“Art Le autobiography of visions, moods, solf-revelations) the Aiscovery of relationships with the tangible and the intangible, Art ie also ‘confession, a mirror of solf st the moment of the discovery of the sublinatery connections" saye Walter Beck. (1) Bat art is not autobiography in any narrow sense, The artist is ‘4 workman, differing froa his fellows only in the intensity of his endowments, More than any other product of man's efforts his work 1s impregnated with Jnuman weanings ahd interwoven with the fabric of social structure, "Me artist takes the tools of his predecessors, uses them for his ‘om purposes, and odds his increnont of originality to the deposits of the past, Without pushing the metaphor too far, we may say that art 1s great ‘tree, a biological plant rooted in the sane soil as other organie develorments, putting forth new branches as new civilisations appear, and expending with ‘the fresh enrichments of individual genius." (2) Mich of our universe is chaotic, much of our living te haphazard, ‘The artit organizes; he brings form out of chaos, Jules Briton sxyst "MLL beings provided with ayes perceive the images of things) only thove who ‘are artistically and postically endowed see them, because they alone comprehend ‘their harmonic sense in the universel concert." (5 ) Page 8, Briton, Jules: Life of an artistDict sin equable man, . , Nothing out of its place is good and nothing in ite place ie bed, He bestows on every object or quality its fit proportions - neither more ey Sa asanetlpsec nice a ‘The Gestalt Moory of Paychchogy hele oS SE re pl tendency toward their om completion, Regrete tho assumption that iooleted =e organic and inorganic stresses tend toward an end = the stete of equilibrium, (1) ‘The creative process is seen therefore, piimarily, es « process of a abnies hts ci, sow muses: ‘The theory emphasis the fact that creative process is the same regardless of acto adie, ts pth of ee re in Pecognised ty the erticts thenselve: Pee pec cet ec ince ts ion ipsa avo es OG cares Sie as wadlbdn: aakiows & Gd os Bach to @ cathedral and Handel to a royal castle, (@) ‘The Reneiecence Becthoven says "A musician is also « artists from Leonardo di Vinci to Michelangelo, wing with osch other in vigor ‘and energy and tossing off creations on canvas, in marble and in song with slmost ‘equal nastery certainly drow no hard and fast lines between kinds of artisticfereations, They alloved the content, purpose or appropriateness doctte ‘the form, — Sonotines {t ms a case of using the materiel on hand, when no other vas available ~ a flay in the slab of stone dlctated the position and size of Michelangelo's Deri, hen this sane Florentine artist wis called to comenorate the ledict family he could not refuse, But he could shepe the half-finished Sacristy to is om ends, turning it into an depressive toad to house his masctve figures of mourning - benutiful, flexible bodies, frozen in the hetgnt of their porere ‘and chained forever to the convex lids of two squat sarcophagi, while from the ‘Biche above « helmeted warrior gased down upon them, Patriots of Florence called the helueted figure TL Penserogo and regarded hin as the ayabol of one “condemned to contemplate forever the woes of Italy he helped to cause, ‘Michelangelo perhaps doubted whether or not he had communicated all that he had in mind and 90 he wrote the quatrein on Might, one of the mide figures: Dear is my sleep, but more to be mere stone, $0 long as ruin ani dishonor reigns To hear naught, to feel neught, is uy great gain, Then wake ne nots speak in en undertone Thus did the artist who had seen his native city sold by traitors parpetuste ‘the name of the fantly that had enslaved smi ruined Florence! Men, however, he was called to decorate the Sictine Chapel he ‘at once that the wide, sucoth panels offered t4es1 surfaces for painting, The ontling ms high, with little light reaching 4t, 90 this enme artist covered the epace with huge, brightly colored figures, painted in a style so staturesque ‘that they seomed three dimensional in form,‘ME newer find ayself clone, within the eubracement of rocks ‘end hills, but my spirit careers, drives and eidies, like « leaf in avtums @ wild activity of thoughts, imaginations, feelings and impulses of motion rise up within we, . . he further I accend from animated nature the greater in me bocones the intensity of the fecling of life, Lefs ssens to as then & universal spirit that neither has nor eon have an opposite, (od is everywhere - Tmist