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diff --git a/43409-h/43409-h.htm b/43409-h/43409-h.htm index 2a3a019..01ad4de 100644 --- a/43409-h/43409-h.htm +++ b/43409-h/43409-h.htm @@ -2,10 +2,10 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> - The Project Gutenberg eBook of The Kingdom of God is Within You/What is Art? by Lyof N. Tolsto, translated by Mrs. Aline Delano. + The Project Gutenberg eBook of The Kingdom of God is Within You/What is Art? by Lyof N. Tolstoï, translated by Mrs. Aline Delano. </title> <link rel="titlepage" href="images/titlepage.jpg"/> <style type="text/css"> @@ -118,54 +118,14 @@ div.tn { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The Kingdom of God is Within You, What is -Art, by Lyof N. Tolstoi - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Kingdom of God is Within You, What is Art - -Author: Lyof N. Tolstoi - -Translator: Aline Delano - -Release Date: August 7, 2013 [EBook #43409] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK KINGDOM OF GOD IS WITHIN YOU *** - - - - -Produced by David Edwards and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43409 ***</div> <hr class="chap" /> <p class="center"> -LYOF N. TOLSTO</p> +LYOF N. TOLSTOÏ</p> <p class="center">XIX</p> @@ -184,7 +144,7 @@ IS WITHIN YOU</p> <div class="figcenter bord" style="width: 600px;"> <img src="images/frontis.jpg" width="600" height="428" alt="Plowing" /> -<div class="caption"><p class="center">COUNT TOLSTO PLOWING</p> +<div class="caption"><p class="center">COUNT TOLSTOÏ PLOWING</p> <p class="center"><span class="smcap">From the Painting by Repin</span></p></div> </div> @@ -195,7 +155,7 @@ IS WITHIN YOU</p> <p class="center"> THE NOVELS AND OTHER WORKS OF<br /> <br /> -LYOF N. TOLSTO</p> +LYOF N. TOLSTOÏ</p> <h1>THE KINGDOM OF<br /> GOD IS WITHIN YOU<br /> @@ -227,7 +187,7 @@ By THOMAS V. CROWELL & CO.</span> <p>The present volume contains two contrasting treatises. -The first is religious, and shows in Count Tolsto's earnest +The first is religious, and shows in Count Tolstoï's earnest and eloquent manner the meaning of Christ's words which he takes for his text,—"The Kingdom of God is within you." The outward forms of religion, however @@ -242,13 +202,13 @@ and prohibitions.</p> the world should take love for its guiding star, it is evident that all the evils of the world would cease,—wars, crimes, poverty, ambitions; the millennium would -come! Count Tolsto shows how that blessed period +come! Count Tolstoï shows how that blessed period may begin in every man. The translation of this beautiful and inspiring book has been made by Mrs. Aline Delano of Boston.</p> <p>In answering the question, "What is Art?" Count -Tolsto analyzes and tests the various definitions given +Tolstoï analyzes and tests the various definitions given by other writers. He shows up with merciless severity what he considers the fallacy in the popular delusion that the fetish of Art pardons bestiality, obscenity, and @@ -277,7 +237,7 @@ cannot be denied that the general tone of the treatise is helpful and uplifting, and that it is based on sound common sense. Mr. Aylmer Maude of England is the translator of this work, and has had the benefit of -Count Tolsto's own suggestions in regard to certain +Count Tolstoï's own suggestions in regard to certain points. As the special preface explains, the translation accurately represents the author's views, while the edition published in Russia was in many ways garbled and @@ -443,7 +403,7 @@ the opportunity of carefully revising their work.</p> </tr> <tr> - <td align="left"><p class="hanging">Does art compensate for so much evil?—What is art?—Confusion of opinions—Is it "that which produces beauty"?—The word "beauty" in Russian—Chaos in sthetics</p></td> + <td align="left"><p class="hanging">Does art compensate for so much evil?—What is art?—Confusion of opinions—Is it "that which produces beauty"?—The word "beauty" in Russian—Chaos in æsthetics</p></td> <td align="right"><a href="#Page_351">351</a></td> </tr> @@ -452,7 +412,7 @@ the opportunity of carefully revising their work.</p> </tr> <tr> - <td align="left"><p class="hanging">Summary of various sthetic theories and definitions, from Baumgarten to to-day</p></td> + <td align="left"><p class="hanging">Summary of various æsthetic theories and definitions, from Baumgarten to to-day</p></td> <td align="right"><a href="#Page_360">360</a></td> </tr> @@ -470,7 +430,7 @@ the opportunity of carefully revising their work.</p> </tr> <tr> - <td align="left"><p class="hanging">Definitions not founded on beauty—Tolsto's definition—The extent and necessity of art—How people in the past have distinguished good from bad in art</p></td> + <td align="left"><p class="hanging">Definitions not founded on beauty—Tolstoï's definition—The extent and necessity of art—How people in the past have distinguished good from bad in art</p></td> <td align="right"><a href="#Page_383">383</a></td> </tr> @@ -488,7 +448,7 @@ the opportunity of carefully revising their work.</p> </tr> <tr> - <td align="left"><p class="hanging">An sthetic theory framed to suit this view of life</p></td> + <td align="left"><p class="hanging">An æsthetic theory framed to suit this view of life</p></td> <td align="right"><a href="#Page_396">396</a></td> </tr> @@ -569,7 +529,7 @@ the opportunity of carefully revising their work.</p> </tr> <tr> - <td align="left"><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span><p class="hanging"><span class="smcap">The quality of art, considered according to its subject-matter</span>—The better the feeling the better the art—The cultured crowd—The religious perception of our age—The new ideals put fresh demands to art—Art unites—Religious art—Universal art—Both coperate to one result—The new appraisement of art—Bad art—Examples of art—How to test a work claiming to be art</p></td><td align="right"><a href="#Page_479">479</a></td> + <td align="left"><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span><p class="hanging"><span class="smcap">The quality of art, considered according to its subject-matter</span>—The better the feeling the better the art—The cultured crowd—The religious perception of our age—The new ideals put fresh demands to art—Art unites—Religious art—Universal art—Both coöperate to one result—The new appraisement of art—Bad art—Examples of art—How to test a work claiming to be art</p></td><td align="right"><a href="#Page_479">479</a></td> </tr> <tr> @@ -683,11 +643,11 @@ which he considers to be true.</p> <hr class="tb" /> <p><em>The above is an extract (slightly adapted) from an -article on Count Tolsto which appeared in the London</em> +article on Count Tolstoï which appeared in the London</em> Daily Chronicle <em>of 26th December,1893. Sent by Miss -Tatiana Tolsto, on behalf of her father, to the publishers +Tatiana Tolstoï, on behalf of her father, to the publishers of this edition of his work, it is inserted here as a Preface -at the suggestion of Count Tolsto.</em></p> +at the suggestion of Count Tolstoï.</em></p> <hr class="tb" /> <p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> @@ -1060,7 +1020,7 @@ to adopt in carrying our object into effect.</p> preaching,—striving to commend ourselves unto every man's conscience, in the sight of God. From the press we shall promulgate our sentiments as widely as practicable. -We shall endeavor to secure the coperation of +We shall endeavor to secure the coöperation of all persons, of whatever name or sect. The triumphant progress of the cause of Temperance and of Abolition in our land, through the instrumentality of benevolent @@ -1429,7 +1389,7 @@ become of them?</p> others should agree to crucify him, would it not be more glorious for him to die in the glory of non-resisting love, praying for his enemies, than live wearing the crown of -Csar, besprinkled with the blood of the murdered? But +Cæsar, besprinkled with the blood of the murdered? But whether it be one man or thousands of men who are firmly determined not to resist evil by evil, still, whether in the midst of civilized or uncivilized neighbors, men @@ -1721,7 +1681,7 @@ responsible for its crimes. We are, indeed, not responsible for the crimes of our rulers, but we are responsible for our own; and the crimes of our rulers are our own,<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> if, whilst we believe them to be crimes, we promote -them by our coperation....</p> +them by our coöperation....</p> <p>"Those who suppose that obedience in all things is required, or that responsibility in political affairs is transferred @@ -2001,7 +1961,7 @@ manifestation of it.</p> <p>"The publication of this book ('The Net of Faith') was ended [completed] by the Academy in the last months of the present -year (1893)."—<em>Note received by the Publisher from Count Tolsto +year (1893)."—<em>Note received by the Publisher from Count Tolstoï while this work was going to press.</em></p></blockquote> @@ -2342,7 +2302,7 @@ American magazine, <cite>The Forum</cite>, for October, 1888.</p> <p>After briefly but conscientiously setting forth the subject-matter of my book, Farrar says:—"After repeated search the central principle of all Christ's teaching seemed -to him [Tolsto] to be, 'Resist not evil' or 'him that is +to him [Tolstoï] to be, 'Resist not evil' or 'him that is evil.' He came to the conclusion that a coarse deceit had been palmed upon the world when these words were held by civil society to be compatible with war, courts @@ -2376,7 +2336,7 @@ should be accepted, or declaring that it is erroneous, proving his point, and offering a more correct interpretation of the words which I have misconstrued. But no; Farrar merely expresses his belief that "though actuated by the -noblest sincerity, Count Tolsto has been misled by partial +noblest sincerity, Count Tolstoï has been misled by partial and one-sided interpretations of the meaning of the gospel and the mind and will of Christ." In what this error consists he does not explain, but says: "<em>To enter @@ -2394,7 +2354,7 @@ lay down great eternal principles, but not to disturb the bases and revolutionize the institutions as well as all inevitable conditions. Were it my object to prove how untenable is the doctrine of communism, based by Count -Tolsto upon the divine paradoxes, which can be interpreted +Tolstoï upon the divine paradoxes, which can be interpreted on only historical principles in accordance with the whole method of the teaching of Jesus, it would require an ampler canvas than I have here at my @@ -2585,7 +2545,7 @@ doctrines dreaded by despotism, and dangerous to its existence, this is the chief one. Since the creation of the world the opposite principle of resistance by violence has been the corner-stone of every despotic institution, -from the Inquisition to the fortress of Schlsselburg.</p> +from the Inquisition to the fortress of Schlüsselburg.</p> <p>Moreover, the Russian critics declared that the progress of civilization itself would be checked were this @@ -2611,7 +2571,7 @@ but unpractical visions of the "charmant docteur," as Renan says, suited to the artless, half-civilized Galileans who lived 1800 years ago, or to the Russian and semi-barbarous peasants, to Sutaev and Bondarev, and to the -Russian mystic Tolsto, but which are by no means +Russian mystic Tolstoï, but which are by no means adapted to the lofty plane of European culture. The foreign secular critics, in a courteous way, in order not to wound my feelings, have endeavored to show that my @@ -2628,7 +2588,7 @@ journalism, strikes, and constitutions, not to mention the Eiffel Tower,—on which the entire population of Europe is at present reposing.</p> -<p>Thus wrote Vog, thus wrote Leroy-Beaulieu, Matthew +<p>Thus wrote Vogüé, thus wrote Leroy-Beaulieu, Matthew Arnold, the American writer Talmage, who is also a popular preacher, the free-thinker Ingersoll, and others.</p> @@ -2884,7 +2844,7 @@ more or less, depends, according to this doctrine, not on the degree of perfection at which it arrives, but on the comparative rate of progress toward that perfection.</p> -<p>The advance toward perfection of Zacchus the +<p>The advance toward perfection of Zacchæus the publican, of the adulteress, of the thief on the cross, is, according to this doctrine, better than the stagnation of the righteous Pharisee. The shepherd rejoices more @@ -3062,7 +3022,7 @@ less it was understood, the more the infallibility of its conceptions was insisted upon, and the more slender grew the possibility of understanding its true meaning. Already, about the time of Constantine, the entire conception -of the doctrine amounted to the <i lang="fr" xml:lang="fr">rsum</i> formulated +of the doctrine amounted to the <i lang="fr" xml:lang="fr">résumé</i> formulated by the temporal power,—the outcome of discussions that took place in the council,—to the Credo, in which it is said: I believe in this and that, etc., and at @@ -3117,11 +3077,11 @@ no doubt as to its authenticity; yet this was not the case, and now, as always, one finds different institutions, each one calling itself the only true Church.</p> -<p>The Catholic catechism says: "L'Eglise est la socit -des fidles tablie par N.-S. Jsus-Christ, rpandue sur -toute la terre et soumise l'autorit de pasteurs lgitimes, +<p>The Catholic catechism says: "L'Eglise est la société +des fidèles établie par N.-S. Jésus-Christ, répandue sur +toute la terre et soumise à l'autorité de pasteurs légitimes, principalement notre S.-P. le pape,"—meaning -by "pasteurs lgitimes,"<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> a human institution made up +by "pasteurs légitimes,"<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> a human institution made up of a number of men bound together by a certain organization of which the Pope is the head.</p> <p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p> @@ -3193,7 +3153,7 @@ Orthodox, and the Lutheran, express this in the plainest language.</p> <p>The Catholic catechism says: "Quels sont ceux qui -sont hors de l'Eglise? Les infidles, hrtiques, et<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> +sont hors de l'Eglise? Les infidèles, hérétiques, et<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> schismatiques."<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> By schismatics it means the so-called Orthodox, and by heretics the Lutherans; so that, according to the Catholic catechism, the Church is composed @@ -3291,7 +3251,7 @@ even the shadow of a definition of heresy.</p> <p>As an instance of the complete absence of the definition of what is understood by the word heresy, we will quote the opinion of a learned Christian historian, E. de -Pressens in "Histoire du Dogme," with its epigraph, +Pressensé in "Histoire du Dogme," with its epigraph, "Ubi Christus, ibi Ecclesia" (Paris, 1869). This is what he says in his preface (p. 4):—</p> @@ -3351,7 +3311,7 @@ are.</p> is the actual truth, may likewise find in the history of the Church a consistent explanation of the faith it professes, and apply all the arguments to its own use. -Pressens simply calls his own creed Christian truth, +Pressensé simply calls his own creed Christian truth, precisely as every heretical sect has done.</p> <p>The primary definition of the word heresy (the word @@ -3472,7 +3432,7 @@ of Christ's doctrine itself.</p> church, as a church, has always been, and always must be, an institution not only foreign, but absolutely hostile, to the doctrine of Christ. It is not without reason that -Voltaire called it "<i lang="fr" xml:lang="fr">l'infme</i>"; it is not without reason +Voltaire called it "<i lang="fr" xml:lang="fr">l'infâme</i>"; it is not without reason that all so-called Christian sects believe the Church to be the Scarlet Woman prophesied by the Revelation; it is not without reason that the history of the Church is @@ -3528,7 +3488,7 @@ arguments, these exhortations, these professions of faith, elaborated through centuries, that now and then sound sincere, one is almost ready to doubt if the churches can be inimical to Christianity. "It cannot be possible that -men like John Chrysostom, Fnelon, Butler, and other +men like John Chrysostom, Fénelon, Butler, and other Christian preachers, could be inimical to it." One would like to say, "The churches may have gone astray from Christianity, may have committed errors, but they cannot @@ -3542,8 +3502,8 @@ these men served was not Christian. The goodness and<span class="pagenum"><a nam virtue of certain individuals who served the churches were peculiar to themselves, and not to the cause which they served. All these excellent men, like Francis of -Assisi and Francis de Sales, Tichon Zadnsky, Thomas - Kempis, and others, were good men, even though they +Assisi and Francis de Sales, Tichon Zadònsky, Thomas +à Kempis, and others, were good men, even though they served a cause hostile to Christianity; and they would have been still more charitable and more exemplary had they not yielded obedience to false doctrines.</p> @@ -3851,7 +3811,7 @@ Christianity that exists in the people side by side with this idolatry.</p> <p>I remember being once in a book-shop of the monastery -of Optin Desert while an old peasant was +of Optinæ Desert while an old peasant was selecting spiritual reading for his educated grandson. The monk was offering him a description of relics, of holy days, of miraculous ikons, the Book of Psalms, @@ -4728,7 +4688,7 @@ human progress toward the unattainable perfection, and therefore of equal importance with all the others. Any spiritual quickening, according to this doctrine, is simply an accelerated movement toward perfection. -Therefore the impulse of Zacchus the publican, of the +Therefore the impulse of Zacchæus the publican, of the adulteress, and the thief on the cross, show forth a higher order of life than does the passive righteousness of the Pharisee. This doctrine, therefore, can never be<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span> @@ -4993,7 +4953,7 @@ in other words, not the love of God, but the love of man.</p> <p>But there can be no such love; it has no <i lang="fr" xml:lang="fr">raison -d'tre</i>. Christian love comes only from a Christian life-conception, +d'étre</i>. Christian love comes only from a Christian life-conception, whose sole manifestation is the love and service of God.</p> @@ -5065,7 +5025,7 @@ arguments on the subject have originated.</p> which preceded it, promulgates rules which men must obey, and that these rules are impracticable. The other, that the whole meaning of Christianity is contained in -the doctrine of a coperative union of mankind, in one +the doctrine of a coöperative union of mankind, in one family, to attain which, leaving aside the question of love of God, one should obey only the rule of love of one's fellow-men.</p> @@ -5704,7 +5664,7 @@ millions, at a cost of four milliards of francs a year. By increasing its armament it paralyzes more and more the springs of social and individual welfare, and may be compared to a man who, in order to obtain weapons, condemns -himself to anmia, thereby depriving himself of +himself to anæmia, thereby depriving himself of the strength to use the weapons he is accumulating, whose weight will eventually overpower him."</p> @@ -5755,7 +5715,7 @@ What is socialism but a protest against the abnormal situation in which the majority of mankind of our continent finds itself?"</p> -<p>"We are being ruined," says Frdric Passy, in a<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span> +<p>"We are being ruined," says Frédéric Passy, in a<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span> paper read before the last Peace Congress in London (1890), "to enable us to take part in the senseless wars of the future, or to pay the interest of debts left us by @@ -5828,10 +5788,10 @@ Christianity. They looked upon me as an arrant fanatic. The idea that we could get on without war was regarded as unmitigated weakness and folly."</p> -<p>A Catholic priest, the Abb Defourny, has spoken in +<p>A Catholic priest, the Abbé Defourny, has spoken in a similar spirit. "One of the first commandments of the eternal law, engraved in every man's conscience," -says the Abb Defourny, "forbids a man to take his +says the Abbé Defourny, "forbids a man to take his neighbor's life or shed his blood" (without sufficient cause, being forced to it by stress of circumstance). "This is a commandment more deeply engraved in the @@ -6053,7 +6013,7 @@ Revues—Proposition of Maxime du Camp—Significance of Courts of Arbitration and Disarmament—Relations of governments to these, and the business they pursue—Those who regard war as a cruel inevitable phenomenon—Maupassant—Rod—Those who regard it as indispensable, -even useful—Camille Doucet, Claretie, Zola, Vog.</p></blockquote> +even useful—Camille Doucet, Claretie, Zola, Vogüé.</p></blockquote> <p>The contradictions of life and of consciousness may @@ -6449,7 +6409,7 @@ of gratitude to Almighty God for the remarkable harmony and concord which have characterized the meetings of the Assembly, in which so many men and women of varied nations, creeds, tongues, and races have -gathered in closest coperation; and in the conclusion +gathered in closest coöperation; and in the conclusion of the labors of this Congress, it expresses its firm and unshaken belief in the ultimate triumph of the cause of <em>Peace</em>, and of the principles which have been advocated @@ -6698,7 +6658,7 @@ this to others so long that they have ended by believing it themselves, and they really seem to think that justice is one of the duties of governments. History, however, shows us that governments, as seen from the reign of -Csar to those of the two Napoleons and Prince Bismarck, +Cæsar to those of the two Napoleons and Prince Bismarck, are in their very essence a violation of justice; a man or a body of men having at command an army of trained soldiers, deluded creatures who are ready for @@ -7240,7 +7200,7 @@ talking about what no one intends to do, and what ought not in any event to be done. When fighting is in order, there is no alternative but to fight.