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134 SOPHOCLES IN LONDON Scholars will have to bring strong arguments to justify what is an obvious literary blemish in the distribution of the concluding lines. Somehow or other, between Hyllus and the chorus, the sombre intensity of the complaint was allowed to evaporate. The words, and TO. Se vvv eorTarr' oiKTpa fjif aia-^pa 0< / M ^ Kovoev TOVTU>V o ri fJL>] should come from the same lips, surely. Providence, I will not praise, Neither for fear, nor joy of gain, Your blundering and cruel ways. * * * * And all men's miserable days, And all the ugliness and pain, O Providence, I will not praise.
THE FLIGHT OF THE DRAGON * No one will be surprised to learn that fourteen hundred years ago the Chinese laid down six Oct - * 911 canons of art. Nothing is more natural than that some great artist, review' ng in old age his life and work, should deduce from the mass of experience and achievement certain propositions, and that these, in time, should become rules, to be preached by pedants, practised by dilettanti, and ignored by every artist worthy of the name. What does surprise us is that the first of these Chinese canons should be nothing less than a definition of that which is essential in all great art. " Rhythmic vitality," Prof. Giles calls it Mr. ; Okakura, " the Life-movement of the Spirit through the Rhythm of things " ; Mr. Binyon suggests " the fusion of the rhythm of the spirit with the movement of living things." " At any rate," he says, " what is certainly meant is that the artist must pierce beneath 1 " The Flight of the Dragon : an Essay on the Theory and Practice of Art in China and Japan." By Laurence Binyon. (John Murray.) 135
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LIBRARY of CALIFORNIA MHDtC0 LMMvct
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POT-BOILERS BT CLIVE BELL T LONDON
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CONTENTS PAGE FOREWORD i MONTAIGNE
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FOREWORD DEAR GEOFFREY WHITWORTH, C
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FOREWORD 3 Naturally, by so obligin
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FOREWORD 5 I have said that the edi
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FOREWORD 7 I write more fluently no
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FOREWORD 9 amiss with Mr. Bennett's
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FOREWORD ii is bound to turn the be
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FOREWORD 13 " La Princesse de Cleve
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FOREWORD 15 Mr. Bennett is not so w
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MONTAIGNE IN FACSIMILE 1 LET it be
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MONTAIGNE 19 Montaigne was thorough
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MONTAIGNE 21 by, his subject, but,
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MONTAIGNE 23 moral code and the met
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MONTAIGNE 25 Indeed, this admiratio
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MONTAIGNE 27 not inappropriate, the
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IBSEN 29 the romantic, invited to s
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IBSEN 31 political thinker or a soc
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IBSEN 33 greatness of Ibsen's art t
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IBSEN 35 or his life to the ideal,
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IBSEN 37 Ibsen's social and politic
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IBSEN 39 tolerate. Men long for the
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MISS COLERIDGE i THE greatest art i
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MISS COLERIDGE 43 without demur tha
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MISS COLERIDGE 45 Here is the first
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MISS COLERIDGE 47 a shrinking fasti
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MISS COLERIDGE 49 picture. Her life
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PEACOCK 51 are as amateurish as the
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PEACOCK 53 was folly, who judged ev
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PEACOCK 55 century living in the ni
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PEACOCK 57 the Conservative party ;
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PEACOCK 59 Peacock's attitude towar
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PEACOCK 61 curiosity and ; just as
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PEACOCK 63 A letter to Hookham, dat
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PEACOCK 65 who claims attention for
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PEACOCK 67 His epitaph I wrote, as
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PEACOCK 69 his relations with Shell
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PEACOCK 71 most entertaining, and p
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PEACOCK 73 sionately pursued imposs
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BOSWELL'S LETTERS 75 they created a
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BOSWELL'S LETTERS 77 the sheer trut
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BOSWELL'S LETTERS 79 Boswell tells
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BOSWELL'S LETTERS 81 plexities bese
Page 95 and 96: CARLYLE'S LOVES AND LETTERS 83 ten
Page 97 and 98: CARLYLE'S LOVES AND LETTERS 85 tere
Page 99 and 100: CARLYLE'S LOVES AND LETTERS 87 What
Page 101 and 102: CARLYLE'S LOVES AND LETTERS 89 with
Page 103 and 104: CARLYLE'S LOVES AND LETTERS 91 gues
Page 105 and 106: CARLYLE'S LOVES AND LETTERS 93 degr