reach out and touch Him,” Samuel Taylor Colectdge "That wich fille ay hoart ond my heart wuct be expressed in dranings or jlctures, Vincent Van Gogh, We have here explanations froa three artists - a ausictan, a poet and a painter as to siy they create, It 4s evident that only the artist Dimself can actually give bis "initial purpose" and Part IT "Tue ietict Speake for iiimesLt” will ellos iim ample opportunity to do co, At this joint, horever, ‘Ab Le necessary to acke clear osrtain concepts which have boon establiched ty Paychologice] research, He think 1t wive to define tro tarmat Aptish - Having accepted the theory of Unification of the Arte we may define an srtist as one sho erestes in fect or potentisliysin any ertietie medium. We use the term interchangeably for msteien, imeginstive writer, painter, sculptor, In a general sonse any ons who croates by meaue of or ‘through the functions of the imagination is an artist,The Artistitetmature - — Paychology finds that the artistic nature is evidenced firat Wy a hgh degree of sensitivity. he artiet de orpable of Peosiving strong, desp impressions. He sees more or bears more. Perhaps ‘both his visual and auditory senses are mich more keenly elert, Jack London's power of visualization was the result of optical imeges heving fostened themselves upon his brain with emazing clerity end in complete detail. ‘The phenominal musical mexory of Morart end of Peethoven proves thet counds entering their exe remained, The Kind of sunaitivity which is not sencus] has to do with the amti: 1s *feeling® for other prople ie reaction torands and egeinet forces outside of Marelf, Tt would seem thet his paostons end he wyupethies Me very close to the murfece of his being, There are many stories of the cuffertnge of ertintey tary poople are inclined to shrug then aside ss affectations or mere eccontrices, Carefully examined, howver, it is often revenled thet mich of the artietts suffering 4s cwused ty the fact that he takes on the miftering of ethene, ‘The goost artist feels the pain of the rorkd. He eamot escape fron tate sufferings ‘The Ss sonsthing ehieh may or may not be related to material ‘ings, In many ceoee the artist could, Af he wished, changed the outward sod naterdal manifestation of thie suffering, Yen Gogh 412 not heve to dive in a nincr'e int in the Borinegey he aid not have vo give the miners his clothesy hie food, he ld not tare to muree them to their noes end plond for vets" Biggie the omecs of the Gherbomrce Belgique, Wichelangele need not have antagonized the rulers and Florence and of Rone, Beethoven reed not have burdened himself with poor relatives, Malt Mhttaan need not havewursed torn and mangled soliters, Tho great artist fools the pain of ‘the world, This 4s something very different from shinning about personal Aiscoatorts, There are products of the mind (we do not esl them orks: of art) which opring from pettiness, frou amsliness of coneeption, froa failure to grepp essential wholes, Writers thus motivated somotines achieve a kini of popularity; their books may depict suffering snd they may rouse a kind of sympathy, But heir works cannot be compared with ‘those of the great artist who broause of his extreme sensitivity finds himself submerged in and fertened to all the Life around him, ‘The next step which the paychologist will tell you 19 inheront felthin the artistic neture is that: the artist heving received strong impressions, 1s able te recognize them in relation to their mumberless assoeietions end is ‘therefore able to organize them, ‘Agein turning to Boothovent "In ay instrumental meio T always have ‘the whole in my mind, . . I koow exactly what I want, the fimdamontal ides never doserts mo ~ it aricesbofore ma, grows = I soe and heer the picture in ald its extent and dimensions stand before my mind like a cast, there renaing for ze nothing but the labor of writing 4t dom, which is quickly Aocomplished shen I have the tine, for I onetines take up other work, but never to the confusion of one with the other,” (1) Rees, Helen: A Paychology of Artistic Creation Chapt. IIT, pege 77.Meee Shiny Uh, Pee a ‘Line, Tee artist can for cortain periods shut out all undesired iupressionsy he sees, bears and fecle only Wide@ithings which contritute to the desired = tai si eat en Neon een on, z Passions should be held in reverence." (1) pe te expressed." (Amphasts ours) ‘This tremendous drive for expression hes driven men med, Paychologiste aoe ee artist? ‘I think that difference is of more then