</p> -<p>mile Zola, the most popular novelist in Europe, gives +<p>Émile Zola, the most popular novelist in Europe, gives utterance to his views on the subject of war in the following terms:—</p> @@ -7285,7 +7245,7 @@ their progress."</p></blockquote> <p>But chief among the advocates of these views, and the most talented of all the writers of this tendency, -is the academician Vog, who, in an article on the +is the academician Vogüé, who, in an article on the military section of the Exhibition of 1889, writes as follows:—</p> @@ -7326,7 +7286,7 @@ various demands of historical moments."</p></blockquote> <p>This idea, namely, that the proof of the necessity of war may be found in the writings of De Maistre and of Darwin, two great thinkers, as he calls them, pleases -Vog so much that he repeats it.</p> +Vogüé so much that he repeats it.</p> <p>"Sir," he writes to the editor of the <cite>Revue des Revues</cite>, "you ask my opinion in regard to the possible success @@ -7357,7 +7317,7 @@ but I doubt if it can disprove history, and the law of God and of nature.—Accept my assurance, etc.,</p> <p class="sig"> -<span class="smcap">"E. M. de Vog."</span> +<span class="smcap">"E. M. de Vogüé."</span> </p> <p>This may be summed up as follows: History and @@ -7381,7 +7341,7 @@ ceased to discuss a subject which should not be discussed, and ceased to do that which is both painful and repulsive for them to do!</p> -<p>One may wonder at them; but men who, like Vog<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> +<p>One may wonder at them; but men who, like Vogüé<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> and others, believe in the law of evolution, and look upon war as not only unavoidable, but even useful, and therefore desirable,—such men are fairly shocking, @@ -7545,7 +7505,7 @@ to one will, forms what is called an army. The army has ever been and still is the basis of an authority, vested in the commanding generals; and the most engrossing interest of every sovereign, from the Roman -Csars to the Russian and German emperors, has +Cæsars to the Russian and German emperors, has always been to protect and flatter the army, for they realize that when the army is on their side, power is also in their hands.</p> @@ -7930,7 +7890,7 @@ protect.</p> <p>The advantages of social life are those guarantees which it offers for the protection of property and labor, -as well as coperation for the purposes of mutual advantage; +as well as coöperation for the purposes of mutual advantage; the general military conscription destroys all this.</p> @@ -7998,7 +7958,7 @@ make; they do not wish to give up their nationality. And I, if I am performing military duty, must come forward and strike these men down. I cannot take part in such proceedings without asking myself if they be -right. And ought I to coperate in carrying them +right. And ought I to coöperate in carrying them out?</p> <p><span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span></p> @@ -8097,7 +8057,7 @@ Such was the case with the abolition of corporal punishment, torture, and slavery; with the establishment of freedom of the press and liberty of meeting. Furthermore, State authorities and governments nowadays not -only do not coperate, but they directly hinder the +only do not coöperate, but they directly hinder the activity by means of which men work out new forms of life. The solution of labor and land questions, of political and religious problems, is not only unencouraged, @@ -8930,7 +8890,7 @@ men.</p> men hate the very order of things which they themselves support.</p> -<p>I believe it is Max Mller who describes the astonishment +<p>I believe it is Max Müller who describes the astonishment of an Indian converted to Christianity, who, having apprehended the essence of the Christian doctrine, came to Europe and beheld the life of Christians. He could @@ -9360,7 +9320,7 @@ entirely free from all human authority that he will cease to regard it as a possible obstacle.</p> <p>A man needs but to realize that the object of his life -is the fulfilment of God's law; then the preminence of +is the fulfilment of God's law; then the preëminence of that law, claiming as it does his entire allegiance, will of necessity invalidate the authority and restrictions of all human laws.</p> @@ -9425,7 +9385,7 @@ obey human laws, but he cannot promise to do or abstain from doing anything definite at any given time, because he can never tell at what hour or in what manner the Christian law of love, on which his -life-conception is based, will demand his coperation. +life-conception is based, will demand his coöperation. A Christian, promising in advance to obey unconditionally the laws of men, admits by that promise that the inner law of God does not constitute for him the @@ -9817,7 +9777,7 @@ upon such occurrences with more apprehension than upon all the socialists, anarchists, and communists, with their conspiracies and their dynamite bombs.</p> -<p>A new <i lang="fr" xml:lang="fr">rgime</i> is inaugurated. Each subject, according +<p>A new <i lang="fr" xml:lang="fr">régime</i> is inaugurated. Each subject, according to custom, is required to take the oath of allegiance to the new government. A proclamation is issued, and all are bidden to assemble in the cathedral to take the @@ -10023,7 +9983,7 @@ Such contumacy cannot go unpunished; consequently he is court-martialed for an infringement of military discipline, convicted, and sentenced to two years' confinement in a military prison. And once again, with -the criminals, he is sent by <i lang="fr" xml:lang="fr">tape</i> to the Caucasus and +the criminals, he is sent by <i lang="fr" xml:lang="fr">étape</i> to the Caucasus and then thrown into prison, his fate being left to the discretionary power of the jailer. There he is tortured for a year and a half, but still his resolution to avoid @@ -10446,7 +10406,7 @@ matured sufficiently to enable them to dispense with the State is disposed of without reference to former arguments. A man who has outgrown the State can no more be coerced into submission to its laws than -can the fledgling be made to renter its shell.</p> +can the fledgling be made to reënter its shell.</p> <p>"The State may have been necessary at one time, and for aught that I know it may even now serve the @@ -10953,7 +10913,7 @@ who have accepted it. For, owing to the growing intelligibility of the truth itself, it becomes easier for men to grasp it, especially for those lower intellectually, until finally the greater number readily adopt it, and help to -found a new <i lang="fr" xml:lang="fr">rgime</i>.</p> +found a new <i lang="fr" xml:lang="fr">régime</i>.</p> <p>The men who go over to the new truth, once it has gained a certain hold, go over <i lang="fr" xml:lang="fr">en masse</i>, of one accord, @@ -11449,7 +11409,7 @@ their respective positions has undergone a change. The oppressors, that is, those who take part in the government, and those who are benefited by oppression, the wealthy classes, do not constitute, as formerly, -the <i lang="fr" xml:lang="fr">lite</i> of society, nor does their condition suggest that +the <i lang="fr" xml:lang="fr">élite</i> of society, nor does their condition suggest that ideal of human prosperity and greatness to which formerly all the oppressed aspired. Now, it often happens that the oppressors renounce of their own accord the @@ -11993,7 +11953,7 @@ religion, men of the wealthy classes base the justification of their position&md consequence of this hypocrisy, maintained by violence and<span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span> falsehood, they can pretend before each other to be Christians, and rest content—The same hypocrisy allows men who preach the Christian -doctrine to take part in a <i lang="fr" xml:lang="fr">rgime</i> of violence—No external improvements +doctrine to take part in a <i lang="fr" xml:lang="fr">régime</i> of violence—No external improvements of life can make it less miserable; its miseries are caused by disunion; disunion springs from following falsehood instead of truth—Union is possible only in truth—Hypocrisy forbids such a union, for @@ -13436,7 +13396,7 @@ organization of violence. What they do fear is its abolition; so they support it.</p> <p>One wonders why men of independent means, who -are not obliged to become soldiers, the so-called <i lang="fr" xml:lang="fr">lite</i> +are not obliged to become soldiers, the so-called <i lang="fr" xml:lang="fr">élite</i> of society, enter military service in Russia, in England, in Germany, in Austria, and even in France, and desire the chance of killing? Why do parents, why do moral @@ -13768,7 +13728,7 @@ selling wine, and thus depriving the treasury of 25 roubles' revenue. This man feels no remorse. Another still more surprising case is that of a man, ordinarily kind and good, who, because he wears a uniform or carries a -medal, and is told that he is a keeper [<i lang="fr" xml:lang="fr">garde-champtre</i>] +medal, and is told that he is a keeper [<i lang="fr" xml:lang="fr">garde-champêtre</i>] or custom-house officer, considers himself justified in shooting men down, and no one ever dreams of blaming him for it, nor does he think himself in the wrong; but @@ -14293,7 +14253,7 @@ never dream of calling himself Christian or liberal while he continues a merchant. But, according to the new metaphysic of hypocrisy, he may pass for a virtuous man and still pursue his evil career; the religious man has -but to believe, the liberal man but to coperate, in the +but to believe, the liberal man but to coöperate, in the reform of external conditions to promote the general progress of commerce; the rest does not signify. So this merchant (who, besides, often sells bad commodities,<span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span> @@ -15549,7 +15509,7 @@ and since many of them were extremely confused, the chapter cannot, in the nature of things, be easy reading.</p> -<p>I should like to remark, in passing, that though Tolsto +<p>I should like to remark, in passing, that though Tolstoï in this chapter (presumably for convenience of verification) refers chiefly to the compilations of Schasler, Kralik, and Knight, he has gone behind these authorities @@ -15560,7 +15520,7 @@ music may be traced back to the call of the males to the females in the animal world will be found in Darwin, but will not be found in Knight.</p> -<p>In Chapter V. we come to Tolsto's definition of art,<span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span> +<p>In Chapter V. we come to Tolstoï's definition of art,<span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span> which definition should be kept well in mind while reading the rest of the book.</p> @@ -15653,7 +15613,7 @@ consolation in the thought that the book, even in this form, if it contains something that is good, would be of use to Russian readers whom it would otherwise not have reached. Things, however, turned out otherwise. <i lang="fr" xml:lang="fr">Nous -comptions sans notre hte.</i> After the legal term of four +comptions sans notre hôte.</i> After the legal term of four days had already elapsed, the book was seized, and, on instructions received from Petersburg, it was handed over to the "Spiritual Censor." Then Grote declined @@ -15756,7 +15716,7 @@ of novels.</p> <p>Promptly, and in detail, as soon as it has occurred, an account is published of how such and such an actress -or actor played this or that rle in such and such a drama, +or actor played this or that rôle in such and such a drama, comedy, or opera; and of the merits of the performance, as well as of the contents of the new drama, comedy, or opera, with its defects and merits. With as much care @@ -15836,7 +15796,7 @@ to flute and harp, were seated), to the dark pit-stalls.</p> <p>On an elevation, between two lamps with reflectors, and in an arm-chair placed before a music-stand, sat the -director of the musical part, <em>bton</em> in hand, managing +director of the musical part, <em>bâton</em> in hand, managing the orchestra and singers, and, in general, the production of the whole opera.</p> @@ -16049,7 +16009,7 @@ rich people, or through subsidies given by government to theaters, conservatoires, and academies). This money is collected from the people, some of whom have to sell their only cow to pay the tax, and who never get those -sthetic pleasures which art gives.</p> +æsthetic pleasures which art gives.</p> <p>It was all very well for a Greek or Roman artist, or even for a Russian artist of the first half of our century @@ -16107,7 +16067,7 @@ useful, and on the other by unsuccessful attempts at art. How is art to be marked off from each of these? The ordinary educated man of our circle, and even the artist who has not occupied himself especially with -sthetics, will not hesitate at this question either. He +æsthetics, will not hesitate at this question either. He thinks the solution has been found long ago, and is well known to every one.</p> @@ -16133,24 +16093,24 @@ in most cases, deny that their activity belongs to the sphere of art. But in this the ordinary man makes a<span class="pagenum"><a name="Page_354" id="Page_354">[354]</a></span> mistake, just because he is an ordinary man and not a specialist, and because he has not occupied himself with -sthetic questions. Had he looked into these matters, +æsthetic questions. Had he looked into these matters, he would have seen in the great Renan's book, "Marc Aurele," a dissertation showing that the tailor's work is art, and that those who do not see in the adornment of woman an affair of the highest art are very small-minded and dull. "<i lang="fr" xml:lang="fr">C'est le grand art</i>," says Renan. Moreover, -he would have known that in many sthetic systems—for -instance, in the sthetics of the learned Professor -Kralik, "Weltschnheit, Versuch einer allgemeinen sthetik, -von Richard Kralik," and in "Les Problmes de -l'Esthtique Contemporaine," by Guyau—the arts of +he would have known that in many æsthetic systems—for +instance, in the æsthetics of the learned Professor +Kralik, "Weltschönheit, Versuch einer allgemeinen Æsthetik, +von Richard Kralik," and in "Les Problèmes de +l'Esthétique Contemporaine," by Guyau—the arts of costume, of taste, and of touch are included.</p> -<p>"<i lang="de" xml:lang="de">Es Folgt nun ein Fnfblatt von Knsten, die der subjectiven +<p>"<i lang="de" xml:lang="de">Es Folgt nun ein Fünfblatt von Künsten, die der subjectiven Sinnlichkeit entkeimen</i>" (There results then a pentafoliate of arts, growing out of the subjective perceptions), -says Kralik (p. 175). "<i lang="de" xml:lang="de">Sie sind die sthetische -Behandlung der fnf Sinne.</i>" (They are the sthetic +says Kralik (p. 175). "<i lang="de" xml:lang="de">Sie sind die ästhetische +Behandlung der fünf Sinne.</i>" (They are the æsthetic treatment of the five senses.)</p> <p>These five arts are the following:—</p> @@ -16164,57 +16124,57 @@ of smell (p. 177).</p> <p><i lang="de" xml:lang="de">Die Kunst des Tastsinns</i>—The art of the sense of touch (p. 180).</p> -<p><i lang="de" xml:lang="de">Die Kunst des Gehrsinns</i>—The art of the sense of +<p><i lang="de" xml:lang="de">Die Kunst des Gehörsinns</i>—The art of the sense of hearing (p. 182).</p> <p><i lang="de" xml:lang="de">Die Kunst des Gesichtsinns</i>—The art of the sense of sight (p. 184).</p> <p>Of the first of these—<i lang="de" xml:lang="de">die Kunst des Geschmacksinns</i>—he -says: "<i lang="de" xml:lang="de">Man hlt zwar gewhnlich nur zwei oder -hchstens drei Sinne fr wrdig, den Stoff knstlerischer +says: "<i lang="de" xml:lang="de">Man hält zwar gewöhnlich nur zwei oder +höchstens drei Sinne für würdig, den Stoff künstlerischer Behandlung abzugeben, aber ich glaube nur mit bedingtem Recht. Ich will kein allzugrosses Gewicht darauf legen, -dass der gemeine Sprachgebrauch manch andere Knste, +dass der gemeine Sprachgebrauch manch andere Künste, wie zum Beispiel die Kochkunst kennt.</i>"<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a></p> <p><span class="pagenum"><a name="Page_355" id="Page_355">[355]</a></span></p> -<p>And further: "<i lang="de" xml:lang="de">Und es ist doch gewiss eine sthetische +<p>And further: "<i lang="de" xml:lang="de">Und es ist doch gewiss eine ästhetische Leistung, wenn es der Kochkunst gelingt ans einem thierischen Kadaver einen Gegenstand des Geschmacks in jedem Sinne zu machen. Der Grundsatz der Kunst des Geschmacksinns (die weiter ist als die sogenannte Kochkunst) ist also dieser: Es soll alles Geniessbare als Sinnbild einer Idee behandelt werden und in jedesmaligem -Einklang zur auszudrckenden Idee.</i>"<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></p> +Einklang zur auszudrückenden Idee.</i>"<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></p> -<p>This author, like Renan, acknowledges a <i lang="de" xml:lang="de">Kostmkunst</i> +<p>This author, like Renan, acknowledges a <i lang="de" xml:lang="de">Kostümkunst</i> (Art of Costume) (p. 200), etc.</p> <p>Such is also the opinion of the French writer, Guyau, who is highly esteemed by some authors of our day. In his -book, "Les Problmes de l'Esthtique Contemporaine," +book, "Les Problèmes de l'Esthétique Contemporaine," he speaks seriously of touch, taste, and smell as giving, -or being capable of giving, sthetic impressions: "<i lang="fr" xml:lang="fr">Si la +or being capable of giving, æsthetic impressions: "<i lang="fr" xml:lang="fr">Si la couleur manque au toucher, il nous fournit en revanche une notion que l'œil seul ne peut nous donner, et qui a une -valeur esthtique considrable, celle du</i> doux, <i lang="fr" xml:lang="fr">du</i> soyeux, -<i lang="fr" xml:lang="fr">du</i> poli. <i lang="fr" xml:lang="fr">Ce qui caractrise la beaut du velours, c'est sa +valeur esthétique considérable, celle du</i> doux, <i lang="fr" xml:lang="fr">du</i> soyeux, +<i lang="fr" xml:lang="fr">du</i> poli. <i lang="fr" xml:lang="fr">Ce qui caractérise la beauté du velours, c'est sa douceur au toucher non moins que son brillant. Dans -l'ide que nous nous faisons de la beaut d'une femme, le -velout de sa peau entre comme lment essentiel.</i>"</p> +l'idée que nous nous faisons de la beauté d'une femme, le +velouté de sa peau entre comme élément essentiel.</i>"</p> <p>"<i lang="fr" xml:lang="fr">Chacun de nous probablement avec un peu d'attention -se rappellera des jouissances du got, qui ont t de vritables -jouissances esthtiques.</i>"<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> And he recounts how a +se rappellera des jouissances du goût, qui ont été de véritables +jouissances esthétiques.</i>"<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> And he recounts how a glass of milk drunk by him in the mountains gave him -sthetic enjoyment.</p> +æsthetic enjoyment.</p> <p><span class="pagenum"><a name="Page_356" id="Page_356">[356]</a></span></p> <p>So it turns out that the conception of art, as consisting in making beauty manifest, is not at all so simple as it seemed, especially now, when in this conception of beauty are included our sensations of touch and taste -and smell, as they are by the latest sthetic writers.</p> +and smell, as they are by the latest æsthetic writers.</p> <p>But the ordinary man either does not know, or does not wish to know, all this, and is firmly convinced that all @@ -16242,18 +16202,18 @@ by every one. And yet not only is this not known, but, after whole mountains of books have been written on the subject by the most learned and profound thinkers during one hundred and fifty years (ever since Baumgarten -founded sthetics in the year 1750), the question, What +founded æsthetics in the year 1750), the question, What is beauty? remains to this day quite unsolved, and in -each new work on sthetics it is answered in a new -way. One of the last books I read on sthetics is a -not ill-written booklet by Julius Mithalter, called "Rtsel -des Schnen" (The Enigma of the Beautiful). And that +each new work on æsthetics it is answered in a new +way. One of the last books I read on æsthetics is a +not ill-written booklet by Julius Mithalter, called "Rätsel +des Schönen" (The Enigma of the Beautiful). And that title precisely expresses the position of the question, What is beauty? After thousands of learned men have discussed it during one hundred and fifty years, the meaning of the word beauty remains an enigma still. The Germans answer the question in their manner, -though in a hundred different ways. The physiologist-stheticians,<span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span> +though in a hundred different ways. The physiologist-æstheticians,<span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span> especially the Englishmen, Herbert Spencer, Grant Allen, and his school, answer it, each in his own way; the French eclectics, and the followers of Guyau @@ -16262,7 +16222,7 @@ people know all the preceding solutions given by Baumgarten, and Kant, and Schelling, and Schiller, and Fichte, and Winckelmann, and Lessing, and Hegel, and Schopenhauer, and Hartmann, and Schasler, and Cousin, -and Lvque, and others.</p> +and Lévêque, and others.</p> <p>What is this strange conception "beauty," which seems so simple to those who talk without thinking, @@ -16310,13 +16270,13 @@ and conceptions "good" and "beautiful."