilder his hearers. In all art creative, or interpretative, the emotion 
 must be under the dominance of the reason, or else there is no method, 
 and art without method is inconceivable." 
 
 Henderson, What is Good Music, p. 98. 
 
 "What instrumental music is unable to achieve, lies also beyond the 
 pale of music proper; for it alone is pure and self-subsistent music. No 
 matter whether we regard vocal music as superior to, or more effective 
 than instrumental music an unscientific proceeding, by the way, which 
 is generally the upshot of one-sided dilettantism we can not help ad- 
 mitting that the term 'music,' in its true meaning, must exclude com- 
 positions in which words are set to music. In vocal or operatic music it 
 is impossible to draw so nice a distinction between the effect of the 
 music, and that of the words, that an exact definition of the share which 
 each has had in the production of the whole becomes practicable. An 
 enquiry into the subject of music must leave out even compositions with 
 inscriptions, or so-called programme-music. Its union with poetry, 
 though enhancing the power of music, does not widen its limits. 
 
 Hanslick, The Beautiful in Music, pp. 44, 45. 
 
 "How, ye formal philosophers, ye men of the 'sounding arabesque,' 
 unto whom the spirit shows itself not, because ye do not believe in it, 
 or search after it in the organic structure with the gross scalpel of the 
 anatomist know ye not that Goethe's 'disengaging one's self from a 
 mood,' which he found in poetry, also applies to the musician that 
 every truly artistic tone- work is also an ' occasional poem ' ? Surely, no 
 musical thought has ever been generated with vital power in your soul, 
 or, if you had one, it was a greenhouse plant. " Otherwise you would 
 know, that the artist hastens with everything that delights and pains 
 him to his beloved art, and desires of it that it should preserve each 
 mood for him in the sacred vessel of its beautiful form for all time." 
 
 Ambros, The Boundaries of Music and Poetry, p. 106. 
 
 " While sound in speech is but a sign, that is, a means for the purpose 
 of expressing something which is quite distinct from its medium; sound 
 in music is the end, that is, the ultimate and absolute object in view. 
 
 31
 
 The intrinsic beauty of the musical forms in the latter case, and the ex- 
 clusive dominion of thought over sound as a mere medium of expres- 
 sion, in the former, are so utterly distinct as to render the union of these 
 two elements a logical impossibility." 
 
 Hanslick, The Beautiful in Music, p. 94. 
 
 "Let us establish first of all the fact that the one true form of music is 
 melody; that without melody music is inconceivable, and that music 
 and melody are inseparable. That a piece of music has no melody, can 
 therefore only mean that the musician has not attained to the real for- 
 mation of an effective form, that can have a decisive influence upon the 
 feelings; which simply shows the absence of talent in the composer." 
 
 Wagner, in " The Music of the Future," Art Life and Theories, p. 175. 
 
 "In its ideal feature music keeps within its natural boundaries, so 
 long as it does not undertake to go beyond its expressional capacity 
 that is, so long as the poetical thought of the composer becomes intelli- 
 gible from the moods called forth by his work and the train of ideas 
 stimulated thereby, that is, from the composition itself, and so long as 
 nothing foreign, not organically connected with the music itself, must 
 be dragged in, in order to assist comprehension." 
 
 Ambros, The Boundaries of Music and Poetry, pp. 181, 182. 
 
 "It must be in music, that language intelligible to all men, that the 
 great equalizing power is to be found, which, converting the language 
 of ideas into the language of the feelings, would bring the deepest secrets 
 of the artistic conception to general comprehension, especially if this 
 comprehension can be made distinct through the plastic expression of 
 dramatic representation, can be given such a distinctness as up to this 
 time painting alone has been able to claim as its peculiar influence." 
 
 Wagner, in " The Music of the Future," Art Life and Theories, p. 141. 
 
 "In opera, willy-nilly, poetry must be the obedient daughter of 
 music. Why do Italian operas please everywhere, even in Paris, as I 
 have been a witness, despite the wretchedness of their librettos? Be- 
 cause in them music rules and compels us to forget everything else. All 
 the more must an opera please in which the plot is well carried out, and 
 the words are written simply for the sake of the music and not here and 
 thereto please some miserable rhyme, which, God knows, adds nothing 
 to a theatrical representation but more often harms it. Verses are the 
 most indispensable thing in music, but rhymes, for the sake of rhymes, 
 the most injurious. Those who go to work so pedantically will assur- 
 edly come to grief along with the music. It were best if a good com- 
 poser, who understands the stage, and is himself able to suggest some- 
 thing, and a clever poet could be united in one, like a phoenix." 
 
 Mozart, in Kerst, Mozart: The Man and the Artist, p. 28. 
 
 " That which so strongly attracted our great poets towards music was 
 the fact that it was at the same time the purest form and the most sen- 
 suous realization of that form. The abstract arithmetical number, the 
 mathematical figure, meets us here as a creation having an irresistible 
 
 32
 
 influence upon the emotions that is, it appears as melody; and this can 
 be as unerringly established, so as to produce sensuous effect, as the 
 poetic diction of written language, on the contrary, is abandoned to 
 every whim in the personal character of the person reciting it. What 
 was not practically possible for Shakespeare to be himself the actor of 
 each one of his roles is practicable for the musical composer, and this 
 with great definiteness, since he speaks to us directly through each one 
 of the musicians who execute his works. In this case the transmigra- 
 tion of the poet's soul into the body of the performer takes place accord- 
 ing to the infallible laws of the most positive technique; and the com- 
 poser who gives the correct measure for a technically right performance 
 of his work, becomes completely one with the musician who performs it, 
 to an extent that can at most only be affirmed of the constructive artist 
 in regard to a work which he had himself produced in color or stone, 
 if, indeed, a transmigration of his soul into lifeless matter is a suppos- 
 able case." 
 
 Wagner, in "The Purpose of the Opera," Art Life and Theories, pp. 
 226, 227. 
 
 1. What relation has the art of music to the sounds given in the natu- 
 
 ral world? 
 
 2. Choose two musical compositions you know well and analyze in 
 
 detail the effect they produce upon you and the means by which 
 the effect is produced. 
 
 3. What element in music corresponds in any degree to color in paint- 
 
 ing? 
 
 4. Compare carefully the art of music in dealing with time relations 
 
 with architecture in dealing with space relations. 
 
 5. Compare what is dominant in the appeal of music with what is 
 
 dominant in the appeal of sculpture and painting. 
 
 6. What results from the fact that in music form is dynamic and evan- 
 
 escent, while in sculpture and painting it is statical and relatively 
 permanent? 
 
 7. What may be said to be the intellectual element in music? 
 
 8. Compare what is given in Gounod's music to Faust with what is 
 
 given in a series of paintings dealing with the Faust story. 
 
 9. Is the effect good or bad of merely sensuously enjoying slight 
 
 music? 
 
 10. Compare the cultural value of music with that of sculpture and 
 painting. 
 
 REFERENCES 
 
 Ambros, Boundaries of Music and Poetry. Browning, Abt Vogler; 
 With Charles Avison; Master Hugues of Saxe-Gotha; Saul. Carpenter, 
 
 33
 
 Angela' Wings. Davies, The Musical Consciousness. Dwight, Intellec- 
 tual Influence of Music; Music as a Means of Culture. Eastman, Musi- 
 cal Education and Musical Art. Goddard, Reflections upon Musical Art. 
 Gurney, The Power of Sound. Hanchett, The Art of the Musician. Hand, 
 Esthetics of Musical Art. Hanslick, The Beautiful in Music. Helmholtz, 
 On the Sensations of Tone. Henderson, What is Good Music? Hoi den, 
 Audiences. Kerst, Beethoven; Mozart. Knight, The Philosophy of the 
 Beautiful. Kobbe", How to Appreciate Music. Krehbiel, How to Listen to 
 Music. Kufferath, Rhythm, Melody and Harmony. Lanier, Music 
 and Poetry. Mathews, How to Understand Music; Music: Its Ideals and 
 Methods. Norton, The Intellectual Element in Music. Palgrave, Poetry 
 Compared with the Other Fine Arts. Parry, The Evolution of the Art of 
 Music. Plato, Republic (books II and III). Puffer, The Psychology of 
 Beauty, chapter v. Raymond, Rhythm and Harmony in Poetry and 
 Music. Ritter, Music in Its Relation to Intellectual Life. Saint-Saens, 
 The Nature and Object of Music. Schopenhauer, On the Metaphysics of 
 Music. Spencer, The Origin and Function of Music. Surette and Mason, 
 The Appreciation of Music. Wagner, Art Life and Theories of; Bee- 
 thoven.
 
 VI. THE MEANING AND FUNCTION OF 
 POETRY 
 
 "Form without substance is a shadow of riches, and all possible 
 cleverness in expression is of no use to him who has nothing to express." 
 Schiller, Essays ^Esthetical and Philosophical, p. 239. 
 
 The nature of poetry. Poetry as the highest and most characteristic 
 form of literature. Bewildering wealth of material in this art and most 
 many-sided relation to the spirit of man. Hence difficulty in defining 
 function. 
 