degres, Undoubtedly” 2 Monee he a cag oe re ee ete ie tae ck i. oe. Artiste have left fomilies, friends and money for the sole purpose of bringing forth the ineges they heve conceived. —— ooTe have, thereforey concone of extrome sensitivity, oapatle of ongenteing and ssvociuting impressions, with « strong desire Cor exprecsion, whose "initial Purpose for creating® is projected to the upper regions of hie ecnscioumess Decause ho finds Lincelf in 2 ertain exvironsent. de {Llustretion I cicose four weitere wose sovironsents differed grestys Jgeozh Conesd, specding Long months on « stp which mae o world in SMesLe - tooo tn a vast expanse of weter und ays with the ou, nignt after nlgnt dropping into a golden ocean, or being blom aut of the houvens while & Gele whipped the waves to fury - « susll world where each man's life depended ‘pon the vigdlanee wid jromptoess of ection of other en, snore tease newer seen lofore scomed strangely familiar, Sumsh Taylor Gstertége, the inoginative, frail eatld ‘ho early leamed ‘thet he could edeupe in books, becoming the charity boy at Christ's llospital Mhoce one triumpa lay in excelling all the cther studente, who, the: Corey ecquired the habit of reading "all the bocke," Heghington Leving, comfortable, genial fumily life, « constitution Which mede leisurely travel desirable, he says of hissslf in « letter to Erevoort® "My achievements, tastes and hubite cre just ouch os to edopt me for ‘the Kind of Mterexy execution I ecutesplste," Jonathan Srift, the poor relation, his pride forever Lacersted, failure as a pricet, he scormed to consider himself in polities, vas distllustoned Wy those whom he hed nened statesmen ~ finally dovente an arrow which he aimed ‘at mankind, ee me a ee,Gucose any one work of these four writers ani comers ‘with te others, I believe any such comparigon would bring out the sajor Aittermess tn the envizousents of the writers, Yale environsoste sy not meke nen ~ fpovitadly earizonmente mold wen and stanp thaneolves upon their works. 2. The Procegure of Grvating Mnvironsentel contacts may start an autoantic chain of stimty 42 odour, a curtain vista, a conversation with a fried, a book = eny of these ings ant many move may curve to alocherge ccumisted energy. this i 20 true tast muy ortist have Leamod how to condttion thenselver for perkoda of work widen Jaros nas suggested that we aignt utilise biogreshtoal aateriol in dlocovering how to evergize ourselves, to tap the reservoirs of talents tint most of us never utilize," (1) Paychologists ere ty no means cortein as to the procedure of Seesting, After an intensive study in the uaye of imegination* John Livingston Lowes declares most eaphatteally that tie procedure involves the artict in hie entirety ad that tendrils of imagination reach cut into Hacless and list toss space end drow togetuer munburless atous of expertence, soap frou ronlity, tat mony flgnente witch thenselves have bean cronted within the ain, Aibot cifferentiates botnesn Hiactic Imagination and Emotional, Tmegination, He designates plastic fangination es objective, involvingclear-cut ideas, spatiol ne urezonte, Aneges of form sot criered berutye Fnoticush tuaginstion transforse reality, It 4p subjective, sould soxe things ayubole of vague Saflntties, Aluetaster tn tine. ma alent conclude therefore thatipinters end sculptors ele Hiactle Tawipatian and that sustetans ant poots exorotee Haottonel Enssinalion, Bat conclustone reginding the workdage of the Lasgination should be spprosebed ith care, toy Lowell's sculptured effocts epllay an inagtaction keenly evare of fora and line. "Novenent for Iss Lowell {s cleaye on the verge of hardening inte sonothing solifly visible, Thus ~ The pool 1s edged nith the blaieLike leaves of irises. If I throw © stone into the plact4 wotery Tt suddenly stiffens Into rings and rings Of sherp gold wire, @ 4 Bech Chorale is aonansntel and Henry Covell worked 2: to gain control over spontanocis inages, ach and Mlandel ant Meytn were nis toachere, om the other hand = “at us sock to analyse tha mantel etuff of Yachel Lindssy, Te would geen composed largely of motor, onguntc, end mu@ttory content, although ‘there i also a wealth of fluidic visuel tanger ‘This notor snd organte material 1s hythateslly organize’, Lindeny'e preoccupation vith motor whytha 4s evidanced not only by the churacter of vores tut also by observation of his movenents during recttation of his postry. Tt ‘appears also in his drawings, drawings in which the arabesques, the flowing ‘Ty Domey, Sunes Creative tmgination Plotaree of the Tieating Rorld (verse)Aasigna, the couplicution of Lines tupress one as @ projaction on paper Of bts om svaving gestures end otops, ven hie ure of the hunsn ficure 4s fluidic, involved in the owirl of aovencnt, Mis floving vorse with ite constant repetition of the motif ond occasional staconts gestures in ‘the forn of boosing rimes is a replica in auditive form of hie rhythate motor pettoms, Lindsay's dneginal content can project itself in pentonine or poster or poen; it is difficult to tink of Im promeing sculptural effects.” (1) The workings of the imgintion thon tnvolve imegee of form and formless inag: Tn hie Blographia Literartey Coleridge has written © chapter on “Pency ond Inegination", Ne shall heer his AYf¥/ theory a Little later, —Paychologtets do eccapt the fect thet the Ineginstion works with dusges hich {t "éissclves, éiffucen and dissipates, in onder to recreate." Coleridge hed one of the mort extracrdinery memories om record. He refers to his "tenacious end aystenstining” nomory. Loves shors thet only « small portion of thie wezory vas concious (though compared mith other peoplote this was enasingly large); Loves then goor on to diecus the subconscious which he characterizes az the "Deop Tell” = & storehouse of past experiences, pest impressions, past dese which far below the conscious mind ix, deopen and scllow, With Coleridge's Hote Sook before iim - e book consisting of prces upon whieh Goleriage had scribbled frou 1795 to 1798 - Lowes este out ‘After clues and follows « trail more exciting than any discovered by ‘Il Domey, Sune: Creative Inogination,Sherlock Holmes. Men of thought have recognized that the unconscious does not Lie dormant, but thet some place below the conscious thought there is sone energising force. “put an idea into your intelligence and leave it there an hour, a day, a your, without ever having occasion to refer to its Then, at lest, you return to it, you do not find it as it was when acquired, Tt has do- micilisted itself, so to epesk - become at hone - entered into relations with your other thoughts and integrated iteclf with the shole febric of the mind." (1) Francis Thompson says of Shelley, "Suspended in the éripping ‘well of his imagination the commonest object becoses encrusted with Amagery." ‘Wow I suspect that precisely in that difference in degree Les one of the specific differentiae of genius, The ‘deep well of ‘unconscious csrebration' underlies your consciousness and aine, tut in the case of genius its waters are possessed of a peculiar potency, Inna ‘and impressions converge and blend even in the cleepy drench of our for gettul pools, But the insoruteble anergy of genius which we cell creative ‘ores its secret virtue at least in part to the enhanced ond almost incredible facklity with shich in the vonder-vorking depths of the unconscious the fragnents which sink incessantly below the surface fuse and cgsintlate and ‘Miser Woods Wiles dotocrat of Une Erecktast Mile, Riverside Edition, 169. Ghapt. VI, page 164an eonlesce, The depths are peopled to start out with by conscious and Antellectual activity, keyed, as in Coleridge's intense and exigent reading to the highest piteh.” (1) ‘Te is important to remember that the procedure of cresting 1p conscious effort, Henri Poieare in his Science et Methode*mrkens At very clear that "This unconscious work. . ie not possible, or in ‘any case not fruitful unless it is first preceded and then followed ty a pried of conscious work." He compares the elements of the mind witch Lie in the "Well" to "hooked atoms" which, when the mind is in repose are Ammovable, but wiich shen stimilated by some force which set them in motion “plough through space in all directions, like a swarn of gnats’ Until they fasten themselves in new combinations, Conscious enerey set these atoms in motion, drag then from their depths and by the controlling ower of imagination blend them into organic entities which bear no relation to their original forms, ‘5_Maa_Itinate Goad ‘The ultimate goal of the artist's endeavors is successful communication - the transmitting of an experience, It ie to bring out Anto the open something which has existed only inside the artist's brainy it 4s to make it possible for others to see, to hear, to feel and to be ‘conscious of a new form, Forg mike no mistake about it, that which thecreative imagination brings forth is new = though ite component atoms may have come froa the four corners of the earth, "The