</p> <p>In all the European languages, <em>i.e.</em> the languages of those nations among whom the doctrine has spread that beauty is the essential thing in art, the words -"beau," "schn," "beautiful," "bello," etc., while keeping +"beau," "schön," "beautiful," "bello," etc., while keeping their meaning of beautiful in form, have come to also express "goodness," "kindness," <em>i.e.</em> have come to act as substitutes for the word "good."</p> <p>So that it has become quite natural in those languages -to use such expressions as "belle ame," "schne Gedanken," +to use such expressions as "belle ame," "schöne Gedanken," of "beautiful deed." Those languages no longer have a suitable word wherewith expressly to indicate beauty of form, and have to use a combination @@ -16326,7 +16286,7 @@ look at," etc., to convey that idea.</p> <p>Observation of the divergent meanings which the words "beauty" and "beautiful" have in Russian on the one hand, and in those European languages now -permeated by this sthetic theory on the other hand, +permeated by this æsthetic theory on the other hand, shows us that the word "beauty" has, among the latter, acquired a special meaning, namely, that of "good."</p> @@ -16347,28 +16307,28 @@ to be assimilated by Russian society.</p> <p>In order to answer this question, I must here quote<span class="pagenum"><a name="Page_359" id="Page_359">[359]</a></span> at least a small selection of those definitions of beauty -most generally adopted in existing sthetic systems. I +most generally adopted in existing æsthetic systems. I especially beg the reader not to be overcome by dullness, but to read these extracts through, or, still better, to -read some one of the erudite sthetic authors. Not to -mention the voluminous German stheticians, a very +read some one of the erudite æsthetic authors. Not to +mention the voluminous German æstheticians, a very good book for this purpose would be either the German book by Kralik, the English work by Knight, or the -French one by Lvque. It is necessary to read one -of the learned sthetic writers in order to form at firsthand +French one by Lévêque. It is necessary to read one +of the learned æsthetic writers in order to form at firsthand a conception of the variety in opinion and the frightful obscurity which reigns in this region of speculation; not, in this important matter, trusting to another's report.</p> -<p>This, for instance, is what the German sthetician +<p>This, for instance, is what the German æsthetician Schasler says in the preface to his famous, voluminous, -and detailed work on sthetics:—</p> +and detailed work on æsthetics:—</p> <p>"Hardly in any sphere of philosophic science can we find such divergent methods of investigation and exposition, amounting even to self-contradiction, as in the -sphere of sthetics. On the one hand, we have elegant +sphere of æsthetics. On the one hand, we have elegant phraseology without any substance, characterized in great part by most one-sided superficiality; and on the other hand, accompanying undeniable profundity @@ -16385,35 +16345,35 @@ a pedantic erudition.... A style of exposition that falls into none of these three defects but it is truly concrete, and, having important matter, expresses it in clear and popular philosophic language, can nowhere be found -less frequently than in the domain of sthetics."<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></p> +less frequently than in the domain of æsthetics."<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></p> <p>It is only necessary, for instance, to read Schasler's<span class="pagenum"><a name="Page_360" id="Page_360">[360]</a></span> own book to convince oneself of the justice of this observation of his.</p> -<p>On the same subject the French writer Vron, in the -preface to his very good work on sthetics, says: "<i lang="fr" xml:lang="fr">Il -n'y a pas de science, qui ait t plus que l'esthtique livre -aux rveries des mtaphysiciens. Depuis Platon jusqu'aux +<p>On the same subject the French writer Véron, in the +preface to his very good work on æsthetics, says: "<i lang="fr" xml:lang="fr">Il +n'y a pas de science, qui ait été plus que l'esthétique livrée +aux rêveries des métaphysiciens. Depuis Platon jusqu'aux doctrines officielles de nos jours, on a fait de l'art je -ne sais quel amalgame de fantaisies quintessencies, et de -mystres transcendantaux qui trouvent leur expression suprme -dans la conception absolue du Beau idal, prototype -immuable et divin des choses relles</i>" ("L'Esthtique," +ne sais quel amalgame de fantaisies quintessenciées, et de +mystères transcendantaux qui trouvent leur expression suprême +dans la conception absolue du Beau idéal, prototype +immuable et divin des choses réelles</i>" ("L'Esthétique," 1878, p. 5).<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p> <p>If the reader will only be at the pains to peruse the following extracts, defining beauty, taken from the chief -writers on sthetics, he may convince himself that this +writers on æsthetics, he may convince himself that this censure is thoroughly deserved.</p> <p>I shall not quote the definitions of beauty attributed to the ancients,—Socrates, Plato, Aristotle, etc., down to Plotinus,—because, in reality, the ancients had not that conception of beauty separated from goodness -which forms the basis and aim of sthetics in our time. +which forms the basis and aim of æsthetics in our time. By referring the judgments of the ancients on beauty to -our conception of it, as is usually done in sthetics, we +our conception of it, as is usually done in æsthetics, we give the words of the ancients a meaning which is not theirs.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p> @@ -16423,11 +16383,11 @@ theirs.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44 <h2>CHAPTER III</h2> -<p>I begin with the founder of sthetics, Baumgarten +<p>I begin with the founder of æsthetics, Baumgarten (1714-1762).</p> <p>According to Baumgarten,<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> the object of logical<span class="pagenum"><a name="Page_361" id="Page_361">[361]</a></span> -knowledge is Truth, the object of sthetic (<em>i.e.</em> sensuous) +knowledge is Truth, the object of æsthetic (<em>i.e.</em> sensuous) knowledge is Beauty. Beauty is the Perfect (the Absolute) recognized through the senses; Truth is the Perfect perceived through reason; Goodness is the Perfect @@ -16446,7 +16406,7 @@ considers that the highest embodiment of beauty is seen by us in nature, and he therefore thinks that the highest aim of art is to copy nature. (This position also is directly contradicted by the conclusions of the latest -stheticians.)</p> +æstheticians.)</p> <p>Passing over the unimportant followers of Baumgarten,—Maier, Eschenburg, and Eberhard,—who only @@ -16471,15 +16431,15 @@ the carrying forward of the beautiful, obscurely recognized by feeling, till it becomes the true and good. The aim of art is moral perfection.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p> <p><span class="pagenum"><a name="Page_362" id="Page_362">[362]</a></span></p> -<p>For the stheticians of this school, the ideal of beauty +<p>For the æstheticians of this school, the ideal of beauty is a beautiful soul in a beautiful body. So that these -stheticians completely wipe out Baumgarten's division +æstheticians completely wipe out Baumgarten's division of the Perfect (the Absolute), into the three forms of Truth, Goodness, and Beauty; and Beauty is again united with the Good and the True.</p> <p>But this conception is not only not maintained by the -later stheticians, but the sthetic doctrine of Winckelmann +later æstheticians, but the æsthetic doctrine of Winckelmann arises, again in complete opposition. This divides the mission of art from the aim of goodness in the sharpest and most positive manner, makes external beauty the @@ -16497,15 +16457,15 @@ is attained in antique art; modern art should therefore aim at imitating ancient art.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a></p> <p>Art is similarly understood by Lessing, Herder, and -afterwards by Goethe and by all the distinguished stheticians +afterwards by Goethe and by all the distinguished æstheticians of Germany till Kant, from whose day, again, a different conception of art commences.</p> -<p>Native sthetic theories arose during this period in +<p>Native æsthetic theories arose during this period in England, France, Italy, and Holland, and they, though not taken from the German, were equally cloudy and contradictory. And all these writers, just like the German -stheticians, founded their theories on a conception +æstheticians, founded their theories on a conception of the Beautiful, understanding beauty in the sense of a something existing absolutely, and more or less intermingled with Goodness or having one and the same @@ -16560,10 +16520,10 @@ which is bound up with it, is the source of beauty.<a name="FNanchor_50_50" id=" beauty in the eighteenth century.</p> <p>During that period, in France, the writers on art were -Pre Andr and Batteux, with Diderot, D'Alembert, +Père André and Batteux, with Diderot, D'Alembert, and, to some extent, Voltaire, following later.</p> -<p>According to Pre Andr ("Essai sur le Beau," +<p>According to Père André ("Essai sur le Beau," 1741), there are three kinds of beauty,—divine beauty, natural beauty, and artificial beauty.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></p> @@ -16577,7 +16537,7 @@ taste are not only not laid down, but it is granted that they cannot be settled. The same view was held by D'Alembert and Voltaire.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></p> -<p>According to the Italian sthetician of that period, +<p>According to the Italian æsthetician of that period, Pagano, art consists in uniting the beauties dispersed in nature. The capacity to perceive these beauties is taste, the capacity to bring them into one whole is artistic @@ -16593,7 +16553,7 @@ egotistical sensation, founded (as with Burke) on the desire for self-preservation and society.</p> <p>Among Dutch writers, Hemsterhuis (1720-1790), who -had an influence on the German stheticians and on +had an influence on the German æstheticians and on Goethe, is remarkable. According to him, beauty is that which gives most pleasure, and that gives most pleasure which gives us the greatest number of ideas in @@ -16601,14 +16561,14 @@ the shortest time. Enjoyment of the beautiful, because it gives the greatest quantity of perceptions in the shortest time, is the highest notion to which man can attain.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a></p> <p><span class="pagenum"><a name="Page_365" id="Page_365">[365]</a></span></p> -<p>Such were the sthetic theories outside Germany during +<p>Such were the æsthetic theories outside Germany during the last century. In Germany, after Winckelmann, -there again arose a completely new sthetic theory, that +there again arose a completely new æsthetic theory, that of Kant (1724-1804), which, more than all others, clears up what this conception of beauty, and consequently of art, really amounts to.</p> -<p>The sthetic teaching of Kant is founded as follows: +<p>The æsthetic teaching of Kant is founded as follows: Man has a knowledge of nature outside him and of himself in nature. In nature, outside himself, he seeks for truth; in himself, he seeks for goodness. The first @@ -16616,8 +16576,8 @@ is an affair of pure reason, the other of practical reason (free will). Besides these two means of perception, there is yet the judging capacity (<i lang="de" xml:lang="de">Urteilskraft</i>), which forms judgments without reasonings and produces pleasure -without desire (<i>Urtheil ohne Begriff und Vergngen ohne -Begehren</i>). This capacity is the basis of sthetic feeling. +without desire (<i>Urtheil ohne Begriff und Vergnügen ohne +Begehren</i>). This capacity is the basis of æsthetic feeling. Beauty, according to Kant, in its subjective meaning is that which, in general and necessarily, without reasonings and without practical advantage, pleases. In its @@ -16627,7 +16587,7 @@ of its utility.<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footno <p>Beauty is defined in the same way by the followers of Kant, among whom was Schiller (1759-1805). According -to Schiller, who wrote much on sthetics, the +to Schiller, who wrote much on æsthetics, the aim of art is, as with Kant, beauty, the source of which is pleasure without practical advantage. So that art may be called a game, not in the sense of an unimportant @@ -16636,13 +16596,13 @@ of the beauties of life itself without other aim than that of beauty.<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a></p> <p>Besides Schiller, the most remarkable of Kant's -followers in the sphere of sthetics was Wilhelm +followers in the sphere of æsthetics was Wilhelm Humboldt, who, though he added nothing to the definition of beauty, explained various forms of it,—the drama, music, the comic, etc.<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a></p> <p>After Kant, besides the second-rate philosophers, -the writers on sthetics were Fichte, Schelling, Hegel,<span class="pagenum"><a name="Page_366" id="Page_366">[366]</a></span> +the writers on æsthetics were Fichte, Schelling, Hegel,<span class="pagenum"><a name="Page_366" id="Page_366">[366]</a></span> and their followers. Fichte (1762-1814) says that perception of the beautiful proceeds from this: the world—<i>i.e.</i> nature—has two sides: it is the sum of our @@ -16655,7 +16615,7 @@ inner completeness, vitality, regeneration—and we see beauty. So that the deformity or beauty of an object, according to Fichte, depends on the point of view of the observer. Beauty therefore exists, not in the world, -but in the beautiful soul (<i>schner Geist</i>). Art is the +but in the beautiful soul (<i>schöner Geist</i>). Art is the manifestation of this beautiful soul, and its aim is the education, not only of the mind—that is the business of the <i>savant</i>, not only of the heart—that is the affair @@ -16664,16 +16624,16 @@ the characteristic of beauty lies, not in anything external, but in the presence of a beautiful soul in the artist.<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a></p> <p>Following Fichte, and in the same direction, Friedrich -Schlegel and Adam Mller also defined beauty. +Schlegel and Adam Müller also defined beauty. According to Schlegel (1772-1829), beauty in art is understood too incompletely, one-sidedly, and disconnectedly. Beauty exists, not only in art, but also in nature and in love; so that the truly beautiful is expressed by the union of art, nature, and love. Therefore, -as inseparably one with sthetic art, Schlegel +as inseparably one with æsthetic art, Schlegel acknowledges moral and philosophic art.<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a></p> -<p>According to Adam Mller (1779-1829), there are +<p>According to Adam Müller (1779-1829), there are two kinds of beauty: the one, general beauty, which attracts people as the sun attracts the planet—this is found chiefly in antique art; and the other, individual @@ -16688,7 +16648,7 @@ The highest art is the art of life.<a name="FNanchor_63_63" id="FNanchor_63_63"> <p>Next after Fichte and his followers came a contemporary of his, the philosopher Schelling (1775-1854), -who has had a great influence on the sthetic conceptions +who has had a great influence on the æsthetic conceptions of our times. According to Schelling's philosophy, art is the production or result of that conception of things by which the subject becomes its own object, @@ -16705,7 +16665,7 @@ or skill produces the beautiful, but the idea of beauty in him itself produces it.<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a></p> <p>Of Schelling's followers the most noticeable was -Solger (1780-1819—"Vorlesungen ber sthetik"). +Solger (1780-1819—"Vorlesungen über Æsthetik"). According to him, the idea of beauty is the fundamental idea of everything. In the world we see only distortions of the fundamental idea, but art, by imagination, @@ -16720,7 +16680,7 @@ The highest stage of art is the art of life, which directs its activity toward the adornment of life so that it may be a beautiful abode for a beautiful man.<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a></p> -<p>After Schelling and his followers came the new sthetic +<p>After Schelling and his followers came the new æsthetic doctrine of Hegel, which is held to this day, consciously by many, but by the majority unconsciously. This teaching is not only no clearer or better defined @@ -16761,7 +16721,7 @@ Arnold Ruge, Rosenkrantz, Theodor Vischer, and others.</p> beauty into external, dead, indifferent matter, the perception of which latter, apart from the beauty brought into it, presents the negation of all existence in itself -(<i>Negation alles Frsichseins</i>).</p> +(<i>Negation alles Fürsichseins</i>).</p> <p>In the idea of truth, Weisse explains, lies a contradiction between the subjective and the objective sides of @@ -16789,8 +16749,8 @@ link of the system. The highest form of the Idea is personality, and therefore the highest art is that which has for its subject-matter the highest personality.<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a></p> -<p>Such were the theories of the German stheticians in -the Hegelian direction, but they did not monopolize sthetic +<p>Such were the theories of the German æstheticians in +the Hegelian direction, but they did not monopolize æsthetic dissertations. In Germany, side by side and simultaneously with the Hegelian theories, there appeared theories of beauty not only independent of Hegel's position @@ -16802,20 +16762,20 @@ by Schopenhauer.</p> <p>According to Herbart (1776-1841), there is not, and cannot be, any such thing as beauty existing in itself. What does exist is only our opinion, and it is necessary -to find the base of this opinion (<i>sthetisches Elementarurtheil</i>). +to find the base of this opinion (<i>Ästhetisches Elementarurtheil</i>). Such bases are connected with our impressions. There are certain relations which we term beautiful; and art consists in finding these relations, which are simultaneous in painting, the plastic art, and architecture, successive and simultaneous in music, and purely successive -in poetry. In contradiction to the former stheticians, +in poetry. In contradiction to the former æstheticians, Herbart holds that objects are often beautiful which express nothing at all, as, for instance, the rainbow, which is beautiful for its lines and colors, and not for its mythological connection with Iris or Noah's rainbow.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a></p> <p><span class="pagenum"><a name="Page_370" id="Page_370">[370]</a></span></p> <p>Another opponent of Hegel was Schopenhauer, who -denied Hegel's whole system, his sthetics included.</p> +denied Hegel's whole system, his æsthetics included.</p> <p>According to Schopenhauer (1788-1860), Will objectivizes itself in the world on various planes; and although @@ -16832,7 +16792,7 @@ manifest.<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_ <p>After these more eminent writers there followed, in Germany, less original and less influential ones, such as Hartmann, Kirkmann, Schnasse, and, to some extent, -Helmholtz (as an sthetician), Bergmann, Jungmann, +Helmholtz (as an æsthetician), Bergmann, Jungmann, and an innumerable host of others.</p> <p>According to Hartmann (1842), beauty lies, not in the @@ -16848,7 +16808,7 @@ approach toward it. Art gives what nature cannot give. In the energy of the free <i>ego</i>, conscious of harmony not found in nature, beauty is disclosed.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a></p> -<p>Kirkmann wrote on experimental sthetics. All aspects +<p>Kirkmann wrote on experimental æsthetics. All aspects of history in his system are joined by pure chance. Thus, according to Kirkmann (1802-1884), there are six realms of history: The realm of Knowledge, of @@ -16862,23 +16822,23 @@ are not known to the artist; so that beauty is manifested by the artist unconsciously, and cannot be subjected to analysis.<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a></p> -<p>According to Bergmann (1840) ("Ueber das Schne," +<p>According to Bergmann (1840) ("Ueber das Schöne," 1887), to define beauty objectively is impossible. Beauty is only perceived subjectively, and therefore the problem -of sthetics is to define what pleases whom.<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a></p> +of æsthetics is to define what pleases whom.<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a></p> <p>According to Jungmann (d. 1885), firstly, beauty is a suprasensible quality of things; secondly, beauty produces in us pleasure by merely being contemplated; and, thirdly, beauty is the foundation of love.<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a></p> -<p>The sthetic theories of the chief representatives of +<p>The æsthetic theories of the chief representatives of France, England, and other nations in recent times have been the following:—</p> <p>In France, during this period, the prominent writers -on sthetics were Cousin, Jouffroy, Pictet, Ravaisson, -Lvque.</p> +on æsthetics were Cousin, Jouffroy, Pictet, Ravaisson, +Lévêque.</p> <p>Cousin (1792-1867) was an eclectic, and a follower of the German idealists. According to his theory, beauty @@ -16889,7 +16849,7 @@ that it essentially consists in variety in unity.