FREE BOOKS

Author's List




PREV.   NEXT  
|<   239   240   241   242   243   244   245   246   247   248   249   250   251   252   253   254   255   256   257   258   259   260   261   262   263  
264   265   266   267   268   269   270   271   272   273   274   275   276   277   278   279   280   281   282   283   284   285   286   287   288   >>   >|  
It's given us one or two artists--" "Artists? Yes, artists by the million; and no Art. To produce Art, the artist's individuality must conform to the Absolute." Jewdwine in ninety-two was a man of enormous utterances and noble truths. With him all artistic achievements stood or fell according to the canons of the _Prolegomena to AEsthetics_. Therefore in ninety-two his conversation was not what you would call diverting. Yet it made you giddy; his ideas kept on circulating round and round the same icy, invisible pole. Rickman, in describing the interview afterwards, said he thought he had caught a cold in the head talking to Jewdwine; his intellect seemed to be sitting in a thorough draught. "And if the artist has a non-conforming devil in him? If he's the sort of genius who can't and won't conform? Strikes me the poor old Absolute's got to climb down." "If he's a genius--he generally isn't--he'll know that he'll express himself best by conforming. He isn't lost by it, but enlarged. Look at Greek art. There," said Jewdwine, a rapt and visionary air passing over his usually apathetic face, "the individual, the artist, is always subdued to the universal, the absolute beauty." "And in modern art, I take it, the universal absolute beauty is subdued to the individual. That seems only fair. What you've got to reckon with is the man himself." "Who wants the man himself? We want the thing itself--the reality, the pure object of art. Do any of your new men understand that?" "We _want_ it--some of us." "Do you _understand_ it?" "Not I. Do you understand it yourself? Would you know it if you met it in the street?" "It never is in the street." "How do you know? You can't say where it is or what it is. You can't say anything about it at all. But while you're all trying to find out, the most unlikely person suddenly gets up and produces it. And _he_ can't tell you where he got it. Though, if you ask him, ten to one he'll tell you he's been sitting on it all the time." "Well," said Jewdwine, "tell me when you've 'sat on' anything yourself." "I will." He rose to go, being anxious to avoid the suspicion of having pushed that question to a personal issue. It was only in reply to more searching inquiries that he mentioned (on the doorstep) that a book of his was coming out in the autumn. "What, _Helen_?" "No. _Saturnalia_ and--a lot of things you haven't seen yet." It was a rapid nervous communication, ma
PREV.   NEXT  
|<   239   240   241   242   243   244   245   246   247   248   249   250   251   252   253   254   255   256   257   258   259   260   261   262   263  
264   265   266   267   268   269   270   271   272   273   274   275   276   277   278   279   280   281   282   283   284   285   286   287   288   >>   >|  



Top keywords:

Jewdwine

 

understand

 

artist

 

artists

 

genius

 

conforming

 

sitting

 

street

 

Absolute

 

universal


ninety

 

individual

 

beauty

 
absolute
 

subdued

 

conform

 
reckon
 
nervous
 

reality

 

communication


object

 

suspicion

 
pushed
 

question

 

personal

 

anxious

 

Saturnalia

 

coming

 

autumn

 

doorstep


searching

 

inquiries

 

mentioned

 

person

 

suddenly

 

produces

 

things

 

Though

 

diverting

 

Therefore


conversation

 

Rickman

 

describing

 
interview
 

invisible

 

circulating

 

AEsthetics

 

Prolegomena

 
produce
 
individuality