fishes whieh Father Bourses saw in tropical seus and Bartram 4m 2 Little lake in Florida, and the luminous blue and green protozoa watch Captain Cook srved in the Pacific, and the many-hued, ribbon Like creatures that Sir Richard Havkine marveled at off the Anores, and Denpler's watermakes in the South Seas, and Leeninous's cotling, rouring murine vorpente of the North, and Faleoner's gembolling porpoises md dolphins" - none of these creatures ever had a juta-existence until Coleriige wrote The Ancient Mariner, Then they were "fused ty a flash of imaginative vision into the elfin creatures of a hoary deep that never mas end that will adways bes" (2) TZ, ERDNGIPAG OF ADSUSTNEN ‘Bach situation ond response are of incomplete structure tending tormrds one end ~ a state of equiltriua, the process of interaction or experience being ons of adjustment in order to achieve this @ynamic equilibrium, ‘Ti Wowes, John Livingston: the Tosd to Yanadu Gtaptar Tt, page BBsHslon Kees caging her explanation of the Principle of Atjustmomt with the words, “Ihe creator discovers himself ac © persen and endenvors to relate that person to his environment," (1) I would place a different emphasis upon the workings of the second Principle of the Gestalt Theory as t may be applied to srt, Certeinly above ell men, the artist should follow thé"qnjunction "Know ‘Tayself", Tt is thie concentration upon the Reo which often sete hin apart from other nem, Evidence would seam to indicate thet mther then rtrtving ‘to relate Linself to « set enviroment the artist ic constantly striving ‘te create his om environment, His cry for “frecden" echoes dom through ‘the years, ‘The great ertist is forever pressing forward, resisting the ‘bounderics of custor and tradition, breaking the mold of environment and finding now worlds he can occupy, It ts through this vory strugetly beceuse of the intensity of friction between Seituation and responce” witch “ave of incomplete structure" that the "state of equilibriua® is finally establisned, Through creative expression the artist forces his vay towards harmony, Im proportion to the degree of his talent he grasps the true Perception of the harmeny between man and the creative spirit exhibited in the universe, Bosreon tells us that this truth, divimed end ergenized, becomes beauty. Thus through “the process of interaction" dee: the ertist “achieve d@ynanic equilibrium” TWees, Halent i Faychology of irtestic Greathes Gupter I¥.The history of art ani Literature 1s filled with the stories of artists who never achieve the desired equilibrium, I am inclined to ‘Uhink that the striving tovards this equilibrium is of as mich importence ‘ss its final achieveuent, The idea night be better stated ty saying: Final echievenent implies perfection - perfection nesne there is nothing ‘else to do - end this is the end of the trail. Iving Stone tells us ‘tout Wineent Van Gogh reached thet final achievenent on the Tele of Arles. 4A few wonths later he shot himself, Hager, Allen Poe might be given ss an outstanding exasple of an aftict who rensined far from final achtevonent, Foe hed great inventive imgination, Van Wyck Brooke oslls him "a genius superbly artistic’; Lowell says “Three fifths of him geniu and tro fifths sheer fudge", In 1880 only jiawthorne could rival Poo, Yet Poe left no follovers; he Femsins outside the Anerican tredition, "The Transcendentalists snd their followers won the day in imerican letters because the main ctroan of Ancricen feeling ren through thems... Feaching full tide in hitmen." (1) Way did the mein gtrean of dneriosn feeling reach its full tide in Tlalt Uhitean? Henry Seidel Canby's explanction ie: elt "hitmen mas "A great poet because he was a great men, Greet becsu! he shares ‘the plenary inspiration thet great poots mst have, . . © senee for the significance of the humen in that blend of temporal and timelessness vhich ee ee ene ea 1+ Brooks, Van Tyck: The World of Washington Irving Chapter XVIsignifivance of the lugen in that lend of temporal sai tineleseness which mnkes on age Or an epoch, + , the possibility of perfect comretechin, the possibility that faculties connon to all nen nicht be exalted, the posetbility: Of damceracy in a blend of the physicnl and spiritual, the povathility that nothing husen would be alien to tie soul of onancipated nan - that mae ThLtann'e vision," (1) HEL, PRUNCELE OF roRPOSIVE DIFFERENTIATION A state of equilinrima is the remult of the axplicntion end realisation of an intelligitle goal of