<a name="FNanchor_79_79" id="FN <p>After Cousin came Jouffroy (1796-1842), who was a pupil of Cousin's and also a follower of the German -stheticians. According to his definition, beauty is the +æstheticians. According to his definition, beauty is the expression of the invisible by those natural signs which manifest it. The visible world is the garment by means of which we see beauty.<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a></p> @@ -16898,16 +16858,16 @@ of which we see beauty.<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href= supposing beauty to exist in the direct and free manifestation of the divine Idea revealing itself in sense forms.<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a></p> -<p>Lvque was a follower of Schelling and Hegel. He +<p>Lévêque was a follower of Schelling and Hegel. He holds that beauty is something invisible behind nature—a force or spirit revealing itself in ordered energy.<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a></p> <p>Similar vague opinions about the nature of beauty<span class="pagenum"><a name="Page_372" id="Page_372">[372]</a></span> were expressed by the French metaphysician Ravaisson, who considered beauty to be the ultimate aim and purpose -of the world. "<i>La beaut la plus divine et principalement +of the world. "<i>La beauté la plus divine et principalement la plus parfaite contient le secret du monde.</i>"<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a> -And again, "<i>Le monde entier est l'œuvre d'une beaut +And again, "<i>Le monde entier est l'œuvre d'une beauté absolue, qui n'est la cause des choses que par l'amour qu'elle met en elles.</i>"</p> @@ -16919,15 +16879,15 @@ in uniting heterogeneous conceptions into one expression, and putting forward one meaning or another indiscriminately. For instance, the French philosopher Renouvier, when discussing beauty, says, "<i>Ne craignons pas -de dire qu'une vrit qui ne serait pas belle, ne serait qu'un -jeu logique de notre esprit et que la seule vrit solide et -digne de ce nom c'est la beaut.</i>"<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a></p> +de dire qu'une vérité qui ne serait pas belle, ne serait qu'un +jeu logique de notre esprit et que la seule vérité solide et +digne de ce nom c'est la beauté.</i>"<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a></p> -<p>Besides the sthetic idealists who wrote and still write +<p>Besides the æsthetic idealists who wrote and still write under the influence of German philosophy, the following recent writers have also influenced the comprehension of art and beauty in France: Taine, Guyau, Cherbuliez, -Coster, and Vron.</p> +Coster, and Véron.</p> <p>According to Taine (1828-1893), beauty is the manifestation of the essential characteristic of any important @@ -16979,26 +16939,26 @@ of his individuality.</p> <p>Then again, Sar Peladan's "L'Art Idealiste et Mystique" (1894), says that beauty is one of the manifestations -of God. "<i>Il n'y a pas d'autre Ralit que Dieu, -il n'y a pas d'autre Vrit que Dieu, il n'y a pas d'autre -Beaut que Dieu</i>" (p. 33). This book is very fantastic +of God. "<i>Il n'y a pas d'autre Réalité que Dieu, +il n'y a pas d'autre Vérité que Dieu, il n'y a pas d'autre +Beauté que Dieu</i>" (p. 33). This book is very fantastic and very illiterate, but is characteristic in the positions it takes up, and noticeable on account of a certain success it is having with the younger generation in France.</p> -<p>All the sthetics diffused in France up to the present -time are similar in kind, but among them Vron's -"L'Esthtique" (1878) forms an exception, being reasonable +<p>All the æsthetics diffused in France up to the present +time are similar in kind, but among them Véron's +"L'Esthétique" (1878) forms an exception, being reasonable and clear. That work, though it does not give an<span class="pagenum"><a name="Page_374" id="Page_374">[374]</a></span> -exact definition of art, at least rids sthetics of the +exact definition of art, at least rids æsthetics of the cloudy conception of an absolute beauty.</p> -<p>According to Vron (1825-1889), art is the manifestation +<p>According to Véron (1825-1889), art is the manifestation of emotion transmitted externally by a combination of lines, forms, colors, or by a succession of movements, sounds, or words subjected to certain rhythms.<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a></p> -<p>In England, during this period, the writers on sthetics +<p>In England, during this period, the writers on æsthetics define beauty more and more frequently, not by its own qualities, but by taste; and the discussion about beauty is superseded by a discussion on taste.</p> @@ -17015,8 +16975,8 @@ in our conception with what we love. Richard Knight's work, "An Analytical Inquiry into the Principles of Taste," also tends in the same direction.</p> -<p>Most of the English theories of sthetics are on the -same lines. The prominent writers on sthetics in +<p>Most of the English theories of æsthetics are on the +same lines. The prominent writers on æsthetics in England during the present century have been Charles Darwin (to some extent), Herbert Spencer, Grant Allen, Ker, and Knight.</p> @@ -17037,7 +16997,7 @@ in life-maintenance and race-maintenance; in man, however, there remains, after these needs are satisfied, some superfluous strength. This excess is used in play,<span class="pagenum"><a name="Page_375" id="Page_375">[375]</a></span> which passes over into art. Play is an imitation of real -activity; so is art. The sources of sthetic pleasure +activity; so is art. The sources of æsthetic pleasure are threefold: (1) That "which exercises the faculties affected in the most complete ways, with the fewest drawbacks from exercise," (2) "the difference of a @@ -17058,8 +17018,8 @@ helpfulness toward a reasonable aim. Beauty is the reconciliation of contradictions.<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a></p> <p>Grant Allen is a follower of Spencer, and in his -"Physiological sthetics" (1877) he says that beauty -has a physical origin. sthetic pleasures come from +"Physiological Æsthetics" (1877) he says that beauty +has a physical origin. Æsthetic pleasures come from the contemplation of the beautiful, but the conception of beauty is obtained by a physiological process. The origin of art is play; when there is a superfluity of @@ -17091,19 +17051,19 @@ of that which is common to all nature.</p> <p>The opinions on beauty and on art here mentioned are far from exhausting what has been written on the -subject. And every day fresh writers on sthetics arise, +subject. And every day fresh writers on æsthetics arise, in whose disquisitions appear the same enchanted confusion and contradictoriness in defining beauty. Some, -by inertia, continue the mystical sthetics of Baumgarten +by inertia, continue the mystical æsthetics of Baumgarten and Hegel with sundry variations; others transfer the question to the region of subjectivity, and seek for the foundation of the beautiful in questions of taste; others—the -stheticians of the very latest formation—seek +æstheticians of the very latest formation—seek the origin of beauty in the laws of physiology; and finally, others again investigate the question quite independently of the conception of beauty. Thus Sully, in his "Sensation and Intuition: Studies in Psychology -and sthetics" (1874), dismisses the conception of beauty +and Æsthetics" (1874), dismisses the conception of beauty altogether, art, by his definition, being the production of some permanent object or passing action fitted to supply active enjoyment to the producer, and a pleasurable impression @@ -17124,7 +17084,7 @@ to a purpose, or in symmetry, or in order, or in proportion,<span class="pagenum or in smoothness, or in harmony of the parts, or in unity amid variety, or in various combinations of these—not reckoning these unsatisfactory attempts at -objective definition, all the sthetic definitions of beauty +objective definition, all the æsthetic definitions of beauty lead to two fundamental conceptions. The first is that beauty is something having an independent existence (existing in itself), that it is one of the manifestations @@ -17136,7 +17096,7 @@ for its object.</p> <p>The first of these definitions was accepted by Fichte, Schelling, Hegel, Schopenhauer, and the philosophizing Frenchmen, Cousin, Jouffroy, Ravaisson, and others, -not to enumerate the second-rate sthetic philosophers. +not to enumerate the second-rate æsthetic philosophers. And this same objective-mystical definition of beauty is held by a majority of the educated people of our day. It is a conception very widely spread, especially among @@ -17144,7 +17104,7 @@ the elder generation.</p> <p>The second view, that beauty is a certain kind of pleasure received by us, not having personal advantage -for its aim, finds favor chiefly among the English sthetic +for its aim, finds favor chiefly among the English æsthetic writers, and is shared by the other part of our society, principally by the younger generation.</p> @@ -17173,20 +17133,20 @@ the pleasure derived from drink, from food, from touching a delicate skin, etc., as is acknowledged by Guyau, Kralik, and others.</p> -<p>It is true that, following the development of the sthetic +<p>It is true that, following the development of the æsthetic doctrines on beauty, we may notice that, though at first (in the times when the foundations of the science -of sthetics were being laid) the metaphysical definition +of æsthetics were being laid) the metaphysical definition of beauty prevailed, yet the nearer we get to our own times the more does an experimental definition (recently assuming a physiological form) come to the front, so -that at last we even meet with such stheticians as -Vron and Sully, who try to escape entirely from the -conception of beauty. But such stheticians have very +that at last we even meet with such æstheticians as +Véron and Sully, who try to escape entirely from the +conception of beauty. But such æstheticians have very little success, and with the majority of the public, as well as of artists and the learned, a conception of beauty is firmly held which agrees with the definitions -contained in most of the sthetic treatises, <i>i.e.</i> which +contained in most of the æsthetic treatises, <i>i.e.</i> which regards beauty either as something mystical or metaphysical, or as a special kind of enjoyment.</p> @@ -17216,9 +17176,9 @@ should apply to all artistic productions, and by reference to which we might decide whether a certain article belonged to the realm of art or not. But no such definition is supplied, as the reader may see from those -summaries of the sthetic theories which I have given, +summaries of the æsthetic theories which I have given, and as he may discover even more clearly from the original -sthetic works, if he will be at the pains to read +æsthetic works, if he will be at the pains to read them. All attempts to define absolute beauty in itself—whether as an imitation of nature, or as suitability to its object, or as a correspondence of parts, or as symmetry, @@ -17233,7 +17193,7 @@ definitions (both the metaphysical and the experimental) amount only to one and the same subjective definition, which (strange as it seems to say so) is, that art is that which makes beauty manifest, and beauty is -that which pleases (without exciting desire). Many stheticians +that which pleases (without exciting desire). Many æstheticians have felt the insufficiency and instability of such a definition, and, in order to give it a firm basis, have asked themselves why a thing pleases. And they @@ -17241,10 +17201,10 @@ have converted the discussion on beauty into a question concerning taste, as did Hutcheson, Voltaire, Diderot, and others. But all attempts to define what taste is must lead to nothing, as the reader may see both from -the history of sthetics and experimentally. There is +the history of æsthetics and experimentally. There is and can be no explanation of why one thing pleases one man and displeases another, or <i>vice versa</i>. So that -the whole existing science of sthetics fails to do what +the whole existing science of æsthetics fails to do what we might expect from it, being a mental activity calling itself a science; namely, it does not define the qualities and laws of art, or of the beautiful (if that be the content @@ -17252,7 +17212,7 @@ of art), or the nature of taste (if taste decides the question of art and its merit), and then, on the basis of such definitions, acknowledge as art those productions<span class="pagenum"><a name="Page_380" id="Page_380">[380]</a></span> which correspond to these laws, and reject those which -do not come under them. But this science of sthetics +do not come under them. But this science of æsthetics consists in first acknowledging a certain set of productions to be art (because they please us), and then framing such a theory of art that all those productions which @@ -17261,8 +17221,8 @@ exists an art canon, according to which certain productions favored by our circle are acknowledged as being art,—Phidias, Sophocles, Homer, Titian, Raphael, Bach, Beethoven, Dante, Shakespear, Goethe, and -others,—and the sthetic laws must be such as to -embrace all these productions. In sthetic literature +others,—and the æsthetic laws must be such as to +embrace all these productions. In æsthetic literature you will incessantly meet with opinions on the merit and importance of art, founded not on any certain laws by which this or that is held to be good or bad, but @@ -17283,7 +17243,7 @@ which shall fit the works; and instead of a demand for morality, Folgeldt postulates as the basis of art a demand for the important (<i>Bedeutungsvolles</i>).</p> -<p>All the existing sthetic standards are built on this +<p>All the existing æsthetic standards are built on this plan. Instead of giving a definition of true art, and then deciding what is and what is not good art by judging whether a work conforms or does not conform to @@ -17313,7 +17273,7 @@ infallible, may be seen by what is being done in the art of our circle to-day.</p> <p>So that the theory of art, founded on beauty, expounded -by sthetics, and, in dim outline, professed by +by æsthetics, and, in dim outline, professed by the public, is nothing but the setting up as good of that which has pleased and pleases us, <i>i.e.</i> pleases a certain class of people.</p> @@ -17386,7 +17346,7 @@ of confusing the whole matter.</p> <p>To the question, What is this art, to which is offered up the labor of millions, the very lives of men, and even morality itself? we have extracted replies from the -existing sthetics, which all amount to this that the +existing æsthetics, which all amount to this that the aim of art is beauty, that beauty is recognized by the enjoyment it gives, and that artistic enjoyment is a good and important thing, because it <i>is</i> enjoyment. In a @@ -17416,7 +17376,7 @@ excitement of the nervous system (Grant Allen). This is the physiological-evolutionary definition. (2) Art is the external manifestation, by means of lines, colors, movements, sounds, or words, of emotions felt -by man (Vron). This is the experimental definition. +by man (Véron). This is the experimental definition. According to the very latest definition (Sully), (3) Art is "the production of some permanent object or passing action, which is fitted, not only to supply an active @@ -17436,7 +17396,7 @@ of the derivation of art. The modification of it (1 <i>b</i>), based on the physiological effects on the human organism, is inexact, because within the limits of such definition many other human activities can be included, as -has occurred in the neo-sthetic theories, which reckon +has occurred in the neo-æsthetic theories, which reckon as art the preparation of handsome clothes, pleasant scents, and even of victuals.</p> @@ -17581,7 +17541,7 @@ them.</i></p> <p>Art is not, as the metaphysicians say, the manifestation of some mysterious Idea of beauty, or God; it is -not, as the sthetical physiologists say, a game in which +not, as the æsthetical physiologists say, a game in which man lets off his excess of stored-up energy; it is not the expression of man's emotions by external signs; it is not the production of pleasing objects; and, above all, it is @@ -17988,11 +17948,11 @@ of art was formulated.</p> <p>From the time that people of the upper classes lost faith in Church Christianity, beauty (<i>i.e.</i> the pleasure received from art) became their standard of good and bad -art. And, in accordance with that view, an sthetic +art. And, in accordance with that view, an æsthetic theory naturally sprang up among those upper classes justifying such a conception,—a theory according to which the aim of art is to exhibit beauty. The partizans -of this sthetic theory, in confirmation of its truth, affirmed<span class="pagenum"><a name="Page_397" id="Page_397">[397]</a></span> +of this æsthetic theory, in confirmation of its truth, affirmed<span class="pagenum"><a name="Page_397" id="Page_397">[397]</a></span> that it was no invention of their own, but that it existed in the nature of things, and was recognized even by the ancient Greeks. But this assertion was quite @@ -18035,24 +17995,24 @@ very essence of things; that beauty and goodness must coincide; and that the word and conception καλο-κἀγαθία (which had a meaning for Greeks, but has none at all for Christians) represents the highest ideal of humanity. On -this misunderstanding the new science of sthetics was<span class="pagenum"><a name="Page_398" id="Page_398">[398]</a></span> +this misunderstanding the new science of æsthetics was<span class="pagenum"><a name="Page_398" id="Page_398">[398]</a></span> built up. And, to justify its existence, the teachings of the ancients on art were so twisted as to make it appear -that this invented science of sthetics had existed among +that this invented science of æsthetics had existed among the Greeks.</p> <p>In reality, the reasoning of the ancients on art was -quite unlike ours. As Benard, in his book on the sthetics +quite unlike ours. As Benard, in his book on the æsthetics of Aristotle, quite justly remarks, "<i>Pour qui veut -y regarder de prs, la thorie du beau et celle de l'art sont -tout fait spares dans Aristote, comme elles le sont dans -Platon et chez tous leurs successeurs</i>" ("L'Esthtique +y regarder de près, la théorie du beau et celle de l'art sont +tout à fait séparées dans Aristote, comme elles le sont dans +Platon et chez tous leurs successeurs</i>" ("L'Esthétique d'Aristote et de ses Successeurs," Paris, 1889, p. 28).<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a> And indeed the reasoning of the ancients on art not -only does not confirm our science of sthetics, but rather +only does not confirm our science of æsthetics, but rather contradicts its doctrine of beauty. But nevertheless all -the sthetic guides, from Schasler to Knight, declare -that the science of the beautiful—sthetic science—was +the æsthetic guides, from Schasler to Knight, declare +that the science of the beautiful—æsthetic science—was commenced by the ancients, by Socrates, Plato, Aristotle; and was continued, they say, partially by the Epicureans and Stoics: by Seneca and Plutarch, @@ -18066,11 +18026,11 @@ in Germany, 1750 <small>A.D.</small>, in Baumgarten's doctrine.</p> away during which there was not the slightest scientific interest felt for the world of beauty and art. These one and a half thousand years, says he, have been lost to -sthetics, and have contributed nothing toward the +æsthetics, and have contributed nothing toward the erection of the learned edifice of this science.<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a></p> <p><span class="pagenum"><a name="Page_399" id="Page_399">[399]</a></span></p> <p>In reality nothing of the kind happened. The science -of sthetics, the science of the beautiful, neither did nor +of æsthetics, the science of the beautiful, neither did nor could vanish, because it never existed. Simply, the Greeks (just like everybody else, always and everywhere) considered art (like everything else) good only when it @@ -18079,14 +18039,14 @@ when it was in opposition to that goodness. And the Greeks themselves were so little developed morally, that goodness and beauty seemed to them to coincide. On that obsolete Greek view of life was erected the science -of sthetics, invented by men of the eighteenth century, +of æsthetics, invented by men of the eighteenth century, and especially shaped and mounted in Baumgarten's theory. The Greeks (as any one may see who will read Benard's admirable book on Aristotle and his successors and Walter's work on Plato) never had a science of -sthetics.</p> +æsthetics.</p> -<p>sthetic theories arose about one hundred and fifty +<p>Æsthetic theories arose about one hundred and fifty years ago among the wealthy classes of the Christian European world, and arose simultaneously among different nations,—German, Italian, Dutch, French, and @@ -18142,10 +18102,10 @@ who lived 2000 years ago, who imitated the nude human body extremely well, and erected buildings pleasant to look at. All these incompatibilities pass completely unnoticed. Learned people write long, cloudy treatises -on beauty as a member of the sthetic trinity of Beauty, -Truth, and Goodness: <i>das Schne</i>, <i>das Wahre</i>, <i>das Gute</i>; +on beauty as a member of the æsthetic trinity of Beauty, +Truth, and Goodness: <i>das Schöne</i>, <i>das Wahre</i>, <i>das Gute</i>; <i>le Beau</i>, <i>le Vrai</i>, <i>le Bon</i>, are repeated, with capital letters, -by philosophers, stheticians, and artists, by private individuals,<span class="pagenum"><a name="Page_401" id="Page_401">[401]</a></span> +by philosophers, æstheticians, and artists, by private individuals,<span class="pagenum"><a name="Page_401" id="Page_401">[401]</a></span> by novelists, and by <i>feuilletonistes</i>, and they all think, when pronouncing these sacrosanct words, that they speak of something quite definite and solid—something @@ -18176,7 +18136,7 @@ pleasure?