at the redman offers us
in his own way. To "impose" something--that is the modern culture. The
interval of imposition is our imaginary interval of creation. The
primitives created a complete cosmos for themselves, an entire
principle. I want merely, then, esthetic recognition in full of the
contribution of the redman as artist, as one of the finest artists of
time; the poetic redman ceremonialist, celebrant of the universe as he
sees it, and master among masters of the art of symbolic gesture. It
is pitiable to dismiss him from our midst. He needs rather royal
invitation to remain and to persist, and he can persist only by
expressing himself in his own natural and distinguished way, as is the
case with all peoples, and all individuals, indeed.

WHITMAN AND CEZANNE

It is interesting to observe that in two fields of expression, those
of painting and poetry, the two most notable innovators, Whitman and
Cezanne bear a definite relationship in point of similarity of ideals
and in their attitudes toward esthetic principles. Both of these men
were so true to their respective ideals that they are worth
considering at the same time in connection with each other: Cezanne
with his desire to join the best that existed in the impressionistic
principle with the classical arts of other times, or as he called it,
to create an art like the Louvre out of impressionism. We shall find
him striving always toward actualities, toward the realization of
beauty as it is seen to exist in the real, in the object itself,
whether it be mountain or apple or human, the entire series of living
things in relation to one another.

It is consistent that Cezanne, like all pioneers, was without
prescribed means, that he had to spend his life inventing for himself
those terms and methods which would best express his feelings about
nature. It is natural that he admired the precision of Bouguereau, it
is also quite natural that he should have worshipped in turn,
Delacroix, Courbet, and without doubt, the mastery of Ingres, and it
is indicative too that he felt the frank force of Manet. It was his
special distinction to strive toward a simple presentation of simple
things, to want to paint "that which existed between himself and the
object," and to strive to solidify the impressionistic conception with
a greater realization of form in space, the which they had so much
ignored. That he achieved this in a satisfying manner may be observed
in the bes