 Poetry in relation to sculpture and painting. Possibility in poetry of 
 expressing definite conceptions for the intellect and imagination. Com- 
 pare Shelley's Ozymandias of Egypt. What is given in this sonnet: 
 compare a statue. Less immediate portrayal for the vision in poetry. 
 Hence less direct power in appeal to the imagination; but conceptions 
 freed more from sense association. Moreover ideas expressed through 
 a succession of forms in time relation. 
 
 Power of poetry to paint a picture: compare Wordsworth's sonnet 
 Upon Westminster Bridge. Contrast in appeal with a painting of the 
 same scene. The ways in which each art has its own superiority. 
 Truth and error in Lessing's theory of descriptive poetry as developed 
 in Laokoon. 
 
 Poetry in relation to music. Direct musical appeal in the two son- 
 nets studied. Direct expression of emotion and appeal to emotion in 
 poetry. Compare Shelley's lyric To the Night. Here music dominant, 
 appealing to the emotions, as in Ozymandias thought and imagination 
 appealing to inner vision. How all poetry should be read aloud. Even 
 when read silently, appeal to the ear in music through the imagination. 
 The effect of poetry read aloud in a language the hearer does not know: 
 direct appeal of music in poetry even when the ideas are not given at all. 
 Thus poetry making a direct appeal to the emotions through music, 
 though with less absoluteness than in music and without in any way 
 usurping or replacing the functions of the latter art. 
 
 Byron's stanzas on the sunset hour in Don Juan. What they give 
 in natural beauty; association of the human past, of religion and of 
 literature; personal experience. Compare what is given in Millet's 
 Angelus; in a musical composition awakening the same emotions. 
 
 35
 
 The two types of poetry. Poetry that is dominantly musical in 
 appeal. Compare many lyrics of Shelley; Spenser. The description of 
 the dwelling of Morpheus in The Faery Queen. Poetry in which the 
 dominant appeal is through imaginative vision. Compare what is moat 
 characteristic in Dante and Shakespeare. 
 
 Relation of poetry to human life. Poetry combining in a new union 
 the functions of the other arts without replacing them in their own 
 fields. Poetry the most complex and universal of the fine arts in 
 many-sided power to express and interpret all aspects of human expe- 
 rience. Compare in the lyric; the epic; the drama. 
 
 Prose literature in relation to poetry. The same functions fulfilled 
 on another plane. The rhythm of prose. The novel as a prose epic 
 and drama set in a lower key. 
 
 The three types of art in relation. The different functions of the arts 
 illustrated in great masterpieces. Compare Dante's Divine Comedy with 
 the Last Judgment of Michael Angelo and a mediaeval cathedral, and 
 with a fugue of Bach and a symphony of Beethoven. 
 
 Compare Cormon's Cain, Wagner's music in The Twilight of the Gods, 
 and Shakespeare's King Lear. 
 
 Compare Watts' painting of Francesco, and Paolo, Wagner's music in 
 Tristan und Isolde, and the fifth canto of Dante's Inferno. 
 
 Unity in the arts. The spirit of man a unity, hence also the appeal 
 of the arts. In all, thought, emotion and imagination; in all, the same 
 principles of form, of beauty and harmony. 
 
 This evident in efforts to combine the arts in a more composite art. 
 Compare the union of poetry and music in song; the union of all types 
 of art in the Wagnerian opera. Inevitable sacrifice of something on the 
 part of each of the arts so combined; peculiar adaptation of the com- 
 posite art to the modern spirit. The question which art should be 
 central in the composite whole. 
 
 The service of poetry. Danger in poetry as in the other arts. Evil 
 of seeking merely sensuous beauty; evil of portraying life to satisfy a 
 morbid and decadent taste. Yet the evil but indicating the corellative 
 power in the true ministration of art to the human spirit. 
 
 ILLUSTRATIONS 
 
 "Beauty of style and harmony and grace and good rhythm depend 
 on simplicity, I mean the true simplicity of a rightly and nobly ordered 
 mind and character, not that other simplicity which is only an euphuism 
 for folly." 
 
 Plato, Republic, book III, section 400. 
 
 36
 
 " I believed that I might form the theory that every individual branch 
 of art follows out a development of its powers that finally leads it to 
 their limits; and that it cannot pass these limits without the danger of 
 losing itself in the unintelligible and absolutely fantastic even in the 
 absurd. I thought that I saw in this point the necessity for it to join 
 companionship at this stage with another class of art, related to it, and 
 the only one capable of going on from this position. And as I was of 
 necessity keenly interested (having regard to my own ideal) in following 
 out this tendency in each special kind of art, I finally believed that I 
 could recognize it most distinctly in the relation of poetry to music, 
 especially considering the remarkable importance modern music has 
 assumed. And as I thus endeavored to imagine that work of art in 
 which all branches of art could unite in their highest perfection, I came 
 as a matter of course to the conscious contemplation of that ideal which 
 had unconsciously gradually formed within me, and had hovered before 
 the seeking artist." 
 
 Wagner, in "The Music of the Future," Art Life and Theories, p. 
 147. 
 
 "If it is true that painting and poetry in their imitations make use of 
 entirely different means or symbols the first, namely, of form and 
 colour in space, the second of articulated sounds in time if these sym- 
 bols indisputably require a suitable relation to the thing symbolized, 
 then it is clear that symbols arranged in juxtaposition can only express 
 subjects of which the wholes or parts exist in juxtaposition; while con- 
 secutive symbols can only express subjects of which the wholes or 
 parts are themselves consecutive. 
 
 "Subjects whose wholes or parts exist in juxtaposition are called 
 bodies. Consequently, bodies with their visible properties are the pecu- 
 liar subjects of painting. 
 
 "Subjects whose wholes or parts are consecutive are called actions. 
 Consequently, actions are the peculiar subject of poetry. 
 
 "Still, all bodies do not exist in space only, but also in tune. They 
 endure, and in each moment of their duration may assume a different 
 appearance, or stand in a different combination. Each of these momen- 
 tary appearances and combinations is the effect of a preceding one, may 
 be the cause of a subsequent one, and is therefore, as it were, the centre 
 of an action. Consequently, painting too can imitate actions, but only 
 indicatively, by means of bodies. 
 
 "On the other hand, actions cannot exist by themselves, they must 
 depend on certain beings. So far, therefore, as these beings are bodies, 
 or are regarded as such, poetry paints bodies, but only indicatively, by 
 means of actions. 
 
 " In its coexisting compositions painting can onjy make use of a single 
 instant of the action, and must therefore choose "the one which is most 
 pregnant, and from which what precedes and what follows can be most 
 easily gathered. 
 
 "In like manner, poetry, in its progressive imitations, is confined to 
 the use of a single property of bodies, and must therefore choose that 
 which calls up the most sensible image of the body in the aspect in which 
 she makes use of it." 
 
 Lessing, Laokoon, pp. 91, 92. 
 
 37
 
 "As to Homer, it is as if the scales had fallen from my eyes. The 
 descriptions, similes and so on appear to us poetical, and are yet un- 
 speakably natural, though of course drawn with a purity, an inward 
 truth enough to strike us poor moderns dumb. The very strangest fic- 
 tions are characterised by a naturalness I never felt so much as in the 
 presence of the objects described. To express the antithesis briefly ; they 
 presented the thing, we usually present the effect; they described the 
 dreadful, we describe dreadfully; they the agreeable, we agreeably, and 
 so on. This will explain all our extravagance, our affectation, our false 
 grace, our inflation; for once you elaborate and strain after effect, you 
 fancy you can never make it strong enough." 
 
 Goethe, Travels in Italy, p. 322. 
 
 "In instruments, the primal organs of creation and nature find their 
 representation; they cannot be sharply determined and defined, for 
 they but repeat primal feelings as they came forth from the chaos of 
 the first creation, when there were perhaps no human beings in exist- 
 ence to receive them in their hearts. With the genius of the human 
 voice it is entirely otherwise; this represents the human heart, and its 
 isolated, individual emotion. Its character is therefore limited, but 
 fixed and defined. Let these two elements be brought together, then; 
 let them be united! Let those wild primal emotions that stretch out 
 into the infinite, that are represented by instruments, be contrasted 
 with the clear, definite emotions of the human heart, represented by the 
 human voice. The addition of the second element will work benefi- 
 cently and soothingly upon the conflict of the elemental emotions, and 
 give to their course a well-defined and united channel ; and the human 
 heart itself, in receiving these elemental emotions, will be immeasurably 
 strengthened and broadened ; and made capable of feeling clearly what 
 was before an uncertain presage of the highest ideal, now changed into 
 a divine knowledge." 
 
 Wagner, in "A Pilgrimage to Beethoven," Art Life and Theories, 
 p. 63. 
 
 "I admit that the exercises of the gymnasium form athletic bodies; 
 but beauty is only developed by the free and equal play of the limbs. 
 In the same way the tension of the isolated spiritual forces may make 
 extraordinary men; but it is only the well-tempered equilibrium of 
 these forces that can produce happy and accomplished men." 
 
 Schiller, Essays M&tlnetical and Philosophical, p. 43. 
 
