Torch of reason., April 02, 1903, Image 1

R eason .
OF
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A n tic ip a tio n .
NO. 8.
in h a b k a n i^ f iSi!’le W° Hd- ,T he •dea Select8 i,s ■>" “
chooses
SOCIOLOGY
inhabitants of these marvelous its own garments, and that when
0 D U > th e w inding d o o r-y a rd w alk, worlds have been t ie simzere of
Slow ly m oves th e h o m e s te a d ’s S(Hlt, s n t f u r p r -
f
s i n g e r s o i the thought has possession, abso­
Organization of Progress.
d am e,
•
bongs, utteiers or great speech— lutely’, of the speaker or writer, he
the creators of art.
P eerin g ’m id th e d ry brow n s ta lk s
unconsciously allows the thought
W here, la st y ear, were globes of flam e
And here lies the difference be­ to clothe itself.
BY PROF. F. H. GIDDINGS.
H ope is s p a rk lin g in h er eye,
tween
creators
and
im
itators:
the
The great poetry of the world
F o r th e su n is m o u n tin g high ;
creator tells what passes in his own keeps time with the winds and the
She, e x p e c ta n t, sc a n s th e e a rth ,
(F ro m “ E le m e n ts of S o cio lo g y .” )
world—the im itator does not. The waves.
F o r som e p eep in g bud to bring,
H L nation that has become
S om ew here in th e g a rd e n s ’ g irth
im itator abdicates, and by the fact
I do not mean by rhythm a re­
H e av e n ’s a s s u ra n c e of th e sp rin g .
<»t im itation falls upon his knees. curring accent at accurately meas­
protestant and progressive
He
is
like
one
who,
hearing
a
trav
Now she s ta n d s w here lilies sleep,
has to face the task of
ured intervals. Perfect time is the
S to o p s w here red d ic e u tra s hide;
eler talk, pretends to others that death of music. There should al­ achieving a social organization
L o o k s to see if tu lip s peep,
he has traveled.
ways be room for eager haste and that shall m aintain unity and sta­
C lose w here d a ffo d illie s bide.
In
nearly
all
lands,
the
poet
has
Do th e p e o u ias show th e red
delicious delay, and whatever
been priviledged—for the sake of change there may be in the rhythm bility, and yet shall guarantee
O f th e ir tip s above th e bed?
T hen she h a ste s w here snow d ro p s grow , beauty, they have allowed him to
liberty.
of time, the action itself should
J u s t beyond th e p o rc h ’s sc ree n ;
speak, and for that reason he has suggest perfect freedom.
C onstitutional L a w . — From
P au ses w here th e lilacs show
told
the
story
of
the
oppressed,
E very bud fa in t-tip p e d w ith green.
A word more about* rhythm . I comparative studies of religions,
and has excited the indignation of
believe that certain feelings and laws and policies, two guiding
Now she so ftly h u m s a tu n e ,
honest
men
and
even
the
pity
of
F u ll of hope an d fa ith th e s tra in ,
tyrants. He, above all others, has passions—joy, grief, emulation, re­ ideas have sprung. One is the
B lo sso m -full h e r h a p p y ru n e —
added to the intellectual beauty of venge, produce certain molecular notion of a “jus gentium ”—a cus­
“S p rin g has s u re ly com e again!
In th e ir sh e lte re d n o o k I fo u n d
the world. He has been the true movements in the brain—that tomary law that, in its essential
C ro cu s b u d s above th e g ro u n d .
creator of language, and has left every thought is accompanied by rules, is the same in all nations.
A nd a p an sy , sto o p in g low,
certain physical phenomena. Now
his impress on mankind.
O p eu in g su c h a lovely blu e!
S u re ly , M arch w inds n e ’e r before
What I have said is not only it may be that certain sounds, col­ In its infancy, each nation has re-
the same - , garded itself as a peculiar people,
x ----------------
B ro u g h t su c h lovely th in g s to view !” true of poetry—it is true of all ors, and forms produce
speech. All are compelled to use molecular «ct.o., in the brain that It has cherished its law as a body
A n d th e b lu eb ird c h e e rily
certain feelintrs and r
•
i
F ro m th e c e d a r sin g s a stave,
the visible world as a dictionary, accompanies
that
these
sounds,
colors
and
forms
"‘T
n"
‘
.
u " e<lll,dl,'d wisdom,
Sings of flower a n d d ro n in g bee
words have been invented and are produce first, the molecular move- . len’ therefore, after it has sub-
Sw eets th e b u d d in g sp rin g sh a ll have. being invented—for
~
the reason ments and these in their turn re- | JuKated alien people, and has an-
W ings, and h e a rts w ith w in te r sad
that
new
powers
are
found
in the
W ith new b e au ty sh a ll be g lad ;
produce the feelings, emotions and ! nexed th eir lands, and has dis-
“ D arlin g s, ta r r y n o t to o long .”
«¿1 11 I DC Z
VA 1 »»f I capable
I .1« of _
1
. .
neu qualities,
states
of T
mind
produc-j
covered « that
their ’system s'of law
S o ftly c ro n e s th e h a p p y dam e,
tions. uses and meanings. T,., ing the same or like molecular ,1;«
'
systems
lnw
A nd th e slo w -ad v an cin g su n
growth
of
language
is
necessary
on
movements.
So
th
at
what
we
call
,
..
