A Study of Poetry | Page 8

has put it into_ is our form question. In Bosanquet's more technical language: "A man is the middle term between content and expression." There is doubtless some element of mystery in what we call creative power, but this is a part of man's mystery. There is no mystery in the artist's material as such: he is working in pigments or clay or vibrating sound or whatever other medium he has chosen. The qualities and possibilities of this particular medium fascinate him, preoccupy him. He comes, as we say, to think in terms of color or line or sound. He learns or may learn in time, as Whistler bade him, "never to push a medium further than it will go." The chief value of Lessing's epoch-making discussion of "time-arts" and "space-arts" in his Laokoon consisted in the emphasis laid upon the specific material of the different arts, and hence upon the varying opportunities which one medium or another affords to the artist. But though human curiosity never wearies of examining the inexhaustible possibilities of this or that material, it is chiefly concerned, after all, in the use of material as it has been moulded by the fingers and the brain of a particular artist. The material becomes transformed as it passes through his "shop," in some such way as iron is transformed into steel in a blast furnace. An apparatus called a "transformer" alters the wave-length of an electrical current and reduces high pressure to low pressure, or the reverse. The brain of the artist seems to function in a somewhat similar manner as it reshapes the material furnished it by the senses, and expresses it in new forms. Poetry furnishes striking illustrations of the transformations wrought in the crucible of the imagination, and we must look at these in detail in a subsequent chapter. But it may be helpful here to quote the testimony of two or three artists and then to examine the psychological basis of this central function of the artist's mind.
"Painting is the expression of certain sensations," said Carolus Duran. "You should not seek merely to copy the model that is posed before you, but rather to take into account the impression that is made upon the mind.... Take careful account of the substances that you must render--wood, metal, textures, for instance. When you fail to reproduce nature as you feel it_, then you falsify it. Painting is not done with the eyes, but with the brain_."
W. W. Story, the sculptor, wrote: "Art is art because it is not nature.... The most perfect imitation of nature is therefore not art. _It must pass through the mind of the artist and be changed_. Art is nature reflected through the spiritual mirror, and tinged with all the sentiment, feeling, passion of the spirit that reflects it."
In John La Farge's Considerations on Painting, a little book which is full of suggestiveness to the student of literature, there are many passages illustrating the conception of art as "the representation of the artist's view of the world." La Farge points out that "drawing from life is an exercise of memory. It might be said that the sight of the moment is merely a theme upon which we embroider the memories of former likings, former aspirations, former habits, images that we have cared for, and through which we indicate to others our training, our race, the entire educated part of our nature."
One of La Farge's concrete examples must be quoted at length: [Footnote: Considerations on Painting, pp. 71-73. Macmillan.]
"I remember myself, years ago, sketching with two well-known men, artists who were great friends, great cronies, asking each other all the time, how to do this and how to do that; but absolutely different in the texture of their minds and in the result that they wished to obtain, so far as the pictures and drawings by which they were well known to the public are concerned.
"What we made, or rather, I should say, what we wished to note, was merely a memorandum of a passing effect upon the hills that lay before us. We had no idea of expressing ourselves, or of studying in any way the subject for any future use. We merely had the intention to note this affair rapidly, and we had all used the same words to express to each other what we liked in it. There were big clouds rolling over hills, sky clearing above, dots of trees and water and meadow-land below us, and the ground fell away suddenly before us. Well, our three sketches were, in the first place, different in shape; either from our physical differences, or from a habit of drawing certain shapes of a picture, which itself usually indicates--as you know, or ought to know--whether we are looking far or near. Two were