action vith s tending torant a rasulting satisfactory foshing-tone, ‘Tats Principle hae to do with: . emp Purpocive aifferentintion te directed ty the Mi2, he atl te the Neonsolonp energy" to hich ue refer undtis the Procedure of Creating’. The will provider the foes! point for concentration ef al efforts ~ it is the Griving force behin! the erestive pover. meet Wo have show that Tnegination te the "trus imma! crontrix, (vhtch) ‘Ty Gany, Benny Soidely Classic nerismss SSSinstantly out of = chaoe of elements or shattered fragments of memory pute together some form to ft 4%." (2) 8, Ingpiration “Inspiration comes fror the earch, vhich bas @ pest, o Moctory, 8 future, not from the cold und temutebic heavens, ft sriter of tmecinative prose rtends confessed in bis works, Ms conscious, bie deeper ennee of things, lawful and unlerful, gives hin bis attttode before the vorld.t(?) Paychologicaliy epeaking inerivation ts the madden explication of a gock, Tt 19 due to axtronely Batorable ond eatistying «vironaent, Under “Me Tnitiab Purpore" wo have ania thnt s ccant, « cooae, ® chenee encounter = innumereole eights, sounds and impressions might "Pouch off” the creating proces: It ts important to runauber that the type of sttmld vhich sete up the croating process depends son whet 1s elresdy tnetce the extict, rlue ‘the unique vay in which be mets the aitustion, the night of a lovely Grocien urn moved Keats to write 2 poum, an ermebting face cxused ci Vinel Yo paint the Moms Lisa, the harsh, discordant notres of Pocte ctrestetempned Gorshmin to eompausiiiertnieay 4. Inskent vttamanced ~ the artist discovers hiaself, Ys conor tnto o reeMectiom of wun is for him im intelligent goal of ection, —Tnteht sometimes coma, suddenly - sometines only after following © long cycle, In either case tt 1 ‘Ty Coleridge, Samuel Taylor; nina Poste Page 208‘we result of something that has gone before, thats aay vaty rarely and then only for & fleeting moaent, ie an artist fully sutisfied with a piece of uis work, Yet, once heving projected hie erection outside hiaself he dose expariunce a Yentiofuctory feeling-tone” ‘he eatistaction whieh follows dacginative creation Le important to edvestors aad sceiclogiste, In hie “Grentive Toutn iighes Mearns emphasizes te ‘treuendous values in loosing the creative forces latent in ell children, ‘Re finds tat in many cases tue products produced dfs are of high order and that dn oll casee the process itself is gencrelly benificial, IV, TE PAINCLPLE OF PRAGKANZ The on-going process of achtoving equilibriue wLLL almaye be as good end as siuple ap prevailing conditions allow = dapeniing upon the frame of reforonee of the intividuels ‘he artict As « complex coubination of egotion and lumflity, Tyotim 4 the inevitable result of hie om resltsation of hinself, end the drive viuich urgoe him to exproscion, ly the vary nature of hie being Dee tp aware of the depths end whirling ogrieds within in - the importance of the flgonts of his imagination keep him at the high pitch of desire for their expression «hy Tne world which naturally tonds to fit every flying atom into a prosertbed design, where society demmnde adjustment, to ite pattern the ortist finds himself foreed to augment end affirm his ore ond to demand space for hinoelf, Tho sim and endeavor of avory true artict must be to acquire @ position in ahich he een occusy himself exclusively sith the accomplicnment of great works, undisturbed by othar avooationa o> Up constdorstions of ‘soonomy,* (1) Because this 19 the olde of his nature thet mont often brings him im conflict with soctety, the ertist inherent huaility ts often cvstLeoked. Goethe anke: “What an I nysclf? that have I dono? A121 thot T have vm, heard, noted, T havo colleeted ant used, Wy orks are revorsnced by. 8 thousand Aifferent individuals, . . Often T have reaped the harvest others have som, Wy work 4o that of « collective being end it tears Borthets name," (2) Tho eonstant striving of the due artiot te the re-Mration that ‘auch fintshed piece of work ts just jepptng stone to comthing batters We te avor conscious of the tnportanee of the work, but 1s constantly Imumtliated before his own tnedequaey fully to rise to the seoaston. — Yoty ‘a8 he closer end closer relates hineelf to the antire universe the better hho realises success te never o atatic thing, Guoved in Helen Nest: A Paychology of Artistic Crestion Ry Rouk, Ottor drt and the ArtistDelacroix had discovered that "an is alvays boginning everything enor, oven fn his om