</p> <p>In order to answer this question, it is necessary, first of all, to correct the current error people make in attributing to our art the significance of true, universal -art. We are so accustomed, not only navely to consider +art. We are so accustomed, not only naïvely to consider the Circassian family the best stock of people, but also the Anglo-Saxon race the best race if we are Englishmen or Americans, or the Teutonic if we are Germans, @@ -18239,7 +18199,7 @@ remaining ninety-nine per cent live and die, generation after generation, crushed by toil, and never tasting this art, which, moreover, is of such a nature that, if they could get it, they would not understand anything of it. -We, according to the current sthetic theory, acknowledge +We, according to the current æsthetic theory, acknowledge art as one of the highest manifestations of the Idea, God, Beauty, or as the highest spiritual enjoyment; furthermore, we hold that all people have equal rights, @@ -18362,7 +18322,7 @@ These people simply and boldly speak out (what lies at the heart of the matter), and say that the participators in and utilizers of what, in their esteem, is highly beautiful art, <i>i.e.</i> art furnishing the greatest enjoyment, can -only be "schne Geister," "the elect," as the romanticists +only be "schöne Geister," "the elect," as the romanticists called them, the "Uebermenschen," as they are called by the followers of Nietzsche; the remaining vulgar herd, incapable of experiencing these pleasures, @@ -18469,10 +18429,10 @@ and the rich, who have no experience of labor for the support of life, is far poorer, more limited, and more insignificant than the range of feelings natural to working-people.</p> -<p>People of our circle, stheticians, usually think and +<p>People of our circle, æstheticians, usually think and say just the contrary of this. I remember how Gontchareff, the author, a very clever and educated man, but -a thorough townsman and an sthetician, said to me +a thorough townsman and an æsthetician, said to me that after Tourgenieff's "Memoirs of a Sportsman" there was nothing left to write about in peasant life. It was all used up. The life of working-people seemed to him @@ -18545,19 +18505,19 @@ by Heine, has latterly become fashionable, and is expressed by most ordinary and empty people. Most justly does the French critic Doumic characterize the works of the new writers: "<i>C'est la lassitude de vivre, -le mpris de l'poque prsente, le regret d'un autre temps -aperu travers l'illusion de l'art, le got du paradoxe, -le besoin de se singulariser, une aspiration de raffins -vers la simplicit, l'adoration enfantine du merveilleux, -la sduction maladive de la rverie, l'branlement des -nerfs,—surtout l'appel exaspr de la sensualit</i>" ("Les -Jeunes," Ren Doumic).<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a> And, as a matter of fact, of +le mépris de l'époque présente, le regret d'un autre temps +aperçu à travers l'illusion de l'art, le goût du paradoxe, +le besoin de se singulariser, une aspiration de raffinés +vers la simplicité, l'adoration enfantine du merveilleux, +la séduction maladive de la rêverie, l'ébranlement des +nerfs,—surtout l'appel exaspéré de la sensualité</i>" ("Les +Jeunes," René Doumic).<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a> And, as a matter of fact, of these three feelings it is sensuality, the lowest (accessible not only to all men, but even to all animals), which forms the chief subject-matter of works of art of recent times.</p> -<p>From Boccaccio to Marcel Prvost, all the novels,<span class="pagenum"><a name="Page_411" id="Page_411">[411]</a></span> +<p>From Boccaccio to Marcel Prévost, all the novels,<span class="pagenum"><a name="Page_411" id="Page_411">[411]</a></span> poems, and verses invariably transmit the feeling of sexual love in its different forms. Adultery is not only the favorite, but almost the only theme of all the novels. @@ -18572,13 +18532,13 @@ French literature there is hardly a page or a poem in which nakedness is not described, and in which, relevantly or irrelevantly, their favorite thought and word <i>nu</i> is not repeated a couple of times. There is a certain -writer, Ren de Gourmond, who gets printed, and is +writer, René de Gourmond, who gets printed, and is considered talented. To get an idea of the new writers, -I read his novel, "Les Chevaux de Diomde." It is a +I read his novel, "Les Chevaux de Diomède." It is a consecutive and detailed account of the sexual connections some gentleman had with various women. Every page contains lust-kindling descriptions. It is the same -in Pierre Lous' book, "Aphrodite," which met with +in Pierre Louÿs' book, "Aphrodite," which met with success; it is the same in a book I lately chanced upon, Huysmans' "Certains," and, with but few exceptions, it is the same in all the French novels. They are all @@ -18641,34 +18601,34 @@ out the masses) elevated to the rank of a merit and a condition of poetic art, but even incorrectness, indefiniteness, and lack of eloquence are held in esteem.</p> -<p>Thophile Gautier, in his preface to the celebrated +<p>Théophile Gautier, in his preface to the celebrated "Fleurs du Mal," says that Baudelaire, as far as possible, banished from poetry eloquence, passion, and truth -too strictly copied ("<i>l'loquence, la passion, et la vrit -calque trop exactement</i>").</p> +too strictly copied ("<i>l'éloquence, la passion, et la vérité +calquée trop exactement</i>").</p> <p>And Baudelaire not only expressed this, but maintained<span class="pagenum"><a name="Page_413" id="Page_413">[413]</a></span> his thesis in his verses, and yet more strikingly -in the prose of his "Petits Pomes en Prose," the meanings +in the prose of his "Petits Poèmes en Prose," the meanings of which have to be guessed like a rebus, and remain for the most part undiscovered.</p> <p>The poet Verlaine (who followed next after Baudelaire, and was also esteemed great) even wrote an "Art -Potique," in which he advises this style of composition:—</p> +Poétique," in which he advises this style of composition:—</p> <div class="poem"><div class="stanza"> <span class="i0"><i>De la musique avant toute chose</i>,<br /></span> -<span class="i0"><i>Et pour cela prfre l'Impair</i><br /></span> +<span class="i0"><i>Et pour cela préfère l'Impair</i><br /></span> <span class="i0"><i>Plus vague et plus soluble dans l'air</i>,<br /></span> -<span class="i0"><i>Sans rien en lui qui pse ou qui pose.</i><br /></span> +<span class="i0"><i>Sans rien en lui qui pèse ou qui pose.</i><br /></span> </div> <div class="stanza"> <span class="i0"><i>Il faut aussi que tu n'ailles point</i><br /></span> -<span class="i0"><i>Choisir tes mots sans quelque mprise:</i><br /></span> +<span class="i0"><i>Choisir tes mots sans quelque méprise:</i><br /></span> <span class="i0"><i>Rien de plus cher que la chanson grise</i><br /></span> -<span class="i0"><i>O l'Indcis au Prcis se joint.</i><br /></span> +<span class="i0"><i>Où l'Indécis au Précis se joint.</i><br /></span> <span class="i0"> * * * *</span> </div></div> @@ -18677,55 +18637,55 @@ Potique," in which he advises this style of composition:—</p> <div class="poem"> <div class="stanza"> <span class="i0"><i>De la musique encore et toujours!</i><br /></span> -<span class="i0"><i>Que ton vers soit la chose envole</i><br /></span> -<span class="i0"><i>Qu'on sent qui fuit d'une me en alle</i><br /></span> -<span class="i0"><i>Vers d'autres cieux d'autres amours.</i><br /></span> +<span class="i0"><i>Que ton vers soit la chose envolée</i><br /></span> +<span class="i0"><i>Qu'on sent qui fuit d'une âme en allée</i><br /></span> +<span class="i0"><i>Vers d'autres cieux à d'autres amours.</i><br /></span> </div> <div class="stanza"> <span class="i0"><i>Que ton vers soit la bonne aventure</i><br /></span> -<span class="i0"><i>Eparse au vent crisp du matin</i>,<br /></span> +<span class="i0"><i>Eparse au vent crispé du matin</i>,<br /></span> <span class="i0"><i>Qui va fleurant la menthe et le thym</i>....<br /></span> -<span class="i0"><i>Et tout le reste est littrature.</i><a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a><br /></span> +<span class="i0"><i>Et tout le reste est littérature.</i><a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a><br /></span> </div></div> <p><span class="pagenum"><a name="Page_414" id="Page_414">[414]</a></span></p> -<p>After these two comes Mallarm, considered the most +<p>After these two comes Mallarmé, considered the most important of the young poets, and he plainly says that the charm of poetry lies in our having to guess its meaning—that in poetry there should always be a puzzle:—</p> <p><i>Je pense qu'il faut qu'il n'y ait qu'allusion</i>, says he. -<i>La contemplation des objets, l'image s'envolant des rveries -suscites par eux, sont le chant: les Parnassiens, -eux, prennent la chose entirement et la montrent; par -l ils manquent de mystre; ils retirent aux esprits cette -joie dlicieuse de croire qu'ils crent.</i> Nommer un objet, +<i>La contemplation des objets, l'image s'envolant des rêveries +suscitées par eux, sont le chant: les Parnassiens, +eux, prennent la chose entièrement et la montrent; par +là ils manquent de mystère; ils retirent aux esprits cette +joie délicieuse de croire qu'ils créent.</i> Nommer un objet, c'est supprimer les trois quarts de la jouissance du -pome, qui est faite du bonheur de deviner peu peu: -le suggrer, voil le rve. <i>C'est le par fait usage de ce -mystre qui constitue le symbole: voquer petit petit -un objet pour montrer un tat d'me, ou, inversement, -choisir un objet et en dgager un tat d'me, par une srie -de dchiffrements.</i></p> - -<p>.... <i>Si un tre d'une intelligence moyenne, et d'une -prparation littraire insuffisante, ouvre par hasard un -livre ainsi fait et prtend en jouir, il y a malentendu, -il faut remettre les choses leur place.</i> Il doit y avoir -toujours nigme en posie, <i>et c'est le but de la littrature, -il n'y en a pas d'autre,—d'voquer les objets</i>.—"Enqute -sur l'volution Littraire," Jules Huret, pp. 60, 61.<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a></p> +poème, qui est faite du bonheur de deviner peu à peu: +le suggérer, voilà le rêve. <i>C'est le par fait usage de ce +mystère qui constitue le symbole: évoquer petit à petit +un objet pour montrer un état d'âme, ou, inversement, +choisir un objet et en dégager un état d'âme, par une sèrie +de déchiffrements.</i></p> + +<p>.... <i>Si un être d'une intelligence moyenne, et d'une +préparation littéraire insuffisante, ouvre par hasard un +livre ainsi fait et prétend en jouir, il y a malentendu, +il faut remettre les choses à leur place.</i> Il doit y avoir +toujours énigme en poèsie, <i>et c'est le but de la littérature, +il n'y en a pas d'autre,—d'évoquer les objets</i>.—"Enquête +sur l'Évolution Littéraire," Jules Huret, pp. 60, 61.<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a></p> <p><span class="pagenum"><a name="Page_415" id="Page_415">[415]</a></span></p> <p>Thus is obscurity elevated into a dogma among the new poets. As the French critic Doumic (who has not yet accepted the dogma) quite correctly says:—</p> <p>"<i>Il serait temps aussi d'en finir avec cette fameuse -'thorie de l'obscurite' que la nouvelle cole a leve, en -effet, la hauteur d'un dogme.</i>"—"Les Jeunes, par -Ren Doumic."<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a></p> +'théorie de l'obscurite' que la nouvelle école a élevée, en +effet, à la hauteur d'un dogme.</i>"—"Les Jeunes, par +René Doumic."<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a></p> <p>But it is not French writers only who think thus. The poets of all other countries think and act in the same @@ -18736,7 +18696,7 @@ and in music. Relying on Nietzsche and Wagner, the artists of the new age conclude that it is unnecessary for them to be intelligible to the vulgar crowd; it is enough for them to evoke poetic emotion in "the finest -nurtured," to borrow a phrase from an English sthetician.</p> +nurtured," to borrow a phrase from an English æsthetician.</p> <p>In order that what I am saying may not seem to be mere assertion, I will quote at least a few examples from @@ -18748,13 +18708,13 @@ most European writers.</p> <p>Besides those whose names are already considered famous, such as Baudelaire and Verlaine, here are the -names of a few of them: Jean Moras, Charles Morice, -Henri de Rgnier, Charles Vignier, Adrien Remacle, -Ren Ghil, Maurice Maeterlinck, G. Albert Aurier, Rmy +names of a few of them: Jean Moréas, Charles Morice, +Henri de Régnier, Charles Vignier, Adrien Remacle, +René Ghil, Maurice Maeterlinck, G. Albert Aurier, Rémy de Gourmont, Saint-Pol-Roux-le-Magnifique, Georges Rodenbach, le comte Robert de Montesquiou-Fezensac.<span class="pagenum"><a name="Page_416" id="Page_416">[416]</a></span> These are Symbolists and Decadents. Next we have -the "Magi": Josphin Pladan, Paul Adam, Jules Bois, +the "Magi": Joséphin Péladan, Paul Adam, Jules Bois, M. Papus, and others.</p> <p>Besides these, there are yet one hundred and forty-one @@ -18771,19 +18731,19 @@ poem from his celebrated "Fleurs du Mal":—</p> <p class="center space-above">No. XXIV</p> <div class="poem"><div class="stanza"> -<span class="i0"><i>Je t'adore l'gal de la vote nocturne</i>,<br /></span> -<span class="i0"><i>O vase de tristesse, grande taciturne</i>,<br /></span> +<span class="i0"><i>Je t'adore à l'égal de la voûte nocturne</i>,<br /></span> +<span class="i0"><i>O vase de tristesse, ô grande taciturne</i>,<br /></span> <span class="i0"><i>Et t'aime d'autant plus, belle, que tu me fuis</i>,<br /></span> <span class="i0"><i>Et que tu me parais, ornement de mes nuits</i>,<br /></span> <span class="i0"><i>Plus ironiquement accumuler les lieues</i><br /></span> -<span class="i0"><i>Qui sparent mes bras des immensits bleues.</i><br /></span> +<span class="i0"><i>Qui séparent mes bras des immensités bleues.</i><br /></span> </div> <div class="stanza"> -<span class="i0"><i>Je m'avance l'attaque, et je grimpe aux assauts</i>,<br /></span> -<span class="i0"><i>Comme aprs un cadavre un chœur de vermisseaux</i>,<br /></span> -<span class="i0"><i>Et je chris, bte implacable et cruelle</i>,<br /></span> -<span class="i0"><i>Jusqu' cette froideur par o tu m'es plus belle!</i><a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a><br /></span> +<span class="i0"><i>Je m'avance à l'attaque, et je grimpe aux assauts</i>,<br /></span> +<span class="i0"><i>Comme après un cadavre un chœur de vermisseaux</i>,<br /></span> +<span class="i0"><i>Et je chéris, ô bête implacable et cruelle</i>,<br /></span> +<span class="i0"><i>Jusqu'à cette froideur par où tu m'es plus belle!</i><a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a><br /></span> </div></div> <p>And this is another by the same writer:—</p> @@ -18795,28 +18755,28 @@ poem from his celebrated "Fleurs du Mal":—</p> <div class="poem"><div class="stanza"> <span class="i0"><i>Deux guerriers ont couru l'un sur l'autre; leurs armes</i><br /></span> -<span class="i0"><i>Ont clabouss l'air de lueurs et de sang</i>.<br /></span> +<span class="i0"><i>Ont éclaboussé l'air de lueurs et de sang</i>.<br /></span> <span class="i0"><i>Ces jeux, ces cliquetis du fer sont les vacarmes</i><br /></span> -<span class="i0"><i>D'une jeunesse en proie l'amour vagissant.</i><br /></span> +<span class="i0"><i>D'une jeunesse en proie à l'amour vagissant.</i><br /></span> </div> <div class="stanza"><span class="pagenum"><a name="Page_417" id="Page_417">[417]</a></span> -<span class="i0"><i>Les glaives sont briss! comme notre jeunesse</i>,<br /></span> -<span class="i0"><i>Ma chre! Mais les dents, les ongles acrs</i>,<br /></span> -<span class="i0"><i>Vengent bientt l'pe et la dague tratresse</i>.<br /></span> -<span class="i0"><i>O fureur des cœurs mrs par l'amour ulcrs!</i><br /></span> +<span class="i0"><i>Les glaives sont brisés! comme notre jeunesse</i>,<br /></span> +<span class="i0"><i>Ma chère! Mais les dents, les ongles acérés</i>,<br /></span> +<span class="i0"><i>Vengent bientôt l'épée et la dague traîtresse</i>.<br /></span> +<span class="i0"><i>O fureur des cœurs mûrs par l'amour ulcérés!</i><br /></span> </div> <div class="stanza"> -<span class="i0"><i>Dans le ravin hant des chats-pards et des onces</i><br /></span> -<span class="i0"><i>Nos hros, s'treignant mchamment, ont roul</i>,<br /></span> -<span class="i0"><i>Et leur peau fleurira l'aridit des ronces.</i><br /></span> +<span class="i0"><i>Dans le ravin hanté des chats-pards et des onces</i><br /></span> +<span class="i0"><i>Nos héros, s'étreignant méchamment, ont roulé</i>,<br /></span> +<span class="i0"><i>Et leur peau fleurira l'aridité des ronces.</i><br /></span> </div> <div class="stanza"> -<span class="i0"><i>Ce gouffre, c'est l'enfer, de nos amis peupl</i>!<br /></span> +<span class="i0"><i>Ce gouffre, c'est l'enfer, de nos amis peuplé</i>!<br /></span> <span class="i0"><i>Roulons-y sans remords, amazone inhumaine</i>,<br /></span> -<span class="i0"><i>Afin d'terniser l'ardeur de notre haine!</i><a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a><br /></span> +<span class="i0"><i>Afin d'éterniser l'ardeur de notre haine!</i><a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a><br /></span> </div></div> <p>To be exact, I should mention that the collection contains @@ -18830,40 +18790,40 @@ premeditated obscurity is especially noticeable in his prose, where the author could, if he liked, speak plainly.</p> <p>Take, for instance, the first piece from his "Petits -Pomes":—</p> +Poèmes":—</p> <p class="center space-above"><i>L'ETRANGER</i></p> <blockquote> -<p><i>Qui aimes-tu le mieux, homme nigmatique, dis? ton -pre, ta mre, ta sœur, ou ton frre?</i></p> +<p><i>Qui aimes-tu le mieux, homme énigmatique, dis? ton +père, ta mère, ta sœur, ou ton frère?</i></p> -<p><i>Je n'ai ni pre, ni mre, ni sœur, ni frre.</i></p> +<p><i>Je n'ai ni père, ni mère, ni sœur, ni frère.</i></p> <p><i>Tes amis?</i></p> -<p><i>Vous vous servez l d'une parole dont le sens m'est rest -jusqu' ce jour inconnu.</i></p> +<p><i>Vous vous servez là d'une parole dont le sens m'est restê +jusqu'à ce jour inconnu.</i></p> <p><i>Ta patrie?</i></p> -<p><i>J'ignore sous quelle latitude elle est situe.</i></p> +<p><i>J'ignore sous quelle latitude elle est située.</i></p> -<p><i>La beaut?</i></p> +<p><i>La beauté?</i></p> <p><i>Je l'aimerais volontiers, desse et immortelle.</i></p> <p><i>L'or?</i></p> -<p><i>Je le hais comme vous hassez Dieu.</i></p> +<p><i>Je le hais comme vous haïssez Dieu.</i></p> <p><span class="pagenum"><a name="Page_418" id="Page_418">[418]</a></span></p> -<p><i>Et qu'aimes-tu donc, extraordinaire tranger?</i></p> +<p><i>Et qu'aimes-tu donc, extraordinaire étranger?</i></p> -<p><i>J'aime les nuages .... les nuages qui passent .... l bas, .... +<p><i>J'aime les nuages .... les nuages qui passent .... là bas, .... les merveilleux nuages!</i><a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a></p></blockquote> <p>The piece called "La Soupe et les Nuages" is probably @@ -18872,19 +18832,19 @@ to her whom he loves. This is the piece in question:—</p> <blockquote> -<p><i>Ma petite folle bien-aime me donnait dner, et par la -fentre ouverte de la salle manger je contemplais les +<p><i>Ma petite folle bien-aimée me donnait à dîner, et par la +fenêtre ouverte de la salle à manger je contemplais les mouvantes architectures que Dieu fait avec les vapeurs, les merveilleuses constructions de l'impalpable. Et je me -disais, travers ma contemplation: "Toutes ces fantasmagories +disais, à travers ma contemplation: "Toutes ces fantasmagories sont presque aussi belles que les yeux de ma belle -bien-aime, la petite folle monstrueuse aux yeux verts."</i></p> +bien-aimée, la petite folle monstrueuse aux yeux verts."</i></p> -<p><i>Et tout coup je reus un violent coup de poing dans le +<p><i>Et tout à coup je reçus un violent coup de poing dans le dos, et j'entendis une voix rauque et charmante, une voix -hystrique et comme enroue par l'eau-de-vie, la voix de -ma chre petite bien-aime, qui me disait, "Allez-vous -bientt manger votre soupe, s.... b.... de marchand de +hystérique et comme enrouée par l'eau-de-vie, la voix de +ma chère petite bien-aimée, qui me disait, "Allez-vous +bientôt manger votre soupe, s.... b.... de marchand de nuages?"</i><a href="#Footnote_108_108" class="fnanchor">[108]</a></p></blockquote> <p>However artificial these two pieces may be, it is still @@ -18898,37 +18858,37 @@ Tireur" is a piece I was quite unable to understand.</p> <blockquote> -<p><i>Comme la voiture traversait le bois, il la fit arrter -dans le voisinage d'un tir, disant qu'il lui serait agrable +<p><i>Comme la voiture traversait le bois, il la fit arrêter +dans le voisinage d'un tir, disant qu'il lui serait agréable de tirer quelques balles pour tuer le Temps. Tuer ce -monstre-l, n'est-ce pas l'occupation la plus ordinaire et la -plus lgitime de chacun?—Et il offrit galamment la -main sa chre, dlicieuse et excrable femme, cette -mystrieuse femme laquelle il doit tant de plaisirs, tant -de douleurs, et peut-tre aussi une grande partie de son -gnie.</i></p> +monstre-là, n'est-ce pas l'occupation la plus ordinaire et la +plus légitime de chacun?