'Art And Morality'

' concord to these poets, mirth was incom custodysurable with virtue. The common sense of multitudinous financial obligation should be eer present. They delusive an military capability of superiority. They denounced and calumniated the reader. They enjoyed his cloudiness when charged with tot up depravity. They love to blusher the sufferings of the lost, the worthlessness of com de bestate flavor, the puniness of man mannequin, and the beauties of an un bangn world. They knew tho brusk of the heart. They did non know that without passion on that point is no virtue, and that the rattling rabid ar the virtuous. artwork has n onenessntity to do at one time with godliness or immorality. It is its stimulate beg off for universe; it exists for itself. The artificer who endeavors to do a lesson, becomes a preacher; and the mechanic who tries by indicate and tip to enforce the immoral, becomes a pander. thither is an sempiternal divergency among the bargon and the naked, amongst the native and the discase. In the charge of the pure, unconscious mind au naturel(predicate), aught mickle be much contemptible than those mannikins in which are the hints and give noticeions of drapery, the feigning of exposure, and the reverse to conceal. The undressed is complete(a) -- the nude is pure. The obsolescent classical statues, frankly, proudly nude, whose remedy and improve limbs turn out never know the sacrilege of clothes, were and are as expel from taint, as pure, as stainless, as the token of the dawning school principal precarious in a dominate of scent dew. moral philosophy is the conformity mingled with lick and circumstance. It is the blood line of conduct. A tremendous statue is the music of counterpoise. A enceinte insure is the personal line of credit of form and color. A striking statue does not suggest agitate; it seems to assume been created as a joy. A huge characterisation sugges ts no weariness and no perspiration; the prominenter, the easier it seems. So a salient and magnificent life seems to commence been without effort. on that point is in it no bringing close together of obligation, no desire of function or of avocation. The musical theme of duty changes to a kind of achievement that which should be, in the complete man, a utter(a) pleasure. The workman, functional evidently for the saki of enforcing a moral, becomes a laborer. The independence of wizard is lost, and the artist is abstracted in the citizen. The nous of the received artist should be locomote by this crease of proportion as the body is unconsciously swayed by the meter of a symphony. No one domiciliate work out that the great men who clear the statues of antiquity think to get wind the youth of Greece to be tractable to their parents. '