 "The highest problem of any art is to produce by appearance the 
 illusion of a higher reality. But it is a false endeavour to realize the 
 appearance until at last only something commonly real remains." 
 
 Goethe, Autobiography, Bohn Library translation (George Bell & 
 Sons, London, 1891), vol. 1, p. 422. 
 
 TOPICS FOR STUDY AND DISCUSSION 
 
 1. What likenesses can you discover between poetry on the one hand 
 and sculpture and painting on the other? 
 38
 
 2. What likenesses can you discover between poetry and music? 
 
 3. What poets make the strongest appeal through imaginative vision? 
 
 What poets make the dominant appeal through music? 
 
 4. Compare what is given in Shakespeare's sonnet beginning "That 
 
 time of year thou mayst in me behold" with a painting of an 
 autumn scene. 
 
 5. Compare Shelley's lyric To the Night with the music of Chopin. 
 
 6. Study carefully what is given in Millet's Man with the Hoe with what 
 
 is given in Markham's poem on the same subject. 
 
 7. Estimate the value and limitations of Lessing's theory of the arts 
 
 as given in Laokoon. 
 
 8. What elements of content and of form are common to all the arts? 
 
 9. Compare in expression of thought, feeling and imagination and in 
 
 type of appeal, the Divine Comedy of Dante, the Last Judgment of 
 Michael Angelo and the Ninth Symphony of Beethoven. 
 10. What powers has poetry that are not present in the other arts? 
 
 REFERENCES 
 
 Ambros, Boundaries of Music and Poetry. Aristotle, Poetic. Beeching, 
 The Study of Poetry. Bradley, Poetry for Poetry's Sake. Corson, Aims of 
 Literary Study. Dabney, Musical Basis of Verse. Goethe, Conversations 
 with Eckermann; Maxims and Reflections. Gummere, The Beginnings of 
 Poetry; Handbook of Poetics. Gurney, The Power of Sound. Holden, 
 Audiences. Holmes, What is Poetry? Hugo, William Shakespeare. 
 Knight, The Philosophy of the Beautiful. Lanier, Music and Poetry; 
 Science of English Verse. Lessing, Laokoon. Moyse, Poetry as a Fine 
 Art. Newman, Poetry, with Reference to Aristotle's Poetics. Palgrave, 
 Golden Treasury; Poetry Compared with the Other Fine Arts. Plato, 
 Republic, books II. and III. Poe, The Rationale of Verse and The Poetic 
 Principle. Puffer, The Psychology of Beauty, chapters vi.-viii. Ray- 
 mond, Poetry as a Representative Art; Rhythm and Harmony in Poetry 
 and Music. Santayana, Elements and Function of Poetry. Schiller, 
 Essays. Shairp, Aspects of Poetry. Shelley, A Defence of Poetry. Sidney, 
 Defense of Poesy. Stedman, Nature and Elements of Poetry. Wagner, Art 
 Life and Theories of. Wilde, The Critic as Artist. Winchester, Some 
 Principles of Literary Criticism.
 
 VII. LITERATURE AND LIBERAL CULTURE 
 
 "It is precisely minds of the first order that will never be specialists. 
 For their very nature is to make the whole of existence their problem ; 
 and this 1 is a subject upon which they will every one of them in some 
 form provide mankind with a new revelation." 
 
 Schopenhauer, The Art of Literature, p. 55. 
 
 Significance of poetry for education. Each art supreme in its own 
 field and function. Thus impossibility of classing one as highest. Of 
 them all, poetry the most universal in function, combining in one some- 
 thing of each of the great types of art, and broadest in power to express 
 and interpret human life. Permanence of poetry. Accessibility of 
 poetry as contrasted with the other arts. Thus whatever art appeals 
 most powerfully to the individual, poetry having a place in the educa- 
 tion of all. Hence reason for choosing this art for separate discussion. 
 
 What is literature? Relation of poetry to other forms of literature. 
 Two-fold distinction of artistic literature from other writing : Require- 
 ment that it should be human in appeal, written for the man and not 
 the specialist, and that it should be adequate and harmonious in expres- 
 sion. The vast field comprised within these limits. 
 
 The study of literature. Literature many things to many men. Thus 
 studied for a multitude of special purposes. Compare the use of litera- 
 ture as a mere text-book for philology, or as an opportunity for ex- 
 pounding a particular philosophy. Frequent misuse of literature in 
 education. 
 
 The great value of literature, not in contributing to some phase of 
 special training, but in developing liberal culture. What such culture 
 means in the development of intellect, emotions and imagination. 
 
 The reasons for the vast development of specialization in our educa- 
 tion recently. Need that special training should rest always on a basis 
 of liberal culture. Thus the significance of the study of literature as 
 the art most broadly expressing human life, and thus contributing to 
 the liberal cultivation of the man as compared with the training of the 
 specialist. 
 
 The four avenues of approach. Literature possessing a soul of 
 thought, feeling and imagination and a body of artistic expression, 
 
 40
 
 Compare how all true art must be both significant and beautiful. Thus 
 two great aspects of literature: possible to focus attention on either one. 
 Which appeals more powerfully to the student as somewhat a matter 
 of temperament. 
 
 Content and form studied directly with the aim of understanding 
 significance and appreciating beauty; both aspects of literature studied 
 as embodying historical forces. Thus the four aspects of the study of 
 literature, with the aim of liberal culture. 
 
 The direct study of the content of literature. The range of thought 
 given in literature. The problems constantly treated. Thought never 
 expressed alone in literature, but always transfused with feeling and 
 transfigured with imagination. Thus the appeal to the whole man. 
 Resulting education and its value. Compare in developing apprecia- 
 tion of the beauty and sublimity of Nature, of the dignity, comedy and 
 tragedy of human life. Illustrations in the poetry of the sunset hour; 
 in the poetry of human experience. 
 
 The second avenue of approach. The soul of literature given a fur- 
 ther meaning when studied in relation to the forces behind it. Expres- 
 sion of the character of the artist in his work: Compare Milton in Para- 
 dise Lost; Carlyle in Sartor Resartus. Embodiment of the spirit of the 
 epoch and race in literature. Deeper expression of what is common to 
 humanity in all time: Compare the Antigone of Sophocles. 
 
 The study of literary art. The analytical study of form in literature 
 as only a means to an end the end of synthetic appreciation. The 
 need always to find the relation of the body of art to the soul of thought, 
 feeling and imagination expressed through it. 
 
 No accidents in art. The melody of a line or word always determined 
 by law, whether or not the poet was conscious of the law. Possible thus 
 for the student to discover the laws the art follows. Illustration of 
 these in the succession of poetic forms from common speech to the most 
 highly differentiated stanzas. The aim of art never merely to create 
 the sensuously pleasing, but to give adequate and harmonious expres- 
 sion. 
 
 The fourth avenue of approach. The body of literature as much as 
 the soul an expression of historical forces. Evidgnce in the contrasting 
 imagery of Shelley and Wordsworth. The Elizabethan age naturally 
 creating the drama, modern life the lyric. Expression of racial char- 
 acteristics in the music of words and the stanzas of poetry. Contrast 
 Beowulf and the Iliad. 
 
 The culture given by literature. Type of education resulting from all 
 four lines of the study of literature. The widened relation to man and 
 Nature. The true cosmopolitanism of the spirit. Thus the service of 
 
 41
 
 literature in making possible the discovery of the divine in the common- 
 place and of the ideal in the real. 
 
 ILLUSTRATIONS 
 
 "To use many words to communicate few thoughts is everywhere 
 the unmistakable sign of mediocrity. To gather much thought into 
 few words stamps the man of genius." 
 
 Schopenhauer, The Art of Literature, p. 30. 
 
 " We know that the sensibility of the mind depends, as to degree, on 
 the liveliness, and for extent on the richness, of the imagination. Now 
 the predominance of the faculty of analysis must necessarily deprive 
 the imagination of its warmth and energy, and a restricted sphere of 
 objects must diminish its wealth. It is for this reason that the abstract 
 thinker has very often a cold heart, because he analyses impressions, 
 which only move the mind by their combination or totality; on the 
 other hand, the man of business, the statesman, has very often a narrow 
 heart, because shut up in the narrow circle of his employment his imagi- 
 nation can neither expand nor adapt itself to another manner of viewing 
 things." 
 
 Schiller, Essays dEsthetical and Philosophical, pp. 41, 42. 
 
 "One should not study contemporaries and competitors, but the 
 great men of antiquity, whose works have, for centuries, received equal 
 homage and consideration. Indeed, a man of really superior endow- 
 ments will feel the necessity of this, and it is just this need for an inter- 
 course with great predecessors, which is the sign of a higher talent. Let 
 us study Moliere, let us study Shakespeare, but above all things, the 
 old Greeks, and always the Greeks." 
 
 Goethe, Conversations with Eckermann and Soret, p. 236. 
 
 "There is a fine art of passion, but an impassioned fine art is a con- 
 tradiction in terms, for the infallible effect of the beautiful is emancipa- 
 tion from the passions. The idea of an instructive fine art (didactic 
 art) or improving (moral) art is no less contradictory, for nothing agrees 
 less with the idea of the beautiful than to give a determinate tendency 
 to the mind." 
 