—Et il offrit galamment la +main à sa chère, délicieuse et exécrable femme, à cette +mystérieuse femme à laquelle il doit tant de plaisirs, tant +de douleurs, et peut-être aussi une grande partie de son +génie.</i></p> <p><span class="pagenum"><a name="Page_419" id="Page_419">[419]</a></span></p> -<p><i>Plusieurs balles frapprent loin du but propos, l'une -d'elles s'enfona mme dans le plafond; et comme la -charmante crature riait follement, se moquant de la -maladresse de son poux, celui-ci se tourna brusquement -vers elle, et lui dit: "Observez cette poupe, l-bas, +<p><i>Plusieurs balles frappèrent loin du but proposè, l'une +d'elles s'enfonça même dans le plafond; et comme la +charmante créature riait follement, se moquant de la +maladresse de son époux, celui-ci se tourna brusquement +vers elle, et lui dit: "Observez cette poupée, là-bas, à droite, qui porte le nez en l'air et qui a la mine si hautaine. Eh bien! cher ange</i>, je me figure que c'est -vous." <i>Et il ferma les yeux et il lcha la dtente. La -poupe fut nettement dcapite.</i></p> +vous." <i>Et il ferma les yeux et il lâcha la détente. La +poupée fut nettement décapitée.</i></p> -<p><i>Alors s'inclinant vers sa chre, sa dlicieuse, son -excrable femme, son invitable et impitoyable Muse, et +<p><i>Alors s'inclinant vers sa chère, sa délicieuse, son +exécrable femme, son inévitable et impitoyable Muse, et lui baisant respectueusement la main, il ajouta: "Ah! mon cher ange, combien je vous remercie de mon adresse!"</i><a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a></p></blockquote> <p>The productions of another celebrity, Verlaine, are not less affected and unintelligible. This, for instance, is -the first poem in the section called "Ariettes Oublis."</p> +the first poem in the section called "Ariettes Oubliés."</p> <div class="poem"><div class="stanza"> <span class="i8">"<i>Le vent dans la plaine</i><br /></span> @@ -18939,27 +18899,27 @@ the first poem in the section called "Ariettes Oublis."</p> <span class="i0"><i>C'est l'extase langoureuse</i>,<br /></span> <span class="i0"><i>C'est la fatigue amoureuse</i>,<br /></span> <span class="i0"><i>C'est tous les frissons des bois</i><br /></span> -<span class="i0"><i>Parmi l'treinte des brises</i>,<br /></span> +<span class="i0"><i>Parmi l'étreinte des brises</i>,<br /></span> <span class="i0"><i>C'est, vers les ramures grises</i>,<br /></span> <span class="i0"><i>Le chœur des petites voix.</i><br /></span> </div><div class="stanza"> -<span class="i0"><i>O le frle et frais murmure</i>!<br /></span> +<span class="i0"><i>O le frêle et frais murmure</i>!<br /></span> <span class="i0"><i>Cela gazouille et susurre,</i><br /></span> <span class="i0"><i>Cela ressemble au cri doux</i><br /></span> -<span class="i0"><i>Que l'herbe agite expire</i>....<br /></span> +<span class="i0"><i>Que l'herbe agitée expire</i>....<br /></span> <span class="i0"><i>Tu dirais, sous l'eau qui vire</i>,<br /></span> <span class="i0"><i>Le roulis sourd des cailloux.</i><br /></span> </div><div class="stanza"> -<span class="i0"><i>Cette me qui se lamente</i><br /></span> +<span class="i0"><i>Cette âme qui se lamente</i><br /></span> <span class="i0"><i>En cette plainte dormante</i><br /></span> -<span class="i0"><i>C'est la ntre, n'est-ce pas?</i><br /></span><span class="pagenum"><a name="Page_420" id="Page_420">[420]</a></span> +<span class="i0"><i>C'est la nôtre, n'est-ce pas?</i><br /></span><span class="pagenum"><a name="Page_420" id="Page_420">[420]</a></span> <span class="i0"><i>La mienne, dis, et la tienne</i>,<br /></span> <span class="i0"><i>Dont s'exhale l'humble antienne</i><br /></span> -<span class="i0"><i>Par ce tide soir, tout bas?</i><a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a><br /></span> +<span class="i0"><i>Par ce tiède soir, tout bas?</i><a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a><br /></span> </div></div> <p>What "<i>chœur des petites voix</i>"? and what "<i>cri doux -que l'herbe agite expire</i>"? and what it all means, +que l'herbe agitée expire</i>"? and what it all means, remains altogether unintelligible to me.</p> <p>And here is another "Ariette":—</p> @@ -18982,10 +18942,10 @@ remains altogether unintelligible to me.</p> </div> <div class="stanza"> -<span class="i0"><i>Comme des nues</i><br /></span> -<span class="i0"><i>Flottent gris les chnes</i><br /></span> -<span class="i0"><i>Des forts prochaines</i><br /></span> -<span class="i0"><i>Parmi les bues.</i><br /></span> +<span class="i0"><i>Comme des nuées</i><br /></span> +<span class="i0"><i>Flottent gris les chênes</i><br /></span> +<span class="i0"><i>Des forêts prochaines</i><br /></span> +<span class="i0"><i>Parmi les buées.</i><br /></span> </div> <div class="stanza"> @@ -19025,16 +18985,16 @@ and patriotic sentiments. For instance, one meets with verses such as this:—</p> <div class="poem"><div class="stanza"> -<span class="i0"><i>Je ne veux plus penser qu' ma mre Marie</i>,<br /></span> -<span class="i0"><i>Sige de la sagesse et source de pardons</i>,<br /></span> -<span class="i0"><i>Mre de France aussi</i> de qui nous attendons<br /></span> -<span class="i0">Inbranlablement l'honneur de la patrie.<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a><br /></span> +<span class="i0"><i>Je ne veux plus penser qu'à ma mère Marie</i>,<br /></span> +<span class="i0"><i>Siège de la sagesse et source de pardons</i>,<br /></span> +<span class="i0"><i>Mère de France aussi</i> de qui nous attendons<br /></span> +<span class="i0">Inébranlablement l'honneur de la patrie.<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a><br /></span> </div></div> <p>Before citing examples from other poets, I must pause to note the amazing celebrity of these two versifiers, Baudelaire and Verlaine, who are now accepted as being -great poets. How the French, who had Chnier, Musset, +great poets. How the French, who had Chénier, Musset, Lamartine, and, above all, Hugo,—and among whom quite recently flourished the so-called Parnassiens: Leconte de Lisle, Sully-Prudhomme, etc.,—could attribute @@ -19054,7 +19014,7 @@ real water.</p> in weak profligacy, confession of his moral impotence, and, as an antidote to that impotence, in the grossest Roman Catholic idolatry. Both, moreover, were quite -lacking in navet, sincerity, and simplicity, and both +lacking in naïveté, sincerity, and simplicity, and both overflowed with artificiality, forced originality and self-assurance. So that in their least bad productions one sees more of M. Baudelaire or M. Verlaine than of what @@ -19069,8 +19029,8 @@ And all amusements grow wearisome by repetition. And, in order to make wearisome amusement again tolerable, it is necessary to find some means to freshen it up. When, at cards, ombre grows stale, whist -is introduced; when whist grows stale, cart is substituted; -when cart grows stale, some other novelty is +is introduced; when whist grows stale, écarté is substituted; +when écarté grows stale, some other novelty is invented, and so on. The substance of the matter remains the same, only its form is changed. And so it is with this kind of art. The subject-matter of the art of @@ -19091,38 +19051,38 @@ Baudelaire and Verlaine only, but of all the Decadents.</p> <p><span class="pagenum"><a name="Page_423" id="Page_423">[423]</a></span></p> -<p>For instance, there are poems by Mallarm and +<p>For instance, there are poems by Mallarmé and Maeterlinck which have no meaning, and yet for all that, or perhaps on that very account, are printed by tens of thousands, not only in various publications, but even in collections of the best works of the younger poets.</p> -<p>This, for example, is a sonnet by Mallarm:—</p> +<p>This, for example, is a sonnet by Mallarmé:—</p> <div class="poem"><div class="stanza"> <span class="i0"><i>A la nue accablante tu</i><br /></span> <span class="i0"><i>Basse de basalte et de laves</i><br /></span> -<span class="i0"><i>A mme les chos esclaves</i><br /></span> +<span class="i0"><i>A même les échos esclaves</i><br /></span> <span class="i0"><i>Par une trompe sans vertu.</i><br /></span> </div><div class="stanza"> -<span class="i0"><i>Quel spulcral naufrage (tu</i><br /></span> -<span class="i0"><i>Le soir, cume, mais y baves)</i><br /></span> -<span class="i0"><i>Suprme une entre les paves</i><br /></span> -<span class="i0"><i>Abolit le mt dvtu.</i><br /></span> +<span class="i0"><i>Quel sépulcral naufrage (tu</i><br /></span> +<span class="i0"><i>Le soir, écume, mais y baves)</i><br /></span> +<span class="i0"><i>Suprême une entre les épaves</i><br /></span> +<span class="i0"><i>Abolit le mât dévêtu.</i><br /></span> </div><div class="stanza"> <span class="i0"><i>Ou cela que furibond faute</i><br /></span> <span class="i0"><i>De quelque perdition haute</i><br /></span> -<span class="i0"><i>Tout l'abme vain ploy</i><br /></span> -<span class="i0"><i>Dans le si blanc cheveu qui trane</i><br /></span> -<span class="i0"><i>Avarement aura noy</i><br /></span> -<span class="i0"><i>Le flanc enfant d'une sirne.</i><a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a><br /></span> +<span class="i0"><i>Tout l'abîme vain éployé</i><br /></span> +<span class="i0"><i>Dans le si blanc cheveu qui traîne</i><br /></span> +<span class="i0"><i>Avarement aura noyé</i><br /></span> +<span class="i0"><i>Le flanc enfant d'une sirène.</i><a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a><br /></span> <span class="i8">("Pan," 1895, No. 1.)</span> </div></div> <p>This poem is not exceptional in its incomprehensibility. -I have read several poems by Mallarm, and +I have read several poems by Mallarmé, and they also had no meaning whatever. I give a sample of his prose in Appendix I. There is a whole volume of this prose called "Divagations." It is impossible to @@ -19143,12 +19103,12 @@ author of to-day:—</p> <span class="i0"><i>Mais quand il entra</i><br /></span> <span class="i0"><i>(J'entendis la lampe)</i><br /></span> <span class="i0"><i>Mais quand il entra</i><br /></span> -<span class="i0"><i>Une autre tait l ....</i><br /></span> +<span class="i0"><i>Une autre était là ....</i><br /></span> </div> <div class="stanza"> <span class="i0"><i>Et j'ai vu la mort</i>,<br /></span> -<span class="i0"><i>(J'entendis son me)</i><br /></span> +<span class="i0"><i>(J'entendis son âme)</i><br /></span> <span class="i0"><i>Et j'ai vu la mort</i><br /></span> <span class="i0"><i>Qui l'attend encore ....</i><br /></span> </div> @@ -19161,65 +19121,65 @@ author of to-day:—</p> </div> <div class="stanza"> -<span class="i0"><i>Ma lampe allume</i>,<br /></span> +<span class="i0"><i>Ma lampe allumée</i>,<br /></span> <span class="i0"><i>(Mon enfant j'ai peur)</i><br /></span> -<span class="i0"><i>Ma lampe allume</i><br /></span> -<span class="i0"><i>Me suis approche ....</i><br /></span> +<span class="i0"><i>Ma lampe allumée</i><br /></span> +<span class="i0"><i>Me suis approchée ....</i><br /></span> </div> <div class="stanza"> -<span class="i0"><i>A la premire porte</i>,<br /></span> +<span class="i0"><i>A la première porte</i>,<br /></span> <span class="i0"><i>(Mon enfant j'ai peur)</i><br /></span> -<span class="i0"><i>A la premire porte</i>,<br /></span> -<span class="i0"><i>La flamme a trembl ....</i><br /></span> +<span class="i0"><i>A la première porte</i>,<br /></span> +<span class="i0"><i>La flamme a tremblé ....</i><br /></span> </div> <div class="stanza"> <span class="i0"><i>A la seconde porte</i>,<br /></span> <span class="i0"><i>(Mon enfant j'ai peur)</i><br /></span> <span class="i0"><i>A la seconde porte</i>,<br /></span> -<span class="i0"><i>La flamme a parl ....</i><br /></span> +<span class="i0"><i>La flamme a parlé ....</i><br /></span> </div> <div class="stanza"> -<span class="i0"><i>A la troisime porte</i>,<br /></span> +<span class="i0"><i>A la troisième porte</i>,<br /></span> <span class="i0"><i>(Mon enfant j'ai peur)</i><br /></span> -<span class="i0"><i>A la troisime porte</i>,<br /></span> -<span class="i0"><i>La lumire est morte ....</i><br /></span> +<span class="i0"><i>A la troisième porte</i>,<br /></span> +<span class="i0"><i>La lumière est morte ....</i><br /></span> </div> <div class="stanza"> <span class="i0"><i>Et s'il revenait un jour</i><br /></span> <span class="i0"><i>Que faut-il lui dire?</i><br /></span><span class="pagenum"><a name="Page_425" id="Page_425">[425]</a></span> <span class="i0"><i>Dites-lui qu'on l'attendit</i><br /></span> -<span class="i0"><i>Jusqu' s'en mourir ....</i><br /></span> +<span class="i0"><i>Jusqu'à s'en mourir ....</i><br /></span> </div> <div class="stanza"> -<span class="i0"><i>Et s'il demande o vous tes</i><br /></span> -<span class="i0"><i>Que faut-il rpondre?</i><br /></span> +<span class="i0"><i>Et s'il demande où vous êtes</i><br /></span> +<span class="i0"><i>Que faut-il répondre?</i><br /></span> <span class="i0"><i>Donnez-lui mon anneau d'or</i><br /></span> -<span class="i0"><i>Sans rien lui rpondre ....</i><br /></span> +<span class="i0"><i>Sans rien lui répondre ....</i><br /></span> </div> <div class="stanza"> <span class="i0"><i>Et s'il m'interroge alors</i><br /></span> -<span class="i0"><i>Sur la dernire heure?</i><br /></span> +<span class="i0"><i>Sur la dernière heure?</i><br /></span> <span class="i0"><i>Dites lui que j'ai souri</i><br /></span> <span class="i0"><i>De peur qu'il ne pleure ....</i><br /></span> </div> <div class="stanza"> <span class="i0"><i>Et s'il m'interroge encore</i><br /></span> -<span class="i0"><i>Sans me reconnatre?</i><br /></span> +<span class="i0"><i>Sans me reconnaître?</i><br /></span> <span class="i0"><i>Parlez-lui comme une sœur,</i><br /></span> -<span class="i0"><i>Il souffre peut-tre ....</i><br /></span> +<span class="i0"><i>Il souffre peut-être ....</i><br /></span> </div> <div class="stanza"> <span class="i0"><i>Et s'il veut savoir pourquoi</i><br /></span> -<span class="i0"><i>La salle est dserte?</i><br /></span> -<span class="i0"><i>Montrez lui la lampe teinte</i><br /></span> +<span class="i0"><i>La salle est déserte?</i><br /></span> +<span class="i0"><i>Montrez lui la lampe éteinte</i><br /></span> <span class="i0"><i>Et la porte ouverte ....</i><a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a><br /></span> <span class="i8">("Pan," 1895, No. 2.)</span> </div></div> @@ -19229,7 +19189,7 @@ Who died?</p> <p>I beg the reader to be at the pains of reading through the samples I cite in Appendix II. of the celebrated -and esteemed young poets—Griffin, Verhaeren, Moras, +and esteemed young poets—Griffin, Verhaeren, Moréas, and Montesquiou. It is important to do so in order to form a clear conception of the present position of art, and not to suppose, as many do, that Decadentism is an @@ -19322,7 +19282,7 @@ their hands: in monotone, out of drawing, and either quite blurred or else marked out with wide black outlines."</p> <p>This was in 1894; the same tendency is now even -more strongly defined, and we have Bcklin, Stuck, +more strongly defined, and we have Böcklin, Stuck, Klinger, Sasha Schneider, and others.</p> <p><span class="pagenum"><a name="Page_428" id="Page_428">[428]</a></span></p> @@ -19355,7 +19315,7 @@ is transmitted to you except weariness. The execution lasts long, or at least it seems very long to you, because you do not receive any clear impression, and involuntarily you remember the words of Alphonse -Karr, "<i>Plus a va vite, plus a dure longtemps</i>."<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a> And +Karr, "<i>Plus ça va vite, plus ça dure longtemps</i>."<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a> And it occurs to you that perhaps it is all a mystification; perhaps the performer is trying you—just throwing his hands and fingers wildly about the keyboard in the @@ -19377,7 +19337,7 @@ after piece.</p> hard to be unintelligible,—in the sphere of novels and short stories.</p> -<p>Read "L Bas," by Huysmans, or some of Kipling's +<p>Read "Là Bas," by Huysmans, or some of Kipling's short stories, or "L'Annonciateur," by Villiers de l'Isle Adam in his "Contes Cruels," etc., and you will find them not only "abscons" (to use a word adopted by the @@ -19615,7 +19575,7 @@ only because it is very good—as artists of our day are fond of telling us. Rather we are bound to conclude that this art is unintelligible to the great masses only because it is very bad art, or even is not art at all. So -that the favorite argument (navely accepted by the +that the favorite argument (naïvely accepted by the cultured crowd), that in order to feel art one has first to understand it (which really only means habituate oneself to it), is the truest indication that what we are @@ -19644,7 +19604,7 @@ concerning artists who do not, by their works, evoke feeling in him. To say that the reason a man is not touched by my art is because he is still too stupid, besides being very self-conceited and also rude, is to -reverse the rles, and for the sick to send the hale to +reverse the rôles, and for the sick to send the hale to bed.</p> <p>Voltaire said that "<i>Tous les genres sont bons, hors le @@ -19740,12 +19700,12 @@ with a heroine who, in a poetic white dress, and with poetically flowing hair, was reading poetry near some water in a poetic wood. The scene was in Russia, but suddenly from behind the bushes the hero appears, -wearing a hat with a feather <i> la Guillaume Tell</i> (the +wearing a hat with a feather <i>à la Guillaume Tell</i> (the book specially mentioned this) and accompanied by two poetical white dogs. The authoress deemed all this highly poetical, and it might have passed muster if only it had not been necessary for the hero to speak. -But as soon as the gentleman in the hat <i> la Guillaume +But as soon as the gentleman in the hat <i>à la Guillaume Tell</i> began to converse with the maiden in the white dress, it became obvious that the authoress had nothing to say, but had merely been moved by poetic memories @@ -19757,7 +19717,7 @@ himself, experienced the feeling which he transmits, and not when he passes on another man's feeling previously transmitted to him. Such poetry from poetry cannot infect people, it can only simulate a work of art, and -even that only to people of perverted sthetic taste. +even that only to people of perverted æsthetic taste. The lady in question being very stupid and devoid of<span class="pagenum"><a name="Page_438" id="Page_438">[438]</a></span> talent, it was at once apparent how the case stood; but when such borrowing is resorted to by people who are @@ -19947,15 +19907,15 @@ the girl is pursued and beaten by her drunken father. The girl shrinks—screams—groans—and falls. Angels appear and carry her away. And the audience, experiencing some excitement while this is going on, -are fully convinced that this is true sthetic feeling. -But there is nothing sthetic in such excitement; for +are fully convinced that this is true æsthetic feeling. +But there is nothing æsthetic in such excitement; for there is no infecting of man by man, but only a mingled feeling of pity for another, and of self-congratulation that it is not I who am suffering: it is like what we feel at the sight of an execution, or what the Romans felt in their circuses.</p> -<p>The substitution of effectfulness for sthetic feeling +<p>The substitution of effectfulness for æsthetic feeling is particularly noticeable in musical art—that art which by its nature has an immediate physiological action on the nerves. Instead of transmitting by means of a melody @@ -20021,14 +19981,14 @@ transmit the sequence of sounds. And a man, in our times, if only he possesses such a talent and selects some specialty, may, after learning the methods of counterfeiting used in his branch of art,—if he has -patience and if his sthetic feeling (which would render +patience and if his æsthetic feeling (which would render such productions revolting to him) be atrophied,—unceasingly, till the end of his life, turn out works which will pass for art in our society.</p> <p>To produce such counterfeits, definite rules or recipes exist in each branch of art. So that the talented man, -having assimilated them, may produce such works <i> +having assimilated them, may produce such works <i>à froid</i>, cold drawn, without any feeling.</p> <p>In order to write poems a man of literary talent needs @@ -20131,7 +20091,7 @@ universal art.</p> <h2>CHAPTER XII</h2> -<p>In our society three conditions coperate to cause the +<p>In our society three conditions coöperate to cause the production of objects of counterfeit art. They are—(1) the considerable remuneration of artists for their productions, and the professionalization of artists which @@ -20229,7 +20189,7 @@ criterion,—religious perception; upper-class art lacks this, and therefore the appreciators of that art are obliged to cling to some external criterion. And they find it in "the judgments of the finest-nurtured," as an -English sthetician has phrased it, that is, in the authority +English æsthetician has phrased it, that is, in the authority of the people who are considered educated, nor in this alone, but also in a tradition of such authorities. This tradition is extremely misleading, both because the @@ -20265,7 +20225,7 @@ under the influence of false criticism extolling Shakespear, he writes "Boris Godunoff," a cold, brain-spun work, and this production is lauded by the critics, set up as a model, and imitations of it appear: "Minin," by -Ostrovsky, and "Tsar Boris," by Alexe Tolsto, and +Ostrovsky, and "Tsar Boris," by Alexée Tolstoï, and such imitations of imitations as crowd all literatures with insignificant productions. The chief harm done by the critics is this,—that themselves lacking the capacity @@ -20291,14 +20251,14 @@ crowd in.