Page 107 and 108: CARLYLE'S LOVES AND LETTERS 95 high
Page 109 and 110: CARLYLE'S LOVES AND LETTERS 97 a gr
Page 111 and 112: THE LYSISTRATA 1 At XdjOtrey Te/xev
Page 113 and 114: Rogers to give THE LYSISTRATA 101 u
Page 115 and 116: THE LYSISTRATA 103 and arguments od
Page 117 and 118: THE LYSISTRATA 105 war, came forth
Page 119 and 120: THE LYSISTRATA 107 ludicrous ; but
Page 121 and 122: THE LYSISTRATA 109 Fiercely they st
Page 123 and 124: THE LYSISTRATA in artist than party
Page 125 and 126: THE LYSISTRATA 113 Have inspired th
Page 127 and 128: TRELAWNY'S LETTERS 1 ANY one who ha
Page 129 and 130: TRELAWNY'S LETTERS 117 book we find
Page 131 and 132: TRELAWNY'S LETTERS 119 As Trelawny
Page 133 and 134: TRELAWNY'S LETTERS 121 though he co
Page 135 and 136: TRELAWNY'S LETTERS 123 we should ha
Page 137 and 138: TRELAWNY'S LETTERS 125 are his lite
Page 139 and 140: SOPHOCLES IN LONDON 127 realism and
Page 141 and 142: SOPHOCLES IN LONDON 129 And what is
Page 143 and 144: SOPHOCLES IN LONDON 131 our eccentr
Page 145: SOPHOCLES IN LONDON 133 the latest
Page 149 and 150: THE FLIGHT OF THE DRAGON 137 nings
Page 151 and 152: THE FLIGHT OF THE DRAGON 139 ripe a
Page 153 and 154: Greek or Christian in the primitive
Page 155 and 156: THE FLIGHT OF THE DRAGON 143 the sp
Page 157 and 158: THE FLIGHT OF THE DRAGON 145 jobber
Page 159 and 160: WILLIAM MORRIS 147 " William Morris
Page 161 and 162: WILLIAM MORRIS 149 that much of the
Page 163 and 164: WILLIAM MORRIS 151 in the Floods "
Page 165 and 166: WILLIAM MORRIS 153 next morning for
Page 167 and 168: WILLIAM MORRIS 155 affairs and priv
Page 169 and 170: PERSIAN MINIATURES 157 1258 (the ye
Page 171 and 172: PERSIAN MINIATURES 159 thirteenth c
Page 173 and 174: PERSIAN MINIATURES 161 It is, in fa
Page 175 and 176: PERSIAN MINIATURES 163 I will sugge
Page 177 and 178: COUNTERCHECK QUARREL- SOME I HASTEN
Page 179 and 180: COUNTERCHECK QUARRELSOME 167 does n
Page 181 and 182: 169 the beauty of gems or of a butt
Page 183 and 184: COUNTERCHECK QUARRELSOME 171 The po
Page 185 and 186: COUNTERCHECK QUARRELSOME 173 they h
Page 187 and 188: THE LONDON SALON 175 But there is m
Page 189 and 190: THE LONDON SALON 177 how admirable
Page 191 and 192: II ENGLISH POST-IMPRESSIONISTS IT i
Page 193 and 194: ENGLISH POST-IMPRESSIONISTS 181 for
Page 195 and 196: ENGLISH POST-IMPRESSIONISTS 183 int
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ENGLISH POST-IMPRESSIONISTS 185 I c
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ENGLISH POST-IMPRESSIONISTS 187 the
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AN EXPENSIVE " MASTERPIECE " 189 I
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AN EXPENSIVE " MASTERPIECE " 191 ow
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AN EXPENSIVE " MASTERPIECE " 193 ar
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MARCHAND 195 5) would have been jus
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MARCHAND 197 shall be glad to hear
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V THE MANSARD GALLERY 1 THE collect
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THE MANSARD GALLERY 201 appreciate
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THE MANSARD GALLERY 203 ever, more
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THE MANSARD GALLERY 205 lacks sensi
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THE MANSARD GALLERY 207 saying so.
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CONTEMPORARY ART IN ENGLAND ONLY la
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CONTEMPORARY ART 211 and independen
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CONTEMPORARY ART 213 is tolerated b
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CONTEMPORARY ART 215 far more intel
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CONTEMPORARY ART 217 to visit the L
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CONTEMPORARY ART 219 before a great
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CONTEMPORARY ART 221 tending ever t
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CONTEMPORARY ART 223 burgher who ma
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CONTEMPORARY ART 225 its too willin
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CONTEMPORARY ART 227 Our critics an
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CONTEMPORARY ART 229 of the Royal A
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ART AND WAR* AN acquaintance of min
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ART AND WAR 233 between ends and me
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ART AND WAR 235 them there are bett
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ART AND WAR 237 had escaped restora
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ART AND WAR 239 emotion or the pass
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ART AND WAR 241 continued existence
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ART AND WAR 243 is my mission. They
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ART AND WAR 245 Kublai Khan, that c
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BEFORE THE WAR IT is to me a strang
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BEFORE THE WAR 249 and some of the
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BEFORE THE WAR 251 essence of socie
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BEFORE THE WAR 253 with Beardsleyes
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BEFORE THE WAR 255 beneath the scan
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ABBAS, Shah, 163 Abbassi, Riza, 162
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Marinetti, 88 Marivaux, 9, 10 Marqu
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BY THE SAME AUTHOR ART Fourth Impre
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PRESS OPINIONS ON "ART" " Mr. Bell
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