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“Autumn." William Watson.
“Still'd is the virgin rapture that was June,
“For me to dreams resign’d, there come and go,
Very fine also is Andrew Lang's song of harvesting time. The flowing classic metre has a very soothing effect, and its rhythm is admirably adapted to produce the feeling of rest that is desired, and very gently are our thoughts led on to the time when “our little life is rounded with a sleep.”
“Mowers weary and brown and blythe,
Endless over word that the Scythe
“Hush, ah hush, the scythes are saying,
Hush and heed not and fall asleep;
And the dramatist of old says: “There is hope for a tree, if it be cut down, that it will sprout again, and that the tender branch thereof will not cease. Though the root thereof wax old in the earth, and the stock thereof die in the ground; yet through the scent of water it will bud, and bring forth boughs like a plant. But man dieth and wasteth away and where is he? As the waters fail from the sea, and the flood decayeth and drieth up, so man lieth down and riseth not; till the heavens be no more they shall not awake, nor be raised out of their sleep."
Shelley epitomises thus the whole matter, and explains the use the poet makes of the materials supplied by Nature:
“He will watch from dawn to gloom
“The Poet's Dream."
This is what poet and painter alike should try to do, and expel forever the idea that art is the imitation of nature, and so create a new world of art, like yet very unlike, the world they see.
It is important to consider this subjective view of nature in the poets; for the painter in words and the painter in colours work toward the same end, both seeking to inspire the thoughts and move the feelings of the people they appeal to in their different ways. The poets have the advantage of being able to relate a story, and are not limited to one action, or one period of time. The painters have the powerful attraction of colour and form. But both must strive to give the spirit if they would
attain the rank of masters. So we find in painting, as in poetry, the greatest power will always be with those artists who have this sympathetic imagination, who are able to discern the poetical in the actual, the ideal in the real, the universal in the particular. They alone can produce those glorious "speaking" pictures, which continually reveal the ideas and feelings that possessed the artist, when his brush was touched by a power that he knew not of.
MODERN DUTCH ART
THE seven Dutch artists we have already spoken of form a unique group, inasmuch as their paintings have this strong subjective “Art seeks phase, this revealing of nature, and of their the artist own feelings unconsciously inspired by nature, When he and because, in addition to this, they each see
sadly takes the subjects they paint in an absolutely dif- her flight,
though ferent way from anyone who has preceded loitering yet them. They have shown us new phases of in the land art, they have expressed the ideas that possessed association. them in new and varied forms, and they have have the transferred their thoughts to canvas with ephemeral masterly execution in a large and noble man- the master's ner and dignified style, giving the impression memory, of power in reserve. As usually happens glow in
which are with strong and original characters, they have warmed for inspired others, who see more or less through a while their eyes; but they themselves are creators. and disciThey have caught a spark of the divine fire ple.” “Ten of genius, and stand splendidly alone.
And so we