life, He cannot stop the forward movenent of thises." (1) bee We have spoken of the subconscious, the Well, in vhich float myriads of atone of impressions - filaments of renesbrance - whichyupon deing activated, take form, Let us now consider these atoms end their cohesive form which we will call Ingo: Artistic communieation is accomplished through the sonees by means of aymbols, A painting enters cur consciousness through our eyes, @ symphony through our ear: Literature, on the other hand, communtontes Auages to us which we "ses" or “hear” or even "feel". Literature eaploys symbols in space and in tine, both as « sensuous ani representative metiwa of expression, How can that be? Literature employs language - snd herein Mes the explanations “tanguage 18 @ process wherety the peycho~phystolocical sotivity of one person wesults, because of conditionel responses, in the production in a To Weesy alenr 1 Paychology of irtistie Creation Ghapt. VI, pege 159certain time-order of & series of eymbcls which in vir evoke in enother pereo or 4m the sane inéividusl at « different tine paycho-phyatological activity similar to, though not tdentical with, the activity which resulted 4m the production of the sign-series." (1) Trother, therefore,the writer of SKiH/E imaginative Literecure uses ‘the subjective method of Walt Naitman or the objective method of Béger Allen Pos he is not Muited in his use of images in whatever form they present ‘themselves to him, Postry is an auditory-motor art allied to mcic. ‘she Symbolicts ined at creating sheer word-msic, The writer who is ecoustic-sotor minded 4s consetous of an "inner votoe", June Downey says of herself "In the writerts om case the tanner spesch during thought proceeds Usually in dlalogue fashion, in which ons voice de that of Mey the thinker Proper, © soriouseninded, woraday individuals the second voloe is that of the eritic, Tile second voice is nore highly pitched then the firet end much more ironical and facetious, Ite apparent fudtion ic to interrupt the first speaker, to question her conclusions, to interject mocking coments. vonetines whon the first votos 1s engineering coupocition, the second uangges to slip in a parenthetical remark in spite of the rhetorice] conscience of the first Me ~ who 4s absurdly finicky!" (2) Pollock, Thosss i the Wature of Literature ~~ Gept, IIT 2. Domey, mer Oreative Inagination Ghapts VIIa, Downey refers to the "Imer World" which in many reupects corresponds to Wows! "Deep Hell." Tue immer world of Domey, hovever, 4s more specifically related to the conscious mind and the images which have already emerged frox the subecnscious, ‘Mle Live, every one of us = the mutest and most ingloricus with the rest ~ at the center of 4 world of images, And they behave nith us, and you and I behave with them, in such fachion that were only the ineffable increnent of genius present ‘Aneient Mariners! night hang on every tush," (1) ‘Shakespeare speaks of his *mind's eye" and proves by his marvelous word painting that he saw vividly ith this "eye.' Keats, Shelley, Srimbourne, Poe created vivid visucl imges, Pictures, rich with color emerge frou their Lines. ‘The significance of images lies in the fact that they conmmicate units of impressions ss 4 whole, Lowes says "Inages do not stresn up to consciousness in utter nakedness, They cloth hescalves as they come.” One of the greatest charm of imaginative writing is Ste employment of figurative Language. "In the setephorical consciousness there 4s an enlargenent of the fieldEE OD Words have a very importent psychologicel aspect. ‘It is Generally understood that through the use of words the writer captures and projects imeges; the word is his vehicle of commmication; the word ds the symbol of ell his crowded imaginative world, But, the word is important not only as 2 conveyor of impressions, but as on original stimias within tteeif. ‘To the primitive men the ymbol was sacred, ‘Tt was ongraven pon the walls of his temple and written in gold upon the chosen foreheads ‘the Symbol opened trossures, destroyed kingdoms and msde of man a god, ‘With the peasage of time the syabol became associated with something until ‘unt ayubel cane to represent that somsthing at all tincs, aut the origin of wots rumin ihierent fn thetr being, Grostive sriters use sonde 0 call wp emvtions anc to erento code, ‘This use of words would explain the dirtinct tonel quality of wich of Poste work, Foo was a muster oruftsean, ls ommsatously worted for affecte, le choose his words