 Schiller, Essays dSsthetical and Philosophical, p. 92. 
 
 "To read a philosopher's biography, instead of studying his thoughts, 
 is like neglecting a picture and attending only to the style of its frame, 
 debating whether it is carved well or ill, and how much it cost to gild it." 
 
 Schopenhauer, The Art of Literature, p. 146. 
 
 "Any one who is sufficiently young, and who is not quite spoiled, 
 could not easily find any place that would suit him so well as a theatre. 
 No one asks you any questions: you need not open your mouth unless 
 you choose; on the contrary, you sit quite at your ease like a king, and 
 let everything pass before you, and recreate your mind and senses to 
 
 42
 
 your heart's Content. There is poetry, there is painting, there are sing- 
 ing and music, there is acting, and what not besides. When all these 
 arts, and the charm of youth and beauty heightened to an important 
 degree, work in concert on the same evening, it is a bouquet to which no 
 other can compare." 
 Goethe, Conversations with Eckermann and Soret, p. 120. 
 
 "It is therefore not going far enough to say that the light of the 
 understanding only deserves respect when it reacts on the character; 
 to a certain extent it is from the character that this light proceeds; for 
 the road that terminates in the head must pass through the heart. Ac- 
 cordingly, the most pressing need of the present time is to educate the 
 sensibility, because it is the means, not only to render efficacious in prac- 
 tice the improvement of ideas, but to call this improvement into exist- 
 ence." 
 
 Schiller, Essays JEsthetical and Philosophical, p. 48. 
 
 " A pupil from whom nothing is ever demanded which he cannot do, 
 never does all he can." 
 
 John Stuart Mill, Autobiography (Henry Holt & Co., New York, 
 1887), p. 32. 
 
 TOPICS FOR STUDY AND DISCUSSION 
 
 1. Define artistic literature as distinguished from other writings. 
 
 2. What characteristics give literature an exceptional place and 
 
 value as a means of liberal culture? 
 
 3. What education results from the study of thought, feeling and im- 
 
 agination in literature? 
 
 4. Why is the poetry of sorrow filled with the imagery of the sea? 
 
 5. Is there a "pathetic fallacy" involved in using Nature as a lan- 
 
 guage for the expression of human emotions? 
 
 6. What place has the education of the emotions and the imagination 
 
 in relation to the whole of culture? 
 
 7. Study the imagery of Shelley and Wordsworth as expressing the 
 
 character of the two poets. 
 
 8. What is the cultural value of the analytical study of literary style? 
 
 9. Why was Elizabethan poetry characteristically dramatic, where 
 
 modern English poetry is predominantly lyrical? 
 10. What aspects of the study of literature are most important for 
 liberal culture, and why? 
 
 REFERENCES 
 
 Arnold, The Study of Poetry. Baldwin, The Book-Lover. Bates, Talks 
 on the Study of Literature. Beeching, The Study of Poetry. Collins, TJie 
 
 43
 
 True Functions of Poetry. Corson, Aims of Literary Study. Crawshaw, 
 The Interpretation of Literature; Literary Interpretation of Life. Dabney, 
 Musical Basis of Verse. Hamerton, The Intellectual Life. Hugo, William 
 Shakespeare. Lewes, Principles of Success in Literature. Mabie, Books 
 and Culture. Mathews, Music: Its Ideals and Methods. Morison, The 
 Great Poets as Religious Teachers. Newman, Poetry, with Reference to 
 Aristotle's Poetics. Palgrave, Golden Treasury. Pryde, Highways of 
 Literature. Santayana, Elements and Function of Poetry. Schiller, 
 Essays. Shairp, Poetic Interpretation of Nature. Sidney, Defense of 
 Poesy. Stedman, Nature and Elements of Poetry. Warner, The Relation 
 of Literature to Life. Winchester, Some Principles of Literary Criticism. 
 
 44
 
 VIII. BEAUTY AND THE CULTURE OF 
 THE SPIRIT 
 
 " It is important, at the present time, to bear in mind that the human 
 soul has still greater need of the ideal than of the real. 
 
 It is by the real that we exist; it is by the ideal that we live. Would 
 you realize the difference? Animals exist, man lives." 
 
 Victor Hugo, William Shakespeare, p. 295. 
 
 The life of appreciation. Art appealing to the whole man intellect, 
 emotion, imagination. Hence difficulty in endeavoring to put the 
 meaning of art into terms of the intellect. How we appreciate much 
 that we never understand. The joy of life depending largely on appre- 
 ciation. Compare how life is always in advance of the theory of life. 
 The three aspects of the life of appreciation: beauty, love, faith. The 
 sense in which wisdom also belongs to appreciation. 
 
 Contrasting significance of art and philosophy. The reason for the 
 permanent value of every great work of art. The test of an artistic 
 masterpiece its power to grow with our growth, revealing new deeps as 
 we bring the key of enlarged experience to its interpretation. 
 
 The nature of beauty. The fact that beauty belongs to the life of 
 appreciation as explaining the difficulty in defining beauty. Possible 
 to define the relations upon which beauty depends rather than beauty 
 itself. 
 
 The relation of habit and custom in the appreciation of beauty. Evi- 
 dence of a conventional element in changes of taste and standard in 
 reference both to Nature and the arts. 
 
 The relation of the parts to the whole in Nature or art ; and the rela- 
 tion of an organism or a thing made to the function it is to fulfil. Con- 
 trast deformity and beauty. The sublimity of a great machine. 
 
 The deeper relation of body to soul, of form to content, as a determin- 
 ing principle of beauty. Beauty depending less upon what is sensu- 
 ously pleasing, than upon adequate and harmonious expression, the 
 perfect marrying of body and soul. 
 
 Still deeper relation behind all appreciation of beauty. The rhythm 
 or harmony that inevitably exists between man's sensibilities and the 
 Nature-world in relation to which these senses have been evolved. 
 
 45
 
 Since all forms utilized in the arts are drawn finally from Nature, this 
 principle behind all appreciation of beauty in the arts as well as in 
 Nature. 
 
 Unity of the life of appreciation. Hence all cultivation of the true 
 response to beauty deepening and refining the life of love and of re- 
 ligion. 
 
 Nature and art. The two worlds of beauty; each possessing its own 
 superiority. Identity of form and content in the beauty of Nature; 
 living and everchanging character of Nature. Hence the healing, rest- 
 ing and exalting power of Nature in ministering to the spirit of man. 
 On the other hand, the soul in Nature dumb and brooding; carried to 
 clear and conscious expression through human art. Art as Nature and 
 life put through the spectrum of man's mind and heart. Compare a 
 Corot painting with a bit of Nature ; a portrait by Titian or Rembrandt 
 with a human face. Thus the ministration of art to the human spirit: 
 in calming and exalting; in giving widened relation to Nature and life, 
 developing power to see; in inspiring action. 
 
 Opportunities for the appreciation of beauty. The wealth of natural 
 beauty poured out abundantly on every hand. Tendency to ignore or 
 fail to see the beauty of Nature just because it is so universal and 
 accessible. Need to put oneself in the way of beauty; to leave room 
 for the heaven of the unexpected. 
 
 If the beauty of art is less accessible, nevertheless far more than is 
 utilized and enjoyed. Compare in poetry, painting, music. The cur- 
 rent attitude toward museums of art and opportunities in music. 
 
 The conscious study of beauty. Not enough to give oneself oppor- 
 tunities for enjoying beauty. Compare the people who live close to 
 Nature without seeing her beauty; who wander aimlessly through art 
 galleries and sit unappreciatively through an evening of great music 
 because it is the fashion. Need of conscious study of beauty as a means 
 toward appreciation. 
 
 The method of the conscious study of beauty in Nature and the arts. 
 Need to isolate and analyze. The ways by which one may escape con- 
 vention and react freshly on the appeal of beauty. The active question- 
 ing which the student should employ. The deepened conscious appre- 
 ciation which results from such study. The greater value of a little of 
 such direct and active study over much reading of art criticism and 
 theory. 
 
 Some expression necessary to complete such study. Various forms 
 that may be employed. The value of keeping a book of reflections in 
 which to formulate and record one's study and appreciation. 
 
 The value of art for the artist. The ministry of beauty fulfilled in 
 
 46
 
 the supreme way for the creative artist. Clarifying and exalting influ- 
 ence of art upon the artist. Development in him of power to see and 
 to achieve. Illustrations in great masters such as Michael Angelo and 
 Dante. Thus for the artist supremely as for the student in lesser 
 degree, art for life's sake. 
 
 Art and daily life. Need that each human being should be an artist: 
 this possible in the supreme art of living. Thus need to identify beauty 
 and use: to make one's vocation, one's environment, one's relationships 
 art in the highest sense. How then every part and aspect of life would 
 be the adequate and harmonious expression and interpretation of some 
 phase of man's life and experience in true relation to the whole. 
 
 ILLUSTRATIONS 
 
 "Supreme Art is the region of Equals. There is no primacy among 
 masterpieces." 
 Victor Hugo, William Shakespeare, p. 40. 
 
