No More Learning

Still, there is the word, and they use
it as best they can. An artist is, of course, not disturbed by it. The
true artist is a man who believes absolutely in himself, because he is
absolutely himself. But I can fancy that if an artist produced a work of
art in England that immediately on its appearance was recognised by the
public, through their medium, which is the public press, as a work that
was quite intelligible and highly moral, he would begin to seriously
question whether in its creation he had really been himself at all, and
consequently whether the work was not quite unworthy of him, and either
of a thoroughly second-rate order, or of no artistic value whatsoever.

Perhaps, however, I have wronged the public in limiting them to such
words as 'immoral,' 'unintelligible,' 'exotic,' and 'unhealthy. ' There
is one other word that they use. That word is 'morbid. ' They do not use
it often. The meaning of the word is so simple that they are afraid of
using it. Still, they use it sometimes, and, now and then, one comes
across it in popular newspapers. It is, of course, a ridiculous word to
apply to a work of art. For what is morbidity but a mood of emotion or a
mode of thought that one cannot express? The public are all morbid,
because the public can never find expression for anything. The artist is
never morbid. He expresses everything.
He stands outside his subject,
and through its medium produces incomparable and artistic effects. To
call an artist morbid because he deals with morbidity as his
subject-matter is as silly as if one called Shakespeare mad because he
wrote 'King Lear. '

On the whole, an artist in England gains something by being attacked.
His individuality is intensified. He becomes more completely himself. Of
course, the attacks are very gross, very impertinent, and very
contemptible. But then no artist expects grace from the vulgar mind, or
style from the suburban intellect. Vulgarity and stupidity are two very
vivid facts in modern life. One regrets them, naturally. But there they
are. They are subjects for study, like everything else. And it is only
fair to state, with regard to modern journalists, that they always
apologise to one in private for what they have written against one in
public.

Within the last few years two other adjectives, it may be mentioned,
have been added to the very limited vocabulary of art-abuse that is at
the disposal of the public. One is the word 'unhealthy,' the other is
the word 'exotic. ' The latter merely expresses the rage of the momentary
mushroom against the immortal, entrancing, and exquisitely lovely
orchid. It is a tribute, but a tribute of no importance.