’
°
"
!y
ln
form
and
detad
fr,,,n
M elts th e fro s t w ith to u c h of flam e.
account of the development of the heroic music, produces the same 11 S own’ lts conception of the na-
—[ M ayflower.
human mind. The savage needs
but few symbols—the civilized molecular action in the brain the d ure of law necessarily undergoes
W h a t Is P o etry ?
same physical changes—that are a profound change. It finds itself
many—the poet most of all.
produced by the real feeling of obliged to think of law as consist-
I he old idea was, however, that
BY ROBERT G . IN G ER SQ LL.
• • produce
-
an 1 m g more of general than of pecu-
the poet must be a rhymer. Be­ plaintive
the same mole­
fore printing was known, it was cular movement in the brain that liar principles. It begins to think
(F ro m D re sd e n E d itio n , V ol. 3.)
said: the rhyme assists the mem­ grief, or the twlight of grief, ac­ of certain principles as universally
* I
E whole world is tyigaged ory. 1 hat excuse no longer exists. tually produces. There may be a
true, and to identify them with so­
£
in the invisible commerce of
Is rhyme a necessary part of rhythm ical molecular movement
ciety. It ‘"«™ves,
observes, moreover,
moreover, thal
that
thought. That is to say, in poetry? In my judgm ent, rhyme belonging to each state of mind n
unlveraal r,d,!s of customary
the exchange of thoughts by words, is a hindrance to expression. The that accompanies each thought or
l hymer is compelled to wander
symbols, sounds, colors and forms. from his subject—to say more or passion, and it may be that music. . v are ln(l(‘pendent of the forms
&overnm ent; and it begins tc
I he motions of the silent, invisible less than he means to introduce or pain tin g ,o r sculpture, produces
the same state of mind or feeling regard them, therefore, as of super-
world, where feeling glows and irrelevant m atter that interfere th at produces the music or paint-1 ¡or authority, and to believe that
thought Haines—that contains all continually with the dram atic ac­ same nndwluhm'mXime,,"»” ^ " " ’ government» should themselves 1«
seeds of action—are made known tion and is a perpetual obstruction
to sincere utterance.
All arts are bom of the same subject to the universally accepted
onl\ by sounds and colors, forms,
rules of right.
All poems, of necessity, must be
objects, relations, uses and quali­ short. The highly and purely spirit, and express like thoughts
The other guiding idea is th at of
ties—so that the visible universe poetic is the sudden bursting into in different ways—that is to’ say,
they
pnxluce
like
states
of
mind
is a dictionary, an aggregation of blossom of a great and tender
tin* jus un,
natune;
and 11
it IS
is s so close-
<• !•
m.
. ; ---. [*'**'•'
UKP, niio
and
symbols, by which and through thought. The planting of the painter," the' com,mseT t h e V ’Ib 'y
notion
» a “jus
“i -
which is carried on the invisible seed, the growth, the bud and
commerce of thought. Each ob­ Bower must be rapid. The spring the orator, work to the same end. j^ n tiu m aH often to be identified
with different materials. The w^ h it. Both historically and
je c t is capable of many meanings,
must be quick and warm—the soil painter expresses through form philosophically, however the “jus
or of being used in many wavs to pei feet, the sunshine and rain
convey ideas or states of feeling or enough—everything should tend ami colorand relation; the sculptor j natune” ¡«distinct. T h e ’“jus gen'
through form and relation. The
;« i-
ju sg en -
of facts that take place in the world to hasten, nothing to delay. In poet
also
paints
ami
c
h
i
s
d
s
-
h
is
'
1
1
o,'J«<'twe.
It
is
a
lasly of
of the brain.
poetry, as in wit, the crystalliza­ words give form, relation and color. a<‘tlla,y sanctioned rules, actually
The greatest poet is the one who tion must be sudden.
His statues and his paintings do °Perafive in many different states
selects the best, the most appro­
The greatest poems are rh y th ­ not crumble, neither do they fade, The “jus natune” is subjective am
priate symbols to convey the best, mical. W hile rhyme is a hind­
and
the highest,the sublimes! thoughts. rance, rhythm seems to be the nor will they as long as language speculative. It is the result of a
Each man occupies a world of his comrade of the poetic. R hythm endures. The composer touches philosophical attem pt to find the
own. He is the only citizen of his has a natural foundation. U nder the passions, produces tin* very
world. He is subject and sover­ emotion, the blood rises and falls, states of feeling produced by the rational grounds of moral conduct.
eign, and the best he can do is to the muscles contract and relax, and painter and sculptor, the poet and It is a set of ideal rules that reason
give the facts concerning the world this action of the blood is as rh y th ­ orator. In all these there must be approves of; or, as Cicero says, it
in which he lives to the citizens mical as the rise and fall of the rhythm that is to say, proportion “is the highest reason im planted
that is to say, harmony, melody.
of other worlds. No two of these sea. In the highest form of ex­
So that the greatest poet is the in nature, which commands those
worlds are alike. They are of all pression. the thought should be in
kinds, from the Hat. barren, and harmony with this natural ebb and one who idealizes the common,
n w ith th is a rtic le re a d
who gives new meanings to old iq» In on c o th n e n e p c e tio
uninteresting—from the small and How.
rio d s of th e R e n a issa n c e ,
symbols, who transfigures the or­ e R e fo rm a tio n a n d th e F re u c h R evo­
shriveled and worthless—to those
The highest poetic tru th is ex­ dinary things of life. He must th
lu tio n . R ead M ill’s “L ib e r ty ” o r R ous-
whose rivers and mountains and pressed in rhythm ical forms. I
s«HUS
“S o cial C o n tr a c t” o r D icev ’a
seas and constellations belittle and have sometimes thought that an deal with the hopes and fears, and
th e C o n s titu tio n ,” a n d
with the experiences of the people.
T
“T he S ta te ,” by W oodrow W ilson.