 "The technical work of our time, which is done to an unprecedented 
 perfection, has, by increasing and multiplying objects of luxury, given 
 the favourites of fortune a choice between more leisure and culture upon 
 the one side, and additional luxury and good living, but with increased 
 activity, upon the other; and, true to their character, they choose the 
 latter, and prefer champagne to freedom." 
 
 Schopenhauer, The Art of Literature, p. 141. 
 
 "The capacity of the sublime is one of the noblest aptitudes of man. 
 Beauty is useful, but does not go beyond man. The sublime applies to 
 the pure spirit. The sublime must be joined to the beautiful to com- 
 plete the aesthetic education, and to enlarge man's heart beyond the 
 sensuous world." 
 
 Schiller, Essays sEsthetical and Philosophical, p. 141. 
 
 "Let us remember the prompter, very delicately and genially drawn 
 by Goethe in a few touches, who is so much moved at certain places that 
 he weeps hot tears ; yet ' it is, strictly speaking, not the so-called moving 
 places that affect him so, but the beautiful places from which the pure 
 genius of the poet, so to speak, looks out from bright, open eyes.' In the 
 case of persons of a predominantly tender, ardent disposition we not 
 seldom meet this phenomenon. A beautiful po6m, a sublime scene in 
 nature nay, the narration of a good deed, moves them to tears. And 
 history tells us of the noble Saladin, who was a warlike hero, that the 
 narration of great deeds and simple touching occurrences often moved 
 him also to tears. It can hardly be assumed that a warlike hero is the 
 possessor of weak nerves. What have these grayish-white threads to 
 do at all with the eternal ideas of the Good and the Beautiful? The 
 emotion of which we have just spoken is something better than mere 
 
 47
 
 nervous irritation ; it is a higher kind of homesickness, which attacks us 
 when the ideas of the Good and the Beautiful suddenly appear before us 
 and remind us of our eternal home." 
 
 Ambroa, The Boundaries of Music and Poetry, pp. 42, 43. 
 
 "We leave a grand musical performance with our feelings excited, 
 the reading of a noble poem with a quickened imagination, a beautiful 
 statue or building with an awakened understanding; but a man would 
 not choose an opportune moment who attempted to invite us to abstract 
 thinking after a high musical enjoyment, or to attend to a prosaic affair 
 of common life after a high poetical enjoyment, or to kindle our imagina- 
 tion and astonish our feelings directly after inspecting a fine statue or 
 edifice. The reason of this is, that music, by its matter, even when most 
 spiritual, presents a greater affinity with the senses than is permitted by 
 aesthetic liberty; it is because even the most happy poetry, having for 
 its medium the arbitrary and contingent play of the imagination, always 
 shares in it more than the intimate necessity of the really beautiful 
 allows; it is because the best sculpture touches on severe science by what 
 is determinate in its conception. However, these particular affinities are 
 lost in proportion as the works of these three kinds of art rise to a greater 
 elevation, and it is a natural and necessary consequence of their per- 
 fection, that, without confounding their objective limits, the different 
 arts come to resemble each other more and more, in the action which 
 they exercise on the mind. At its highest degree of ennobling, music ought 
 to become a form, and act on us with the calm power of an antique 
 statue; in its most elevated perfection, the plastic art ought to become 
 music and move us by the immediate action exercised on the mind by 
 the senses; in its most complete development, poetry ought both to stir 
 us powerfully like music and like plastic art to surround us with a peace- 
 ful light. In each art, the perfect style consists exactly in knowing 
 how to remove specific limits, while sacrificing at the same time the par- 
 ticular advantages of the art, and to give it by a wise use of what be- 
 longs to it specially a more general character." 
 
 Schiller, Essays JEsthetical and Philosophical, pp. 90, 91. 
 
 "When a beautiful soul harmonizes with a beautiful form, and the two 
 are cast in one mold, that will be the fairest of sights to him who has an 
 eye to see it." 
 
 Plato, Republic, book III, section 402. 
 
 "The amphora which refuses to go to the fountain deserves the hisses 
 of the water-pots." 
 
 Victor Hugo, William Shakespeare, p. 319. 
 
 " The true artist has no pride ; unhappily he realizes that art has no 
 limitations, he feels darkly how far he is from the goal, and while per- 
 haps he is admired by others, he grieves that he has not yet reached the 
 point where the better genius shall shine before him like a distant sun." 
 
 Beethoven, in Kerst, Beethoven: The Man and the Artist, p. 49. 
 
 48
 
 TOPICS FOR STUDY AND DISCUSSION 
 
 1. Define the respective functions of art and philosophy in relation to 
 
 the human spirit. 
 
 2. Compare in significance and relative value, beauty in Nature and in 
 
 human art. 
 
 3. Can beauty exist without definite and limited form? 
 
 4. What does creative expression in art do for the artist? 
 
 5. Is it possible to define beauty satisfactorily? 
 
 6. Sum up all the elements and relations involved in the appreciation 
 
 of beauty. 
 
 7. What end and aim is evident in the creation of all great art? 
 
 8. In what ways does the beauty of Nature and of art minister to the 
 
 spirit of man? 
 
 9. What should be the relation of art to daily life? 
 10. How can life be made a fine art? 
 
 REFERENCES 
 
 Carpenter, Angels' Wings. Dwight, Intellectual Influence of Music; 
 Music as a Means of Culture. Eastman, Musical Education and Musical 
 Art. Emerson, Art (in Essays, first series, pp. 325-343); Art (in Society 
 and Solitude, pp. 39-59). Gurney, The Power of Sound. Hamerton, The 
 Intellectual Life. Hand, Esthetics of Musical Art. Hanslick, The Beauti- 
 ful in Music. Hegel, Introduction to the Philosophy of Fine Art. Holden, 
 Audiences. Lanier, Music and Poetry. Mabie, Nature and Culture. Mor- 
 ris, Hopes and Fears for Art. Parry, The Ministry of Fine Art to the Hap- 
 piness of Life. Partridge, Art for America. Plato, Republic, books II. and 
 III. Puffer, The Psychology of Beauty. Raymond, Essentials of Es- 
 thetics. Schiller, Essays. Surette and Mason, The Appreciation of Music. 
 Tolstoy, What is Art? Wagner, Art Life and Theories of. 
 
 49
 
 SUGGESTIONS TO STUDENTS 
 
 " You do ill if you praise, but worse if you censure, what you do not 
 rightly understand." 
 
 Leonardo da Vinci, Leonardo da Vinci's Note-Books, arranged by 
 Edward McCurdy, p. 58. 
 
 Dealing, as this course does, with the material of four great arts, there 
 is no limit to the work the student may do in connection with it. The 
 most significant point is to recognize that a little first-hand study of 
 works of art is worth more than a vast amount of reading of criticism 
 and theory of art. The best preparation for the course is to select a 
 few works of art in each of the four fields and study them carefully; 
 analyzing rigorously the effect each produces on the student's senses, 
 emotions and intellect; seeking to discover the means by which that 
 effect is produced; and endeavoring to define what part or aspect of 
 man's life and reaction on Nature finds expression and interpretation 
 in each artistic creation studied. The student must formulate his own 
 questioning and worjc with a mind consistently active, not passive. 
 
 This is merely demanding in the field of the arts the same direct in- 
 ductive study of the material given, that is universally recognized to- 
 day as the only sound method in every field of science. It is surprising 
 how a little of such study will clarify the field of art. Works drop 
 quickly into place, each is understood in relation to others and to the 
 common background of human experience in both significance and 
 beauty. This intellectual result is, however, not all; indeed, it is the 
 less important consequence of the work. The great gain is in deepened 
 appreciation. The student turns to fresh works of art with a multiplied 
 power to respond to the appeal of each masterpiece. Thus is his life 
 widened and deepened in relation to man and Nature, and blessed with 
 the joy that beauty gives. 
 
 The reading of such books as are given in the following list should be 
 subordinated to the work above outlined, and should be used to clarify 
 and stimulate the student's own thinking, following the direct study of 
 the works of art themselves. 
 
 The material in Palgrave's Golden Treasury of Songs and Lyrics, giv- 
 ing as it does brief but complete works of art selected from widely 
 different men and epochs should be used throughout the course to 
 represent the art of poetry. Where a gallery of painting and sculpture 
 is not accessible to the student, photographic reproductions (obtainable 
 to-day at insignificant price) of the works mentioned in the outlines 
 and lists of topics should be obtained and carefully studied. In music 
 the student should utilize with loving care such opportunities as he can 
 find or make available. 
 
 50
 
 BOOK LIST 
 
 Ambros, Wilhelm August, The Boundaries of Music and Poetry, trans- 
 lated by J. H. Cornell. Pp. xiii + 187. G. Schirmer, New York, 1893. 
 
 Anderson, Rasmus B., Norse Mythology. Pp. 473. S. C. Griggs & Co., 
 Chicago, 1875. 
 
 Anderson, Rasmus B. (translator), The Younger Edda. Pp. 302. S. C. 
 Griggs & Co., Chicago, 1880. 
 
