LITMIR.BIZ

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reinforce the first broad elementary principles with what definite modification they may have acquired in their progress to this point in the argument, together with the additional data which may have resulted from analytic reference to other correlative matter.

      First then, as Fine Art delights in proportion to the delectating interest of the objects it depicts, and, as subsequently stated, grieves or distresses in proportion as the objects are grievous or distressing, we have this resultant: “Fine Art excites in proportion to the excitor influence of the object;” and then, that “fine art excites either the sensory or the mental faculties, in a like proportion to the excitor properties of the objects respectively.” Thus then we have, definitely stated, the powers or capabilities of Fine Art, as regulated and governed by the objects it selects, and the objects it selects making its subject. Now the question in hand is, “what the nature of that subject should be,” but the subject must be according to what Fine Art proposes to effect; all then must depend upon this proposition. For if you propose that Fine Art shall excite sensual pleasure, then such objects as excite sensual pleasure should form the subject of Fine Art; and those which excite sensual pleasure in the highest degree, will form the highest subject—‘High Art.’ Or if you propose that Fine Art shall excite a physical energetic activity, by addressing the sensory organism, which is a phase of the former proposition, (for what are popularly called sensual pleasures, are only particular sensory excitements sought by a physical appetite, while this sensory-organic activity is physically appetent also,) then the subjects of art ought to be draw form such objects as excite a general activity, such as field-sports, bull-fights, battles, executions, court pageants, conflagrations, murders; and those which most intensely excite this sensory-organic activity, by expressing most of physical human power or suffering, such as battles, executions, regality, murder, would afford the highest subject of Fine Art, and consequently these would be “High Art.” But if you propose (with the writer) that Fine Art shall regard the general happiness of man, but addressing those attributes which are peculiarly human, by exciting the activity of his rational and benevolent powers (and the writer would add, man's religious aspirations, but omits it as sufficiently evolvable from the proposition, and since some well-willing men cannot at present recognize man as a religious animal), then the subject of Fine Art should be drawn from objects which address and excite the activity of man's rational and benevolent powers, such as:—acts of justice—of mercy—good government—order—acts of intellect—men obviously speaking or thinking abstract thoughts, as evinced by one speaking to another, and looking at, or indicating, a flower, or a picture, or a star, or by looking on the wall while speaking—or, if the scene be from a good play, or story, or another beneficent work, then not only of men in abstract thought or meditation, but, it may be, in simple conversation, or in passion—or a simple representation of a person in a play or story, as of Jacques, Ferdinand, or Cordelia; or, in real life, portraits of those who are honestly beautiful; or expressive of innocence, happiness, benevolence, or intellectuality, but not of gluttony, wantonness, anger, hatred, or malevolence, unless in some cases of justifiable satire—of histrionic or historic portraiture—landscape—natural phenomena—animals, not indiscriminately—in some cases, grand or beautiful buildings, even without figures—any scene on sea or land which induces reflection—all subjects from such parts of history as are morally or intellectually instructive or attractive—and therefore pageants—battles—and even executions—all forms of thought and poetry, however wild, if consistent with rational benevolence—all scenes serious or comic, domestic or historical—all religious subjects proposing good that will not shock any reasonable number of reasonable men—all subjects that leave the artist wiser and happier—and none which intrinsically act otherwise—to sum all, every thing or incident in nature which excites, or may be made to excite, the mind and the heart of man as a mentally intelligent, not as a brute animal, is a subject for Fine Art, at all times, in all places, and in all ages. But as all these subjects in nature affect our hearts or our understanding in proportion to the heart and understanding we have to apprehend and to love them, those will excite us most intensely which we know most of and love most. But as we may learn to know them all and to love them all, and what is dark to-day may be luminous to-morrow, and things, dumb to-day, to-morrow grow voiceful, and the strange voice of to-day be plain and reproach us to-morrow; who shall adventure to say that this or that is the highest? And if it appear that all these subjects in nature may affect us with equal intensity, and that the artist's representations affect as the subjects affect, then it follows, with all these subjects, Fine Art may affect us equally; but the subjects may all be high; therefore, all Fine Art may be High Art.

      The Seasons

      The crocus, in the shrewd March morn,

      Thrusts up its saffron spear;

      And April dots the sombre thorn

      With gems, and loveliest cheer.

      Then sleep the seasons, full of might;

      While slowly swells the pod,

      And rounds the peach, and in the night

      The mushroom bursts the sod.

      The winter falls: the frozen rut

      Is bound with silver bars;

      The white drift heaps against the hut;

      And night is pierced with stars.

      Dream Land

      Where sunless rivers weep

      Their waves into the deep,

      She sleeps a charmed sleep;

      Awake her not.

      Led by a single star,

      She came from very far,

      To seek where shadows are

      Her pleasant lot.

      She left the rosy morn,

      She left the fields of corn,

      For twilight cold and lorn,

      And water-springs.

      Thro' sleep, as thro' a veil,

      She sees the sky look pale,

      And hears the nightingale,

      That sadly sings.

      Rest, rest, a perfect rest,

      Shed over brow and breast;

      Her face is toward the west,

      The purple land.

      She cannot see the grain

      Ripening on hill and plain;

      She cannot feel the rain

      Upon her hand.

      Rest, rest, for evermore

      Upon a mossy shore,

      Rest, rest, that shall endure,

      Till time shall cease;—

      Sleep that no pain shall wake,

      Night that no morn shall break,

      Till joy shall overtake

      Her perfect peace.

      Songs of One Household

No. 1My Sister's Sleep

      She fell asleep on Christmas Eve.

      Upon her eyes' most patient calms

      The lids were shut; her uplaid arms

      Covered her bosom, I believe.

      Our mother, who had leaned all day

      Over the bed from chime to chime,

      Then raised herself for the first time,

      And as she sat her down, did pray.

      Her little work-table was spread

      With work to finish. For the glare

      Made by her candle, she had care

      To work some distance from

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