</p> <p>It is solely due to the critics, who in our times still praise rude, savage, and, for us, often meaningless works of the -ancient Greeks: Sophocles, Euripides, schylus, and +ancient Greeks: Sophocles, Euripides, Æschylus, and especially Aristophanes; or, of modern writers, Dante, Tasso, Milton, Shakespear; in painting, all of Raphael, all of Michael Angelo, including his absurd "Last Judgment"; in music, the whole of Bach, and the whole of Beethoven, including his last period,—thanks only to -them have the Ibsens, Maeterlincks, Verlaines, Mallarms, -Puvis de Chavannes, Klingers, Bcklins, Stucks, +them have the Ibsens, Maeterlincks, Verlaines, Mallarmés, +Puvis de Chavannes, Klingers, Böcklins, Stucks, Schneiders; in music, the Wagners, Liszts, Berliozes, Brahmses, and Richard Strausses, etc., and all that immense mass of good-for-nothing imitators of these imitators, @@ -20746,7 +20706,7 @@ sounds of spear and of fire are heard. The orchestra accompanies the conversation, and the <i>motiv</i> of the people and things spoken of are always artfully intermingled. Besides this the music expresses feelings in -the most nave manner: the terrible by sounds in the +the most naïve manner: the terrible by sounds in the bass, the frivolous by rapid touches in the treble, etc.</p> <p><span class="pagenum"><a name="Page_461" id="Page_461">[461]</a></span></p> @@ -20777,10 +20737,10 @@ surely as on the question of the merits of my lady acquaintance's novel when she read me the scene between the loose-haired maiden in the white dress and the hero with two white dogs and a hat with a feather -<i> la Guillaume Tell</i>.</p> +<i>à la Guillaume Tell</i>.</p> <p>From an author who could compose such spurious -scenes, outraging all sthetic feeling, as those which I +scenes, outraging all æsthetic feeling, as those which I had witnessed, there was nothing to be hoped; it may safely be decided that all that such an author can write will be bad, because he evidently does not know what @@ -20944,7 +20904,7 @@ action.</p> <p>Moreover, everything is imitative; the decorations are imitated, and the costumes are imitated. All are just -as, according to the data supplied by archology, they +as, according to the data supplied by archæology, they would have been in antiquity. The very sounds are imitative; for Wagner, who was not destitute of musical talent, invented just such sounds as imitate the strokes @@ -20995,7 +20955,7 @@ And this just proves that we have here no question of art, but one of hypnotism. It is just what the spiritualists say. To convince you of the reality of their apparitions they usually say, "You cannot judge; -you must try it, be present at several sances," <i>i.e.</i> come +you must try it, be present at several séances," <i>i.e.</i> come and sit silent in the dark for hours together in the same room with semi-sane people, and repeat this some ten times over, and you shall see all that we see.</p> @@ -21292,7 +21252,7 @@ Bourget, Huysmans, Kipling, and others, handling the most harrowing subjects, did not touch me for one moment, and I was provoked with the authors all the while, as one is provoked with a man who considers you -so nave that he does not even conceal the trick by +so naïve that he does not even conceal the trick by which he intends to take you in. From the first lines you see the intention with which the book is written, and the details all become superfluous, and one feels @@ -21302,7 +21262,7 @@ or a novel, and so one receives no artistic impression. On the other hand, I could not tear myself away from the unknown author's tale of the children and the chickens, because I was at once infected by the feeling -which the author had evidently experienced, revoked in +which the author had evidently experienced, reëvoked in himself, and transmitted.</p> <p>Vasnetsoff is one of our Russian painters. He has @@ -21435,7 +21395,7 @@ spiritual union with another (the author) and with others that there are people who have forgotten what the action of real art is, who expect something else from art (in our society the great majority are in this state), and that -therefore such people may mistake for this sthetic feeling +therefore such people may mistake for this æsthetic feeling the feeling of divertisement and a certain excitement which they receive from counterfeits of art. But though it is impossible to undeceive these people, just as it is @@ -21673,7 +21633,7 @@ that this is the opinion current in the pseudo-cultured<span class="pagenum"><a circles of to-day. People who do not acknowledge Christianity in its true meaning because it undermines all their social privileges, and who, therefore, invent all -kinds of philosophic and sthetic theories to hide from +kinds of philosophic and æsthetic theories to hide from themselves the meaninglessness and wrongness of their lives, cannot think otherwise. These people intentionally, or sometimes unintentionally, confusing the conception @@ -21985,7 +21945,7 @@ these kinds of art, then, as examples of the highest art, flowing from love of God and man (both of the higher, positive, and of the lower, negative kind), in literature I should name, "The Robbers," by Schiller; Victor -Hugo's "Les Pauvres Gens" and "Les Misrables"; the +Hugo's "Les Pauvres Gens" and "Les Misérables"; the novels and stories of Dickens,—"The Tale of Two Cities," "The Christmas Carol," "The Chimes," and others; "Uncle Tom's Cabin;" Dostoievsky's works—especially @@ -22028,7 +21988,7 @@ may serve, and also Leizen-Mayer's, "Signing the Death Warrant." But there are also very few of this kind. Anxiety about the technique and the beauty of the picture for the most part obscures the feeling. For instance, -Grme's "Pollice Verso" expresses, not so much horror +Gérôme's "Pollice Verso" expresses, not so much horror at what is being perpetrated as attraction by the beauty of the spectacle.<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a></p> @@ -22037,7 +21997,7 @@ classes, of art of the second kind, good universal art or even of the art of a whole people, is yet more difficult, especially in literary art and music. If there are some works which by their inner contents might be assigned -to this class (such as "Don Quixote," Molire's comedies, +to this class (such as "Don Quixote," Molière's comedies, "David Copperfield" and "The Pickwick Papers" by Dickens, Gogol's and Pushkin's tales, and some things of Maupassant's), these works are for the most @@ -22058,7 +22018,7 @@ and it is all written with such restraint, is so free from any superfluous detail, that the story may be told to any circle and will be equally comprehensible and touching to every one. But not such are the feelings of -Don Quixote or of Molire's heroes (though Molire is +Don Quixote or of Molière's heroes (though Molière is perhaps the most universal, and therefore the most excellent, artist of modern times), nor of Pickwick and his friends. These feelings are not common to all men, but @@ -22328,9 +22288,9 @@ strange to people who lack the capacity to be infected by art, and is replaced either by spurious counterfeits of art or by insignificant art, which they mistake for real art. People of our time and of our society are -delighted with Baudelaires, Verlaines, Morases, Ibsens, +delighted with Baudelaires, Verlaines, Moréases, Ibsens, and Maeterlincks in poetry; with Monets, Manets, Puvis -de Chavannes, Burne-Joneses, Stucks, and Bcklins in +de Chavannes, Burne-Joneses, Stucks, and Böcklins in painting; with Wagners, Liszts, Richard Strausses, in music; and they are no longer capable of comprehending either the highest or the simplest art.</p> @@ -22386,7 +22346,7 @@ literary work, have learnt by heart the exceptions to the Latin grammar. These people not only grow physically and mentally deformed, but also morally deformed, and become incapable of doing anything -really needed by man. Occupying in society the rle +really needed by man. Occupying in society the rôle of amusers of the rich, they lose their sense of human dignity, and develop in themselves such a passion for public applause that they are always a prey to an inflated @@ -22422,9 +22382,9 @@ that oppresses them. Take from all these people the<span class="pagenum"><a name theaters, concerts, exhibitions, piano-playing, songs, and novels with which they now fill their time, in full confidence that occupation with these things is a very refined, -sthetical, and therefore good occupation; take from +æsthetical, and therefore good occupation; take from the patrons of art who buy pictures, assist musicians, -and are acquainted with writers, their rle of protectors +and are acquainted with writers, their rôle of protectors of that important matter art, and they will not be able to continue such a life, but will all be eaten up by ennui and spleen, and will become conscious of the meaninglessness @@ -22515,7 +22475,7 @@ and reads, or is told, what the contents of his when he learns the story of that man's wretched, vicious life, and reads his verses. And what confusion it must cause in the brains of peasants when they learn -that some Patti or Taglioni is paid 10,000 for a season, +that some Patti or Taglioni is paid £10,000 for a season, or that a painter gets as much for a picture, or that authors of novels describing love-scenes have received even more than that.</p> @@ -22536,7 +22496,7 @@ in which our society stands toward art.</p> classes, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands -of morality. These people, reversing the rles, +of morality. These people, reversing the rôles, instead of admitting, as is really the case, that the art they serve is an antiquated affair, allege that morality is an antiquated affair, which can have no importance for @@ -22548,9 +22508,9 @@ which they opine that they are situated.</p> <p>This result of the false relation to art showed itself in our society long ago; but recently, with its prophet Nietzsche and his adherents, and with the decadents -and certain English sthetes who coincide with him, +and certain English æsthetes who coincide with him, it is being expressed with especial impudence. The -decadents, and sthetes of the type at one time represented +decadents, and æsthetes of the type at one time represented by Oscar Wilde, select as a theme for their productions the denial of morality and the laudation of vice.</p> @@ -22578,7 +22538,7 @@ The free and brave may seize the world. And, therefore, there should be eternal war for life, for land, for love, for women, for power, and for gold. (Something similar was said a few years ago by the celebrated and -refined academician, Vog.) The earth and its treasures +refined academician, Vogüé.) The earth and its treasures is "booty for the bold."</p> <p>The author has evidently by himself, independently @@ -23330,7 +23290,7 @@ do not see what is really important. They only need tear themselves away from the psychological microscope under which they examine the objects of their study, and look about them, in order to see how insignificant -is all that has afforded them such nave pride, +is all that has afforded them such naïve pride, all that knowledge not only of geometry of <i>n</i>-dimensions, spectrum analysis of the Milky Way, the form of atoms, dimensions of human skulls of the Stone Age, and similar @@ -23600,7 +23560,7 @@ this perception into feeling.</p> <p>The task of art is enormous. Through the influence of real art, aided by science guided by religion, that -peaceful coperation of man which is now obtained by +peaceful coöperation of man which is now obtained by external means—by our law-courts, police, charitable institutions, factory inspection, etc.—should be obtained by man's free and joyous activity. Art should cause @@ -23670,51 +23630,51 @@ among men.</p> <h2>APPENDIX I</h2> -<p>This is the first page of Mallarm's book, "Divagations":—</p> +<p>This is the first page of Mallarmé's book, "Divagations":—</p> -<p class="center space-above">LE PHNOMNE FUTUR</p> +<p class="center space-above">LE PHÉNOMÈNE FUTUR</p> <blockquote> -<p>Un ciel ple, sur le monde qui finit de dcrpitude, va peut-tre -partir avec les nuages: les lambeaux de la pourpre use -des couchants dteignent dans une rivire dormant l'horizon<span class="pagenum"><a name="Page_529" id="Page_529">[529]</a></span> -submerg de rayons et d'eau. Les arbres s'ennuient, et, sous -leur feuillage blanchi (de la poussire du temps plutt que +<p>Un ciel pâle, sur le monde qui finit de décrépitude, va peut-être +partir avec les nuages: les lambeaux de la pourpre usée +des couchants déteignent dans une rivière dormant à l'horizon<span class="pagenum"><a name="Page_529" id="Page_529">[529]</a></span> +submergé de rayons et d'eau. Les arbres s'ennuient, et, sous +leur feuillage blanchi (de la poussière du temps plutôt que celle des chemins) monte la maison en toile de Montreur de -choses Passes: maint rverbre attend le crpuscule et ravive +choses Passées: maint réverbère attend le crépuscule et ravive les visages d'une malheureuse foule, vaincue par la maladie immortelle -et le pch des sicles, d'hommes prs de leurs chtives -complices enceintes des fruits misrables avec lesquels prira -la terre. Dans le silence inquiet de tous les yeux suppliant l-bas -le soleil qui, sous l'eau, s'enfonce avec le dsespoir d'un cri, -voici le simple boniment: "Nulle enseigne ne vous rgale du -spectacle intrieur, car il n'est pas maintenant un peintre capable -d'en donner une ombre triste. J'apporte, vivante (et prserve - travers les ans par la science souveraine) une Femme -d'autrefois. Quelque folie, originelle et nave, une extase d'or, -je ne sais quoi! par elle nomm sa chevelure, se ploie avec la -grce des toffes autour d'un visage qu' claire la nudit sanglante -de ses lvres. A la place du vtement vain, elle a un +et le péché des siècles, d'hommes près de leurs chétives +complices enceintes des fruits misérables avec lesquels périra +la terre. Dans le silence inquiet de tous les yeux suppliant là-bas +le soleil qui, sous l'eau, s'enfonce avec le désespoir d'un cri, +voici le simple boniment: "Nulle enseigne ne vous régale du +spectacle intérieur, car il n'est pas maintenant un peintre capable +d'en donner une ombre triste. J'apporte, vivante (et préservée +à travers les ans par la science souveraine) une Femme +d'autrefois. Quelque folie, originelle et naïve, une extase d'or, +je ne sais quoi! par elle nommé sa chevelure, se ploie avec la +grâce des étoffes autour d'un visage qu' éclaire la nudité sanglante +de ses lèvres. A la place du vêtement vain, elle a un corps; et les yeux, semblables aux pierres rares! ne valent pas -ce regard qui sort de sa chair heureuse: des seins levs comme -s'ils taient pleins d'un lait ternel, la pointe vers le ciel, les -jambes lisses qui gardent le sel de la mer premire." Se rappelant -leurs pauvres pouses, chauves, morbides et pleines -d'horreur, les maris se pressent: elles aussi par curiosit, mlancoliques, +ce regard qui sort de sa chair heureuse: des seins levés comme +s'ils étaient pleins d'un lait éternel, la pointe vers le ciel, les +jambes lisses qui gardent le sel de la mer première." Se rappelant +leurs pauvres épouses, chauves, morbides et pleines +d'horreur, les maris se pressent: elles aussi par curiosité, mélancoliques, veulent voir.</p> -<p>Quand tous auront contempl la noble crature, vestige de -quelque poque dj maudite, les uns indiffrents, car ils n'auront -pas eu la force de comprendre, mais d'autres navrs et la -paupire humide de larmes rsignes, se regarderont; tandis -que les potes de ces temps, sentant se rallumer leur yeux -teints, s'achemineront vers leur lampe, le cerveau ivre un instant -d'une gloire confuse, hants du Rythme et dans l'oubli -d'exister une poque qui survit la beaut.</p></blockquote> +<p>Quand tous auront contemplé la noble créature, vestige de +quelque époque déjà maudite, les uns indifférents, car ils n'auront +pas eu la force de comprendre, mais d'autres navrés et la +paupière humide de larmes résignées, se regarderont; tandis +que les poètes de ces temps, sentant se rallumer leur yeux +éteints, s'achemineront vers leur lampe, le cerveau ivre un instant +d'une gloire confuse, hantés du Rythme et dans l'oubli +d'exister à une époque qui survit à la beauté.</p></blockquote> -<p class="center space-above">THE FUTURE PHENOMENON—<span class="smcap">by Mallarm</span>.</p> +<p class="center space-above">THE FUTURE PHENOMENON—<span class="smcap">by Mallarmé</span>.</p> <blockquote> @@ -23733,7 +23693,7 @@ the water with the desperation of a cry, this is the plain announcement: "No sign-board now regales you with the spectacle that is inside, for there is no painter now capable of giving even a shadow of it. I bring living (and preserved by sovereign science through -the years) a Woman of other days. Some kind of folly, nave and +the years) a Woman of other days. Some kind of folly, naïve and original, an ecstasy of gold, I know not what, by her called her hair, clings with the grace of some material round a face brightened by the blood-red nudity of her lips. In place of vain clothing, she has @@ -23761,7 +23721,7 @@ exist at an epoch which has survived beauty.</p></blockquote> <p class="center">No. 1</p> -<p>The following verses are by Viel-Griffin, from page +<p>The following verses are by Vielé-Griffin, from page 28 of a volume of his Poems:—</p> <p class="center space-above">OISEAU BLEU COULEUR DU TEMPS</p> @@ -23772,13 +23732,13 @@ exist at an epoch which has survived beauty.</p></blockquote> <div class="stanza"> <span class="i0">Sait-tu l'oubli<br /></span> -<span class="i0">D'un vain doux rve,<br /></span> +<span class="i0">D'un vain doux rêve,<br /></span> <span class="i0">Oiseau moqueur<br /></span> -<span class="i0">De la fort?<br /></span> -<span class="i0">Le jour plit,<br /></span> -<span class="i0">La nuit se lve,<br /></span> +<span class="i0">De la forêt?<br /></span> +<span class="i0">Le jour pâlit,<br /></span> +<span class="i0">La nuit se lève,<br /></span> <span class="i0">Et dans mon cœur<br /></span> -<span class="i0">L'ombre a pleur;<br /></span> +<span class="i0">L'ombre a pleuré;<br /></span> </div> <div class="stanza"> @@ -23788,8 +23748,8 @@ exist at an epoch which has survived beauty.</p></blockquote> <span class="i0">Ta folle gamme,<br /></span> <span class="i0">Car j'ai dormi<br /></span> <span class="i0">Ce jour durant;<br /></span> -<span class="i0">Le lche emoi<br /></span> -<span class="i0">O fut mon me<br /></span> +<span class="i0">Le lâche emoi<br /></span> +<span class="i0">Où fut mon âme<br /></span> <span class="i0">Sanglote ennui<br /></span> <span class="i0">Le jour mourant....<br /></span><span class="pagenum"><a name="Page_531" id="Page_531">[531]</a></span> </div> @@ -23811,7 +23771,7 @@ exist at an epoch which has survived beauty.</p></blockquote> <span class="i5">4<br /></span> </div><div class="stanza"> <span class="i0">O chante alors<br /></span> -<span class="i0">La mlodie<br /></span> +<span class="i0">La mélodie<br /></span> <span class="i0">De son amour,<br /></span> <span class="i0">Mon fol espoir,<br /></span> <span class="i0">Parmi les ors<br /></span> @@ -23821,7 +23781,7 @@ exist at an epoch which has survived beauty.</p></blockquote> </div> <div class="stanza"> -<span class="i8"><span class="smcap">Francis Viel-Griffin.</span><br /></span> +<span class="i8"><span class="smcap">Francis Vielé-Griffin.</span><br /></span> </div></div> <p class="center space-above">BLUE BIRD</p> @@ -23892,56 +23852,56 @@ Works:—</p> <p class="center space-above">ATTIRANCES</p> <div class="poem"><div class="stanza"> -<span class="i0">Lointainement, et si trangement pareils,<br /></span> +<span class="i0">Lointainement, et si étrangement pareils,<br /></span> <span class="i0">De grands masques d'argent que la brume recule,<br /></span> <span class="i0">Vaguent, au jour tombant, autour des vieux soleils.<br /></span> </div> <div class="stanza"> -<span class="i0">Les doux lointaines!—et comme, au fond du crpuscule,<br /></span> -<span class="i0">Ils nous fixent le cœur, immensment le cœur,<br /></span> -<span class="i0">Avec les yeux <i>dfunts de leur</i> visage d'me.<br /></span> +<span class="i0">Les doux lointaines!—et comme, au fond du crépuscule,<br /></span> +<span class="i0">Ils nous fixent le cœur, immensément le cœur,<br /></span> +<span class="i0">Avec les yeux <i>défunts de leur</i> visage d'âme.<br /></span> </div> <div class="stanza"> -<span class="i0">C'est toujours du silence, moins, dans la pleur<br /></span> +<span class="i0">C'est toujours du silence, à moins, dans la pâleur<br /></span> <span class="i0">Du soir, un jet de feu soudain, un cri de flamme,<br /></span> -<span class="i0">Un dpart de lumire inattendu vers Dieu.<br /></span> +<span class="i0">Un départ de lumière inattendu vers Dieu.<br /></span> </div> <div class="stanza"> -<span class="i0">On se laisse charmer et troubler de mystre,<br /></span> +<span class="i0">On se laisse charmer et troubler de mystère,<br /></span> <span class="i0">Et l'on dirait des morts qui taisent un adieu<br /></span> -<span class="i0">Trop mystique, pour tre cout par la terre!<br /></span> +<span class="i0">Trop mystique, pour être écouté par la terre!<br /></span> </div> <div class="stanza"> -<span class="i0">Sont-ils le souvenir matriel et clair<br /></span> -<span class="i0">Des phbes chrtiens couchs aux catacombes<br /></span> +<span class="i0">Sont-ils le souvenir matériel et clair<br /></span> +<span class="i0">Des éphèbes chrétiens couchés aux catacombes<br /></span> <span class="i0">Parmi les lys? Sont-ils leur regard et leur chair?