 Aristotle, The Poetic, translated by Theodore Buckley, pp. 405-500 in 
 volume with Aristotle's Rhetoric. Bohn Library, George Bell & Sons, 
 London, 1890. 
 
 Arnold, Matthew, The Study of Poetry, pp. 1-55 in Essays in Criticism, 
 second series. The Macmillan Co., New York, 1906. 
 
 Baldwin, James, The Book-Lover. Pp. 201. Jansen, McClurg & Co., 
 Chicago, 1885. 
 
 Bascom, John, Philosophy of English Literature. Pp. xii + 318. G. P. 
 Putnam's Sons, New York, 1886. 
 
 Bates, Arlo, Talks on the Study of Literature. Pp. 260. Houghton, 
 Mifflin & Co., Boston, 1898. 
 
 Beeching, H. C., The Study of Poetry. Pp. 57. University Press, Cam- 
 bridge, 1901. 
 
 Bradley, A. C., Poetry for Poetry's Sake. Pp. 32. Clarendon Press, 
 Oxford, 1901. 
 
 Brown, G. Baldwin, The Fine Arts. Pp. xii + 321. Charles Scribner's 
 Sons, New York, 1906. 
 
 Browning, Robert, Abt Vogler; With Charles Avison (in Parleyings with 
 Certain People); Master Hugues of Saxe-Gotha; Saul, in Works. 
 Camberwell edition, T. Y. Crowell & Co., New York, 1898. 
 
 Bulfinch, Thomas, The Age of Chivalry. Pp. viii + 414. Crosby, 
 Nichols & Co., Boston, 1859. 
 
 Bulfinch, Thomas, The Age of Fable, edited by E. E. Hale. New edi- 
 tion. Pp. xxi + 568. S. W. Tilton & Co., Boston, 1894. 
 
 Caffin, Charles H., How to Study Pictures. Pp. xv + 513. The Century 
 Co., New York, 1906. 
 
 Carlyle, Thomas, The Hero as Divinity, pp. 1-41 in Heroes and Hero- 
 Worship. Centenary edition. Charles ScribnePs Sons, New York, 1897. 
 
 Carpenter, Edward, Angels' Wings: A Series of Essays on Art and Its 
 Relation to Life. Pp. 248. Swan Sonnenschein & Co., London, 1898. 
 
 Collins, John Churton, The True Functions of Poetry, pp. 263-291 in 
 Studies in Poetry and Criticism. George Bell & Sons, London, 1905. 
 
 Corson, Hiram, The Aims of Literary Study. Pp. 153. The Macmillan 
 Co., New York, 1895. 
 
 51
 
 Cox, George W., An Introduction to the Science of Comparative Mythology 
 
 and Folk-Lore. Pp. xvi + 380. Henry Holt & Co., New York, 1881. 
 Cox, George W., The Mythology of the Aryan Nations. 2 vols., pp. 
 
 xx +460 and xv + 397. Longmans, Green, & Co., London, 1870. 
 Crawshaw, W. H., The Interpretation of Literature. Pp. x + 235. The 
 
 Macmillan Co., New York, 1902. 
 Crawshaw, W. H., Literary Interpretation of Life. Pp. viii + 266. The 
 
 Macmillan Co., New York, 1900. 
 Dabney, J. P., The Musical Basis of Verse. Pp. x+269. Longmans, 
 
 Green, & Co., London, 1901. 
 Davies, Henry M., The Musical Consciousness. (In Music, vol. XII, 
 
 pp. 25-38, 171-180, 329-341, 462-472.) 
 Donaldson, John William, The Theatre of the Greeks. Pp. xii+435. 
 
 George Bell & Sons, London, 1891. 
 D wight, John S., Intellectual Influence of Music. (In The Atlantic 
 
 Monthly, vol. XXVI, pp. 614-625.) Boston, Nov., 1870. 
 Dwight, John S., Music as a Means of Culture. (In The Atlantic 
 
 Monthly, vol. XXVI, pp. 321-331.) Boston, Sept., 1870. 
 Eastman, Edith V., Musical Education and Musical Art. Pp. 171. 
 
 Damrell & Upham, Boston, 1893. 
 
 Emerson, Ralph Waldo, Art, pp. 325-343 in Essays, first series. Hough- 
 ton, Mifflin & Co., Boston, 1883. 
 Emerson, Ralph Waldo, Art, pp. 39-59 in Society and Solitude. 
 
 Houghton, Mifflin & Co., Boston, 1898. 
 Engel, Carl, Introduction to the Study of National Music. Pp. x-f 435. 
 
 Longmans, Green, & Co., London, 1886. 
 Fairbanks, Arthur, The Mythology of Greece and Rome, with Special 
 
 Reference to its Influence on Literature. Pp. xvii + 408. D. Appleton 
 
 & Co., New York, 1907. 
 Gayley, C. M. (editor), Classic Myths in English Literature. Pp. xlv + 
 
 540. Ginn & Co., Boston, 1894. 
 Goddard, Joseph, Reflections upon Musical Art Considered in its Wider 
 
 Relations. Pp. viii + 87. Goddard & Co., London, 1893. 
 Goethe, Conversations v)ith Eckermann and Soret, translated by John 
 
 Oxenford. Pp. xxvii + 583. Bohn Library, George Bell & Sons, 
 
 London, 1901. 
 Goethe, The Maxims and Reflections of, translated by T. Bailey Saun- 
 
 ders. Pp. 223. The Macmillan Co., New York, 1893. 
 Goethe, Travels in Italy, translated by A. J. W. Morrison and Charles 
 
 Nesbit. Pp. 589. Bohn Library, George Bell & Sons, London, 
 
 1892. 
 
 Goldziher, Ignaz, Mythology among the Hebrews and its Historical De- 
 
 52
 
 velopment, translated by Russell Martineau. Pp. xxxv + 457. Long- 
 mans, Green, & Co., London, 1877. 
 Grosse, Ernest, The Beginnings of Art. Pp. xiv+327. D. Appleton & 
 
 Co., New York, 1897. 
 Guerber, H. A., Myths of Greece and Rome. Pp. 428. American Book 
 
 Co., New York, 1893. 
 Guerber, H. A., Myths of Northern Lands. Pp. 319. American Book 
 
 Co., New York, 1895. 
 Gummere, Francis B., The Beginnings of Poetry. Pp. x + 483. The 
 
 Macmillan Co., New York, 1901. 
 Gummere, Francis B., A Handbook of Poetics. Pp. vi + 250. Ginn & 
 
 Co., Boston, 1885. 
 Gurney, Edmund, The Power of Sound. Pp. xi + 559. Smith, Elder, & 
 
 Co., London, 1880. 
 Hamerton, Philip Gilbert, The Intellectual Life. Pp. xix + 455. Roberts 
 
 Bros., Boston, 1891. 
 
 Hamerton, Philip Gilbert, Thoughts About Art. Pp. xxiv + 383. Rob- 
 erts Bros., Boston, 1878. 
 Hanchett, Henry G., The Art of the Musician: A Guide to the Intellectual 
 
 Appreciation of Music. Pp. viii + 327. The Macmillan Co., New 
 
 York, 1905. 
 Hand, Ferdinand, Esthetics of Musical Art; or, the Beautiful in Music, 
 
 translated from the German by Walter E. Lawson. Pp. xviii + 187. 
 
 London, 1880. 
 Hanslick, Dr. Eduard, The Beautiful in Music, translated by Gustav 
 
 Cohen. Novello, Ewer & Co., New York, 1891. 
 Hegel, Georg Wilhelm Friedrich, Introduction to the Philosophy of Fine 
 
 Art, translated by B. Bosanquet. Pp. xxxiii + 175. Kegan Paul, 
 
 Trench & Co., London, 1886. 
 Helmholtz, Hermann L. F., On the Sensations of Tone as a Physiological 
 
 Basis for the Theory of Music, translated by Alexander J. Ellis. Pp. 
 
 xix + 576. Longmans, Green, & Co., London, 1885. 
 Henderson, W. J., What is Good Music? Pp. xiii + 205. Charles Scrib- 
 
 ner's Sons, New York, 1905. 
 Holden, Florence P., Audiences: A Few Suggestions to Those Who Look 
 
 and Listen. A. C. McClurg & Co., Chicago, 1^96. 
 Holmes, Edmond, What is Poetry? Pp. 98. Lane, New York, 1900. 
 Hugo, Victor, William Shakespeare, translated by Melville B. Anderson. 
 
 Pp. 24 + 424. A. C. McClurg & Co., Chicago, 1899. 
 Kerst, Friedrich (compiler and annotator), Beethoven: The Man and the 
 
 Artist, as Revealed in His Own Words, translated and edited by 
 
 Henry Edward Krehbiel. Pp. 110. B. W. Huebsch, New York, 1905. 
 
 53
 
 Kerst, Friedrich (compiler and annotator), Mozart: The Man and the 
 
 Artist, as Revealed in His Own Wards, translated and edited by 
 
 Henry Edward Krehbjel. Pp. 143. B. W. Huebsch, New York, 
 
 1905. 
 Knight, William, The Philosophy of the Beautiful. 2 vols. Pp. xv + 
 
 288 and xii+281. John Murray, London, 1891-3. 
 Kobbe*, Gustav, How to Appreciate Music. Pp. 275. Moffat, Yard & 
 
 Co., New York, 1906. 
 Krehbiel, Henry Edward, How to Listen to Music. Pp. xv + 3Gl. 
 
 Charles Scribner's Sons, New York, 1897. 
 Kufferath, M., Rhythm, Melody and Harmony. (In Music, vol. XVII, 
 
 pp. 31-39, 155-163.) Chicago, 1899, 1900. 
 LaFarge, J., Considerations on Painting. Pp. vi + 270. The Macmillan 
 
 Co., New York, 1901. 
 Lanier, Sidney, Music and Poetry. Pp. viii + 248. Charles Scribner's 
 
 Sons, New York, 1899. 
 
 Lanier, Sidney, The Science of English Verse. Pp. 315. Charles Scrib- 
 ner's Sons, New York, 1901. 
 Leighton, Lord, Addresses Delivered to the Students of the Royal Academy. 
 
 Pp. 310. Kegan Paul, Trench, Triibner & Co., London, 1896. 
 Lessing, G. E., Laokoon, pp. 1-169 in Laokoon, etc., translated by E. C. 
 
 Beasley and Helen Zimmern. Bohn Library, George Bell & Sons, 
 
 London, 1900. 
 Lewes, George Henry, The Principles of Success in Literature. Pp. 
 
 xv +235. Walter Scott, London, n. d. 
 Mabie, Hamilton Wright, Books and Culture. Pp. 279. Dodd, Mead & 
 
 Co., New York, 1896. 
 Mabie, Hamilton Wright, Essays on Nature and Culture. Pp. 326. 
 
 Dodd, Mead & Co., New York, 1896. 
 Mabie, Hamilton Wright, Short Studies in Literature. Pp. vi + 201. 
 
 Dodd, Mead & Co., New York, 1892. 
 Mach, Edmund von, Greek Sculpture; Its Spirit and Principles. Pp. 
 
 xviii + 359 + xl. Ginn & Co., Boston, 1903. 
 Malory, Sir Thomas, Le Morte Darthur, edited with introduction by Sir 
 
 Edward Strachey. Pp. lvi + 509. The Macmillan Co., New York, 
 
 1901. 
 Mathews, W. S. B., How to Understand Music. 2 vols., pp. 216 + 87 
 
 and viii + 208. Theodore Presser, Philadelphia, 1886, 1888. 
 Mathews, W. S. B., Music: Its Ideals and Methods. Pp. iii + 225. Theo- 
 dore Presser, Philadelphia, 1897. 
 Morison, John H., The Great Poets as Religious Teachers. Pp. 200. 
 
 Harper & Bros., New York, 1886. 
 
 54
 
 Morris, William, Hopes and Fears for Art. Pp. 217. Roberts Bros., 
 
 Boston, 1882. 
 
 Moyse, Charles E., Poetry, as a Fine Art. Pp. 79. Elliot Stock, Lon- 
 don, 1883. 
 Miinsterberg, Hugo, The Principles of Art Education. Pp. 114. The 
 
 Prang Educational Co., New York, 1905. 
 Newman, John Henry, Poetry, with Reference to Aristotle's Poetics. Pp. 
 
 x + 36. Ginn & Co., Boston, 1891. 
 Norton, Edwin Lee, The Intellectual Element in Music, pp. 167-201 in 
 
 Studies in Philosophy and Psychology. Houghton, Mifflin & Co., 
 
 Boston, 1906. 
 Noyes, Carleton, The Enjoyment of Art. Pp. xiii + 101. Houghton, 
 
 Mifflin & Co., Boston, 1903. 
 Palgrave, Francis Turner (editor), The Golden Treasury of the Best 
 
 Songs and Lyrical Poems in the English Language. Series I, pp. 381; 
 
 series II, pp. xii + 275. The Macmillan Co., New York, 1896, 1897. 
 Palgrave, Francis Turner, Poetry Compared with the Other Fine Arts. 
 
 (In Littell's Living Age, vol. CLXXI, pp. 259-267; vol. CLXXIII, 
 
 pp. 579-589.) Boston, 1886, 1887. 
 Parry, C. Hubert H., The Evolution of the Art of Music. Pp. x + 342. 
 
 D. Appleton & Co., New York, 1906. 
 Parry, T. Gambier, The Ministry of Fine Art to the Happiness of Life. 
 
 Pp. viii + 368. John Murray, London, 1886. 
 Partridge, William Ordway, Art for America. Pp. 192. Roberts Bros., 
 
 Boston, 1894. 
 
 Plato, The Republic, translated by B. Jowett. Books II and III. Ox- 
 ford University Press, 1892. 
 Poe, Edgar Allen, The Rationale of Verse and The Poetic Principle, pp. 
 
 209-292 in vol. XIV of Works, edited by James A. Harrison. Thomas 
 
 Y. Crowell & Co., New York, 1902. 
 Posnett, Hutcheson Macauley, Comparative Literature. Pp. x + 402. 
 
 D. Appleton & Co., New York, 1886. 
 Pryde, David, Highways of Literature. Pp. 156. Funk & Wagnalls, 
 
 New York, n. d. 
 Puffer, Ethel D., The Psychology of Beauty. Pp. yji + 286. Houghton, 
 
 Mifflin & Co., Boston, 1906. 
 
 Raymond, George Lansing, Art in Theory. Pp. xviii + 266. G. P. Put- 
 nam's Sons, New York, 1894. 
 Raymond, George Lansing, The Essentials of ^Esthetics. Pp. xix + 404. 
 
 G. P. Putnam's Sons, New York, 1906. 
 Raymond, George Lansing, The Genesis of Art-Form. Pp. xxii + 311. 
 
 G. P. Putnam's Sons, New York, 1893. 
 
 56
 
 Raymond, George Lansing, Painting, Sculpture, and Architecture as 
 
 Representative Arts. Pp. xxxv + 431. G. P. Putnam's Sons, New 
 
 York, 1895. 
 Raymond, George Lansing, Poetry as a Representative Art. Pp. xv + 
 
 346. G. P. Putnam's Sons, New York, 1886. 
 Raymond, George Lansing, Rhythm and Harmony in Poetry and Music. 
 
 Pp. xxxvi + 344. G. P. Putnam's Sons, New York, 1904. 
 Ritter, Frederic Louis, Music in Its Relation to Intellectual Life; Roman- 
 ticism in Music. Pp. 98. Edward Schuberth & Co., New York, 1891. 
 Ruskin, John, Aratra Pentelici; Elements of Sculpture. Pp. xi+181. 
 
 John Wiley & Sons, New York, 1886. 
 Ruskin, John, Lectures on Art. Pp. 202. Merrill & Baker, New York, 
 
 n.d. 
 Ruskin, John, Modern Painters. 5 vols., pp. lxxiii + 429, xiii + 230, 
 
 xii + 341, 403, and xiv + 390. Merrill & Baker, New York, n. d. 
 Ruskin, John, The Two Paths: Lectures on Art. Pp. xvii + 270. May- 
 
 nard, Merrill & Co., New York, 1893. 
 Saint-Sae'ns, Camille, The Nature and Object of Music. (In Music, vol. 
 
 V, pp. 557-572.) Chicago, March, 1894. 
 Santayana, George, The Elements and Function of Poetry, pp. 251-290 
 
 in Interpretations of Poetry and Religion. Charles Scribner's Sons, 
 
 New York, 1900. 
 Schiller, Friedrich, Essays Msihdical and Philosophical, translated from 
 
 the German. Pp. 435. Bohn Library, George Bell & Sons, London, 
 
 1905. 
 Schopenhauer, Arthur, The Art of Literature, translated by T. Bailey 
 
 Saunders. Pp. xiv + 149. The Macmillan Co., New York, 1891. 
 Schopenhauer, Arthur, The Metaphysics of Fine Art, pp. 125-140 in 
 
 Religion and Other Essays, translated by T. Bailey Saunders. Swan 
 
 Sonnenschein & Co., London, 1891. 
 Schopenhauer, Arthur, On the Metaphysics of Music, pp. 155-177 in 
 
 Wagner's Beethoven. William Reeves, London, 1880. 
 Shairp, John Campbell, Aspects of Poetry. Pp. x + 401. Houghton, 
 
 Mifflin & Co., Boston, 1882. 
 Shairp, John Campbell, Poetic Interpretation of Nature. Pp. x + 279. 
 
 Houghton, Mifflin & Co., Boston, 1882. 
 
 Shelley, Percy Bysshe, A Defence of Poetry, pp. 1-41 in Essays and Let- 
 ters, edited by Ernest Rhys. Walter Scott, London, 1886. 
 Sidney, Philip, Defense of Poesy, edited by Albert S. Cook. Pp. xlv + 
 
 143, Ginn & Co., Boston, 1890. 
 Spencer, Herbert, The Origin and Function of Music, pp. 401-451 in 
 
 Essays, vol. II. D. Appleton & Co., New York, 1892. 
 