<br /></span> </div> <div class="stanza"> <span class="i0">Ou seul, ce qui survit de merveilleux aux tombes<br /></span> -<span class="i0">De ceux qui sont partis, vers leurs rves, un soir,<br /></span> -<span class="i0">Conqurir la folie l'assaut des nues?<br /></span> +<span class="i0">De ceux qui sont partis, vers leurs rêves, un soir,<br /></span> +<span class="i0">Conquérir la folie à l'assaut des nuées?<br /></span> </div> <div class="stanza"> <span class="i0">Lointainement, combien nous les sentons vouloir<br /></span> -<span class="i0">Un peu d'amour pour leurs œuvres destitues,<br /></span> +<span class="i0">Un peu d'amour pour leurs œuvres destituées,<br /></span> <span class="i0">Pour leur errance et leur tristesse aux horizons.<br /></span> </div> <div class="stanza"> -<span class="i0">Toujours! aux horizons du cœur et des penses,<br /></span> -<span class="i0">Alors que les vieux soirs clatent en blasons<br /></span> -<span class="i0">Soudains, pour les gloires noires et angoisses.<br /></span> +<span class="i0">Toujours! aux horizons du cœur et des pensées,<br /></span> +<span class="i0">Alors que les vieux soirs éclatent en blasons<br /></span> +<span class="i0">Soudains, pour les gloires noires et angoissées.<br /></span> </div> <div class="stanza"> -<span class="i16"><span class="smcap">mile Verhaeren</span>,<br /></span> -<span class="i16"><i>Pomes</i>.<br /></span> +<span class="i16"><span class="smcap">Émile Verhaeren</span>,<br /></span> +<span class="i16"><i>Poèmes</i>.<br /></span> </div></div> <p class="center space-above">ATTRACTIONS</p> @@ -23997,31 +23957,31 @@ Works:—</p> <p class="center space-above">No. 3</p> -<p>And the following is a poem by Moras, evidently +<p>And the following is a poem by Moréas, evidently an admirer of Greek beauty. It is from page 28 of a volume of his Poems:—</p> <p class="center space-above">ENONE AU CLAIR VISAGE</p> <div class="poem"> -<span class="i0">Enone, j'avais cru qu'en aimant ta beaut<br /></span> -<span class="i0">O l'me avec le corps trouvent leur unit,<br /></span> +<span class="i0">Enone, j'avais cru qu'en aimant ta beauté<br /></span> +<span class="i0">Où l'âme avec le corps trouvent leur unité,<br /></span> <span class="i0">J'allais, m'affermissant et le cœur et l'esprit,<br /></span> -<span class="i0">Monter jusqu' cela qui jamais ne prit,<br /></span> -<span class="i0">N'ayant t cre, qui n'est froideur ou feu,<br /></span> +<span class="i0">Monter jusqu'à cela qui jamais ne périt,<br /></span> +<span class="i0">N'ayant été crée, qui n'est froideur ou feu,<br /></span> <span class="i0">Qui n'est beau quelque part et laid en autre lieu;<br /></span> <span class="i0">Et me flattais encor' d'une belle harmonie<br /></span> -<span class="i0">Que j'eusse compos du meilleur et du pire,<br /></span><span class="pagenum"><a name="Page_534" id="Page_534">[534]</a></span> -<span class="i0">Ainsi que le chanteur qui chrit Polimnie,<br /></span> +<span class="i0">Que j'eusse composé du meilleur et du pire,<br /></span><span class="pagenum"><a name="Page_534" id="Page_534">[534]</a></span> +<span class="i0">Ainsi que le chanteur qui chérit Polimnie,<br /></span> <span class="i0">En accordant le grave avec l'aigu, retire<br /></span> -<span class="i0">Un son bien lev sur les nerfs de sa lyre.<br /></span> -<span class="i0">Mais mon courage, hlas! se pmant comme mort,<br /></span> +<span class="i0">Un son bien élevé sur les nerfs de sa lyre.<br /></span> +<span class="i0">Mais mon courage, hélas! se pâmant comme mort,<br /></span> <span class="i0">M'enseigna que le trait qui m'avait fait amant<br /></span> <span class="i0">Ne fut pas de cet arc que courbe sans effort<br /></span> -<span class="i0">La Vnus qui naquit du mle seulement,<br /></span> -<span class="i0">Mais que j'avais souffert cette Vnus dernire,<br /></span> -<span class="i0">Qui a le cœur couard, n d'une faible mre.<br /></span> -<span class="i0">Et pourtant, ce mauvais garon, chasseur habile,<br /></span> +<span class="i0">La Vénus qui naquit du mâle seulement,<br /></span> +<span class="i0">Mais que j'avais souffert cette Vénus dernière,<br /></span> +<span class="i0">Qui a le cœur couard, né d'une faible mère.<br /></span> +<span class="i0">Et pourtant, ce mauvais garçon, chasseur habile,<br /></span> <span class="i0">Qui charge son carquois de sagette subtile,<br /></span> <span class="i0">Qui secoue en riant sa torche, pour un jour,<br /></span> <span class="i0">Qui ne pose jamais que sur de tendres fleurs,<br /></span> @@ -24030,11 +23990,11 @@ volume of his Poems:—</p> <span class="i0">Mais, laisse, les oiseaux du printemps sont partis,<br /></span> <span class="i0">Et je vois les rayons du soleil amortis.<br /></span> <span class="i0">Enone, ma douleur, harmonieux visage,<br /></span> -<span class="i0">Superbe humilit, doux honnte langage,<br /></span> -<span class="i0">Hier me remirant dans cet tang glac<br /></span> +<span class="i0">Superbe humilité, doux honnête langage,<br /></span> +<span class="i0">Hier me remirant dans cet étang glacé<br /></span> <span class="i0">Qui au bout du jardin se couvre de feuillage,<br /></span> -<span class="i0">Sur ma face je vis que les jours ont pass.<br /></span> -<span class="i16"><span class="smcap">Jean Moras.</span></span> +<span class="i0">Sur ma face je vis que les jours ont passé.<br /></span> +<span class="i16"><span class="smcap">Jean Moréas.</span></span> </div> @@ -24099,14 +24059,14 @@ of similar poems, by M. Montesquiou.</p> <div class="stanza"> <span class="i0">Des roses, des roses, des roses<br /></span> <span class="i0">Pour embaumer son sommeil,<br /></span> -<span class="i0">Vos ptales sont moroses<br /></span> -<span class="i0">Prs du sourire vermeil.<br /></span> +<span class="i0">Vos pétales sont moroses<br /></span> +<span class="i0">Près du sourire vermeil.<br /></span> <span class="i8">O roses!<br /></span> </div> <div class="stanza"> <span class="i0">Des ailes, des ailes, des ailes<br /></span> -<span class="i0">Pour bourdonner sont front,<br /></span> +<span class="i0">Pour bourdonner à sont front,<br /></span> <span class="i0">Abeilles et demoiselles,<br /></span> <span class="i0">Des rythmes qui berceront.<br /></span> <span class="i8">Des ailes!<br /></span><span class="pagenum"><a name="Page_536" id="Page_536">[536]</a></span> @@ -24115,7 +24075,7 @@ of similar poems, by M. Montesquiou.</p> <div class="stanza"> <span class="i0">Des branches, des branches, des branches<br /></span> <span class="i0">Pour tresser un pavillon,<br /></span> -<span class="i0">Par o des clarts moins franches<br /></span> +<span class="i0">Par où des clartés moins franches<br /></span> <span class="i0">Descendront sur l'oisillon.<br /></span> <span class="i8">Des branches!<br /></span> </div> @@ -24129,17 +24089,17 @@ of similar poems, by M. Montesquiou.</p> </div> <div class="stanza"> -<span class="i0">Des fes, des fes, des fes<br /></span> -<span class="i0">Pour filer leurs cheveaux<br /></span> -<span class="i0">Des mirages, de bouffes<br /></span> +<span class="i0">Des fées, des fées, des fées<br /></span> +<span class="i0">Pour filer leurs écheveaux<br /></span> +<span class="i0">Des mirages, de bouffées<br /></span> <span class="i0">Dans tous ces petits cerveaux.<br /></span> -<span class="i8">Des fes!<br /></span> +<span class="i8">Des fées!<br /></span> </div> <div class="stanza"> <span class="i0">Des anges, des anges, des anges<br /></span> -<span class="i0">Pour emporter dans l'ther<br /></span> -<span class="i0">Les petits enfants tranges<br /></span> +<span class="i0">Pour emporter dans l'éther<br /></span> +<span class="i0">Les petits enfants étranges<br /></span> <span class="i0">Qui ne veulent pas rester....<br /></span> <span class="i8">Nos anges!<br /></span> </div> @@ -24297,17 +24257,17 @@ sword out, and commits incest with his sister.</p> gods discuss the question to whom they shall award the victory. Wotan, approving of Siegmund's incest with his sister, wishes to spare him, but, under pressure from -his wife, Fricka, he orders the Valkyrie Brnnhilda to +his wife, Fricka, he orders the Valkyrie Brünnhilda to kill Siegmund. Siegmund goes to fight; Sieglinda -faints. Brnnhilda appears and wishes to slay Siegmund. +faints. Brünnhilda appears and wishes to slay Siegmund. Siegmund wishes to kill Sieglinda also, but -Brnnhilda does not allow it; so he fights with Hunding. -Brnnhilda defends Siegmund, but Wotan defends +Brünnhilda does not allow it; so he fights with Hunding. +Brünnhilda defends Siegmund, but Wotan defends Hunding. Siegmund's sword breaks, and he is killed. Sieglinda runs away.</p> <p>Act III. The Valkyries (divine Amazons) are on the -stage. The Valkyrie Brnnhilda arrives on horseback, +stage. The Valkyrie Brünnhilda arrives on horseback, bringing Siegmund's body. She is flying from Wotan, who is chasing her for her disobedience. Wotan catches her, and as a punishment dismisses her from her post @@ -24354,42 +24314,42 @@ that he wishes to poison Siegfried. This is meant to signify that Siegfried, having tasted dragon's blood, understands people's secret thoughts. Siegfried, having learnt Mime's intentions, kills him. The birds tell -Siegfried where Brnnhilda is, and he goes to find her.</p> +Siegfried where Brünnhilda is, and he goes to find her.</p> <p>Act III. Wotan calls up Erda. Erda prophesies to Wotan, and gives him advice. Siegfried appears, quarrels with Wotan, and they fight. Suddenly Siegfried's sword breaks Wotan's spear, which had been more powerful than anything else. Siegfried goes into<span class="pagenum"><a name="Page_541" id="Page_541">[541]</a></span> -the fire to Brnnhilda: kisses her; she wakes up, +the fire to Brünnhilda: kisses her; she wakes up, abandons her divinity, and throws herself into Siegfried's arms.</p> <p>Third Day. Prelude. Three Norns plait a golden rope, and talk about the future. They go away. -Siegfried and Brnnhilda appear. Siegfried takes leave +Siegfried and Brünnhilda appear. Siegfried takes leave of her, gives her the ring, and goes away.</p> <p>Act I. By the Rhine. A king wants to get married, and also to give his sister in marriage. Hagen, the -king's wicked brother, advises him to marry Brnnhilda +king's wicked brother, advises him to marry Brünnhilda and to give his sister to Siegfried. Siegfried appears; they give him a drugged draught, which makes him forget all the past and fall in love with the king's sister, Gutrune. So he rides off with Gunther, the king, to -get Brnnhilda to be the king's bride. The scene -changes. Brnnhilda sits with the ring. A Valkyrie +get Brünnhilda to be the king's bride. The scene +changes. Brünnhilda sits with the ring. A Valkyrie comes to her and tells her that Wotan's spear is broken, and advises her to give the ring to the Rhine nymphs. Siegfried comes, and by means of the magic helmet turns himself into Gunther, demands the ring from -Brnnhilda, seizes it, and drags her off to sleep with +Brünnhilda, seizes it, and drags her off to sleep with him.</p> <p>Act II. By the Rhine. Alberich and Hagen discuss how to get the ring. Siegfried comes, tells how he has obtained a bride for Gunther and spent the night with -her, but put a sword between himself and her. Brnnhilda +her, but put a sword between himself and her. Brünnhilda rides up, recognizes the ring on Siegfried's hand, and declares that it was he, and not Gunther, who was with her. Hagen stirs everybody up against Siegfried, @@ -24401,13 +24361,13 @@ The nymphs ask him for the ring, but he won't give it up. Hunters appear. Siegfried tells the story of his life. Hagen then gives him a draught, which causes his memory to return to him. Siegfried relates -how he aroused and obtained Brnnhilda, and every one +how he aroused and obtained Brünnhilda, and every one is astonished. Hagen stabs him in the back, and the scene is changed. Gutrune meets the corpse of Siegfried. Gunther and Hagen quarrel about the ring, and<span class="pagenum"><a name="Page_542" id="Page_542">[542]</a></span> -Hagen kills Gunther. Brnnhilda cries. Hagen wishes +Hagen kills Gunther. Brünnhilda cries. Hagen wishes to take the ring from Siegfried's hand, but the hand -of the corpse raises itself threateningly. Brnnhilda +of the corpse raises itself threateningly. Brünnhilda takes the ring from Siegfried's hand, and when Siegfried's corpse is carried to the pyre, she gets on to a horse and leaps into the fire. The Rhine rises, and @@ -24733,7 +24693,7 @@ added, "Ah! my dear angel, how I thank you for my skill!"</p> <div class="footnote"> -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> From the Russian version, which Count Tolsto calls a free translation +<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> From the Russian version, which Count Tolstoï calls a free translation made with some omissions. After diligent search and inquiry I have been unable to find this catechism among Ballou's works.—<span class="smcap">Tr.</span></p></div> @@ -24741,7 +24701,7 @@ unable to find this catechism among Ballou's works.—<span class="smcap">Tr <p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> I know of but one criticism, or rather essay, for it can hardly be termed criticism, in the strict sense of the word, which treats of the same -subject, having my book in view. It is a pamphlet by Trotzky, called +subject, having my book in view. It is a pamphlet by Troïtzky, called "The Sermon on the Mount" (printed in Kazan). Evidently the author acknowledges the doctrine of Christ in the fullness of its meaning. He declares that the commandment of non-resistance to evil means what it @@ -24853,7 +24813,7 @@ mankind.—<span class="smcap">Author.</span></p></div> <div class="footnote"> -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> <i>La Revue des Revues</i>, "La guerre, tat de la question, jug par nos +<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> <i>La Revue des Revues</i>, "La guerre, état de la question, jugé par nos grands hommes contemporains."—<span class="smcap">Tr.</span></p></div> <div class="footnote"> @@ -24983,15 +24943,15 @@ continues to oppress.</p></div> <div class="footnote"> -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Tolsto's remarks on Church religion were re-worded so as to seem to +<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Tolstoï's remarks on Church religion were re-worded so as to seem to relate only to the Western Church, and his disapproval of luxurious life was -made to apply, not, say, to Queen Victoria or Nicholas II., but to the Csars +made to apply, not, say, to Queen Victoria or Nicholas II., but to the Cæsars or the Pharaohs.—<span class="smcap">Tr.</span></p></div> <div class="footnote"> <p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> The Russian peasant is usually a member of a village commune, and -has therefore a right to a share in the land belonging to the village. Tolsto +has therefore a right to a share in the land belonging to the village. Tolstoï disapproves of the order of society which allows less land for the support of a village full of people than is sometimes owned by a single landed proprietor. The "Censor" will not allow disapproval of this state of @@ -25009,7 +24969,7 @@ speech recognizes many other arts, as, for instance, the art of cookery.</p></di <div class="footnote"> -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> And yet it is certainly an sthetic achievement when the art of cooking +<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> And yet it is certainly an æsthetic achievement when the art of cooking succeeds in making of an animal's corpse an object in all respects tasteful. The principle of the Art of Taste (which goes beyond the so-called Art of Cookery) is therefore this: All that is eatable should be treated as @@ -25020,22 +24980,22 @@ expressed.</p></div> <p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> If the sense of touch lacks color, it gives us, on the other hand, a notion which the eye alone cannot afford, and one of considerable -sthetic value, namely, that of <i>softness</i>, <i>silkiness</i>, <i>polish</i>. The beauty +æsthetic value, namely, that of <i>softness</i>, <i>silkiness</i>, <i>polish</i>. The beauty of velvet is characterized not less by its softness to the touch than by its luster. In the idea we form of a woman's beauty, the softness of her skin enters as an essential element. </p> <p> Each of us, probably, with a little attention, can recall pleasures of taste -which have been real sthetic pleasures.</p></div> +which have been real æsthetic pleasures.</p></div> <div class="footnote"> -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> M. Schasler, "Kritische Geschichte der sthetik," 1872, vol. i., p. 13.</p></div> +<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> M. Schasler, "Kritische Geschichte der Æsthetik," 1872, vol. i., p. 13.</p></div> <div class="footnote"> -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> There is no science which, more than sthetics, has been handed over +<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> There is no science which, more than æsthetics, has been handed over to the reveries of the metaphysicians. From Plato down to the received doctrines of our day, people have made of art a strange amalgam of quintessential fancies and transcendental mysteries, which find their supreme @@ -25044,8 +25004,8 @@ divine prototype of actual things.</p></div> <div class="footnote"> -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> See on this matter Benard's admirable book, "L'Esthtique d'Aristote," -also Walter's "Geschichte der sthetik in Altertum."</p></div> +<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> See on this matter Benard's admirable book, "L'Esthétique d'Aristote," +also Walter's "Geschichte der Æsthetik in Altertum."</p></div> <div class="footnote"> @@ -25069,7 +25029,7 @@ also Walter's "Geschichte der sthetik in Altertum."</p></div> <div class="footnote"> -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> R. Kralik, "Weltschnheit, Versuch einer allgemeinen sthetik," pp. +<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> R. Kralik, "Weltschönheit, Versuch einer allgemeinen Æsthetik," pp. 304-306.</p></div> <div class="footnote"> @@ -25222,7 +25182,7 @@ also Walter's "Geschichte der sthetik in Altertum."</p></div> <div class="footnote"> -<p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> "L'Esthtique," p. 106.</p></div> +<p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> "L'Esthétique," p. 106.</p></div> <div class="footnote"> @@ -25265,7 +25225,7 @@ Church's rendering of Christ's teaching, and were cruelly persecuted.—<spa <p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> Keltchitsky, a Bohemian of the fifteenth century, was the author of a remarkable book, "The Net of Faith," directed against Church and State. -It is mentioned in Tolsto's "The Kingdom of God is Within You."—<span class="smcap">Tr.</span></p></div> +It is mentioned in Tolstoï's "The Kingdom of God is Within You."—<span class="smcap">Tr.</span></p></div> <div class="footnote"> @@ -25275,26 +25235,26 @@ successors.</p></div> <div class="footnote"> -<p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> Die Lcke von fnf Jahrhunderten, welche zwischen den Kunst-philosophischen +<p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> Die Lücke von fünf Jahrhunderten, welche zwischen den Kunst-philosophischen Betrachtungen des Plato und Aristoteles und die des Plotins -fllt, kann zwar auffllig erscheinen; dennoch kann man eigentlich nicht -sagen, dass in dieser Zwischenzeit berhaupt von sthetischen Dingen -nicht die Rede gewesen; oder dass gar ein vlliger Mangel an Zusammenhang +fällt, kann zwar auffällig erscheinen; dennoch kann man eigentlich nicht +sagen, dass in dieser Zwischenzeit überhaupt von ästhetischen Dingen +nicht die Rede gewesen; oder dass gar ein völliger Mangel an Zusammenhang zwischen den Kunst-anschauungen des letztgenannten Philosophen -und denen der ersteren existire. Freilich wurde die von Aristoteles begrndete -Wissenschaft in Nichts dadurch gefrdert; immerhin aber zeigt -sich in jener Zwischenzeit noch ein gewisses Interesse fr sthetische +und denen der ersteren existire. Freilich wurde die von Aristoteles begründete +Wissenschaft in Nichts dadurch gefördert; immerhin aber zeigt +sich in jener Zwischenzeit noch ein gewisses Interesse für ästhetische Fragen. Nach Plotin aber, die wenigen, ihm in der Zeit nahestehenden Philosophen, wie Longin, Augustin, u. s. f. kommen, wie wir gesehen, kaum -in Betracht und schliessen sich brigens in ihrer Anschauungsweise an -ihn an,—vergehen nicht fnf, sondern <i>fnfzehn Jahrhunderte</i>, in denen -von irgend einer wissenschaftlichen Interesse fr die Welt des Schnen -und der Kunst nichts zu spren ist. +in Betracht und schliessen sich übrigens in ihrer Anschauungsweise an +ihn an,—vergehen nicht fünf, sondern <i>fünfzehn Jahrhunderte</i>, in denen +von irgend einer wissenschaftlichen Interesse für die Welt des Schönen +und der Kunst nichts zu spüren ist. </p> <p> Diese anderthalbtausend Jahre, innerhalb deren der Weltgeist durch die -mannigfachsten Kmpfe hindurch zu einer vllig neuen Gestaltung des -Lebens sich durcharbeitete, sind fr die Aesthetik, hinsichtlich des weiteren +mannigfachsten Kämpfe hindurch zu einer völlig neuen Gestaltung des +Lebens sich durcharbeitete, sind für die Aesthetik, hinsichtlich des weiteren Ausbaus dieser Wissenschaft verloren.—<span class="smcap">Max Schasler.</span></p></div> <div class="footnote"> @@ -25536,382 +25496,6 @@ of the Society for the Promotion of Peace" ...</p> </div> - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Kingdom of God is Within You, What -is Art, by Lyof N. 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