 56
 
 Stedman, Edmund Clarence, The Nature and Elements of Poetry. Pp. 
 
 xx + 338. Houghton, Mifflin & Co., Boston, 1892. 
 Sturgis, Russell, The Appreciation of Pictures. Pp. 308. The Baker & 
 
 Taylor Co., New York, 1905. 
 Sturgis, Russell, The Appreciation of Sculpture. Pp. 235. The Baker 
 
 & Taylor Co., New York, 1904. 
 Surette, Thoman Whitney, and Mason, Daniel Gregory, The Appreciation 
 
 of Music. Pp. xi + 222. The Baker & Taylor Co., New York, 1906. 
 Taine, H., Lectures on Art, translated by John Durand. 2 vols., pp. 
 
 354 and 540. Henry Holt & Co., New York, 1889. 
 Tolstoy, L. N., What is Art?, translated by Charles Johnston. Pp. iii + 
 
 298. Henry Altemus, Philadelphia, 1898. 
 Van Dyke, John C., Art for Art's Sake. Pp. xii+249. Charles Scrib- 
 
 ner's Sons, New York, 1893. 
 Van Dyke, John C., How to Judge of a Picture. Pp. 168. Chautauqua 
 
 Press, Chautauqua, N. Y., 1888. 
 Van Dyke, John C., The Meaning of Pictures. Pp. xiv + 161. Charles 
 
 Scribner's Sons, New York, 1903. 
 Van Dyke, John C., Principles of Art. Pp. 291. Fords, Howard & 
 
 Hulbert, New York, 1887. 
 
 Vinci, Leonardo da, Leonardo da Vinci's Note-Books, arranged and ren- 
 dered into English with introductions by Edward McCurdy. Pp. 
 
 xiv + 289. Charles Scribner's Sons, New York, 1908. 
 Vinci, Leonardo da, A Treatise on Painting, translated by J. F. Rigand. 
 
 Pp. lxvii + 238. George Bell & Sons, London, 1906. 
 Wagner, Richard, Art Life and Theories of, selected from his writings 
 
 and translated by Edward L. Burlingame. Pp. xiii + 305. Henry 
 
 Holt & Co., New York, 1904. 
 Wagner, Richard, Beethoven, translated by Edward Dannreuther. Pp. 
 
 viii + 177. William Reeves,- London, 1880. 
 Warner, Charles Dudley, The Relation of Literature to Life. Pp. 320. 
 
 Harper & Bros., New York, 1897. 
 Waterhouse, C. H., The Signification and Principles of Art. Pp. 154. 
 
 J. S. Virtue & Co., London, 1886. 
 Wilde, Oscar, The Critic as Artist, pp. 85-196 in Intentions. Thomas B. 
 
 Mosher, Portland, Me., 1904. 
 Wilde, Oscar, The Soul of Man Under Socialism. Pp. 90. Thomas 
 
 B. Mosher, Portland, Me., 1905. 
 Winchester, C. T., Some Principles of Literary Criticism. Pp. xii + 352. 
 
 The Macmillan Co., New York, 1899. 
 Witt, Robert Clermont, How to Look at Pictures. Pp. xviii + 173. 
 
 George Bell & Sons., London, 1902. 
 
 57
 
 Handbooks to Courses of Lectures by 
 Mr. Griggs : 
 
 Great Autobiographies 
 
 Handbook of Ten Lectures 
 
 The Poetry and Philosophy of 
 Browning 
 
 Handbook of Eight Lectures 
 
 Moral Leaders 
 
 Handbook of Twelve Lectures 
 
 Shakespeare 
 
 Handbook of Twelve Lectures 
 
 The Poetry and Philosophy of 
 Tennyson 
 
 Handbook of Six Lectures 
 
 Goethe's Faust 
 
 Handbook of Ten Lectures 
 
 The Ethics of Personal Life 
 
 Handbook of Six Lectures 
 
 The Divine Comedy of Dante 
 
 Handbook of Six Lectures 
 
 Art and the Human Spirit 
 
 Handbook of Eight Lectures 
 
 Uniform in style with this book, each containing an introductory 
 note, illustrative extracts, outlines of the lectures, book references and 
 list of topics for the study and discussion of each lecture, and a carefully 
 selected bibliography. The handbooks are of the utmost value to classes 
 in literature and ethics, study clubs, reading circjes, etc. The cloth 
 bound editions contain blank leaves for the user's notes. 
 
 Cloth. Each, 50 cents net. By mail, 54 cents 
 Paper Covers. Each, 25 cents net. By mail, 27 cents 
 
 TO BE HAD AT ALL BOOKSTORES. OR OF 
 
 B. W. HUEBSCH Publisher NEW YORK
 
 BOOKS BY EDWARD HOWARD GRIGGS 
 Moral Education 
 
 A discussion of the whole problem of moral education : its aim 
 in relation to our society and all the means through which that 
 aim can be attained. Contains complete bibliography with an- 
 notations and index. This book has been adopted as a text in 
 normal schools and colleges and for study by clubs and reading 
 circles. - , 
 
 Cloth. 12mo. $1.60 nee. Pottage, 12 cents 
 
 " It is easily the best book of its kind yet written in America." The Literary 
 Digest. 
 
 "EDWARD HOWARD GRIGGS has written a notable book on ' Moral Educa- 
 tion,' easily the most profound, searching and practical that has been written in 
 this country, and which, from the same qualities, will not be easily displaced in its 
 primacy." The Cleveland Leader. 
 
 " The book is a notable one, wholesome and readable." Educational Review. 
 
 The New Humanism 
 
 Studies in Personal and Social Development 
 
 Ten closely integrated essays interpreting the modern spirit 
 and developing the ideals of the new ethical and social humanism 
 which occupies in our time the place held by the aesthetic and 
 intellectual humanism in the earlier Renaissance. 
 
 Cloth. 12mo, gilt top. $1.50 net. Postage, 10 cents 
 
 "The book is full of clear, wise, well-balanced, original thought, and is the 
 natural and artistic expression of a man whose life has been enriched by deep ex- 
 perience and wide study. It advocates a brave and cheerful facing of life's great 
 personal problems ; it recognizes the severity of the struggles toward the best, but 
 it also recognizes the infinite power of the human spirit to rise to greater and 
 greater heights." Book News. 
 
 A Book of Meditations 
 
 A volume of Personal Reflections, Sketches, and Poems deal- 
 ing with Life and Art ; an Autobiography, not of Events and Ac- 
 cidents, but of Thoughts and Impressions. Frontispiece portrait 
 by ALBERT STERNER. 
 
 Cloth. 12mo, gilt top. $1.50 net. Postage, 10 cents 
 
 " Strongly optimistic, and yet in a full realization of the blunders and faults of 
 art and the social system, the meditations of Mr. Griggs are at once stimulating 
 and tonic to the reader. Devoid of pedantry and seldom didactic, sound in 
 truthful estimates t and founded upon a wholesome love of life, the little book is 
 infectiously engaging." Chicago Tribune. 
 
 The Use of the Margin 
 
 (See Advertisement of The Art of Life Series) 
 To be had at all Bookstores, or of 
 
 B. W. HUEBSCH Publisher,, . NEW YORK
 
 THE ART OF LIFE SERIES 
 
 EDWARD HOWARD GRIGGS, Editor 
 VOLUMES READY: 
 
 The Use of the Margin 
 
 By EDWARD HOWARD GRIGGS 
 
 In this work the author's charm as a public speaker is transferred to 
 the printed page. His theme is the problem of utilizing the time one 
 has to spend as one pleases for the aim of attaining the highest culture 
 of mind and spirit. How to work and how to play; how to read and 
 how to study, how to avoid intellectual dissipation and how to apply the 
 open secrets of great achievement evidenced in conspicuous lives are 
 among the many phases of the problem which the author discusses, ear- 
 nestly, yet with a light touch and not without humor. 
 
 Things Worth While 
 
 By THOMAS WENTWORTH HIGGINSON 
 
 He discusses in an intimate, conversational manner various prob- 
 lems of thinking and living and has entered fully into the spirit anima- 
 ting the publication of The Art of Life Series. 
 
 Where Knowledge Fails 
 
 By EARL BARNES 
 
 From the pen of a scientific thinker, one whose attitude is liberal 
 yet reverent, presenting the outlines of a belief in which the relations of 
 knowledge and faith are clearly established. 
 
 Self-Measurement 
 
 A Scale of Human Values; with Directions for 
 
 Personal Application 
 By WILLIAM DE WITT HYDE 
 
 He reduces life to its fundamental relations showing the degrees in 
 which each may be fulfilled or nonfulfilled. In a series of searching 
 questions he directs attention to every human activjty. 
 
 OTHER VOLUMES IN PREPARATION 
 Cloth. i2tno. Each, 50 cents net. By mail, 55 cents 
 
 TO BE HAD AT ALL BOOKSTORES, OR OF 
 
 B. W. HUEBSCH Publisher NEW YORK
 
 A 000 051 432 3 
 
 University of California 
 
 SOUTHERN REGIONAL LIBRARY FACILITY 
 
 Return this material to the library 
 
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 JUN 2 7