with sclectitic exeetoass. Emerson's lack of ear, his insensibility to susic ond his failure to hear words for themselves, probably explains his failure to be a good poet. ‘thelley wrote lines which sang music fer sweeter than the collective dictionaryX meaning of the words convey, As ~ “Beoct as a singing rein of otlvor dew.” Rossignesux presents © “Theory of enotions] equivalents” Am which he finds the comotative value of words,# le says thet vowels ‘evoke colours, consonants convey spatiel impressions and furnish form and novenente Literary onomatopoeia is an stteapt to initate enotional and sensuous experience in e collection of sounds; tt te « sort of program music, Greative writers are eware of the fact thet the shape ant sine of a word has « psychological aspects Tords mike up the stuff of the writers meftum of expreaston, Just as tubes of paint constitute the main materiel for the peinter and Blocks of stone for the sculptor, In oach case their are editions) toole ‘and Amplenents for shaping materiel, In each case the mestor craftenen must iow his material, The greatest posts have two natures: the instincts of the scholar, and the instincts of the ertict.* (1) ‘F Diseassed In Downy te: Creative teegination Chapt. Tr ‘LsLowes, John Livingston: ‘The Road to Xanedu ‘Chapter XXITw, We have attempted to throw out # few tuoye chartering the course towards understanding the Psychological Nature of the Creative Process. In closing this section we offer Irving stone! aocomt of ‘the creative process as tt could be seen at work in the Dutch painter, Mauve, It mist be recogniza that these were the outvan! manifestations, Mauve 4s the artist who painted the fenoue Scheveningen canvan, ‘MMlauve began & canvas lethargically, working elmost without Anterest. Slowly his enengy would pick up as ideas began to creep into ie mind and become formulated, He would work a Little longer, « little harder exch days 45 objects appeared clearly on the canvas, his dewnde ‘upon himoelf became move exacting, Hie mind would flee from his family, from his friends and other interests, ie appetite would desert him and he would Ife awake nights thinking of things to be done, As his strength went dow his exeitenent want up, Soon he would be Living on nervous onergy. His body would shrink om its ample frame and the sentinontal eyes becose Jost ins hasy mist. The more he became fatigued, the more desperately he worked, The nervous passion which possessed him would rise higher and higher, Th his mind he imew bow long 4t would take him to finishy he ont his will to ast untid that very day, He was like « man ridden by a thousand demons) dhe had yoare in which to complete the canvasy but something forced hin te Ancerate hinself every hour of the twenty-four, Ih the ond, he would be tasuch @ tonoring passion and nervous excttenent thet « frightful seene ensued Af anyone got in his wey. He hurled himself at tho canvas with ‘every conse of bis strength. Ho metter how long it tool to fintahy he always had will enough to the Inst drop of paint, Nothing coulf have Killed him bofore he ms completely through. Onoe the eurvas ms delivered, the colapaed dn e hoeps™ (,)How often, shen I mas younger, have I noticed the deep delight of mn of the world wio have taken lave in Life to literature, on coming across a passage ‘the fores of wich nad eitner escaped me altogetuer or which I mow to be ‘true from books only and at second hond! Sxpordence 1s necessary, no doubt, if caly to give a light and shadow to the mind, to give to some one Ades a greater vividness than to otuers, snd theceby to make it a thing of tine and actual reality. . « Nevertheless, I yet believe that the euvings against book mowledge are handed down to us fron timeo when boske conveyed only sbstract ecienoe or abstract morclity ani religion, . . ‘hat 1s there of eal Life, in ali its going ones, tredes, munufactures, high Life, lov Life, eninate and fimanimate Wat is not be be found in books?" (1) ‘Tho very young Coleridge - "E reud through all the gilt-covered Little books that ould be had at tho timo, and Likewise all the uncovered tales of Tom Kickathrift, Juck ‘the Gisnt Killer and the like, ind I used to fe by the wall and nep, and wy spirits used to come uson ne suddenly and ine flood, then I was ‘sceustomed to run up and dow the churchyard and act over again ell I had deun reading on the docks, the nettles, and the rock grass. At six years of ege I rember to have rosd Belicoriue, Robinson Crusce, Mbiltp Guasliy and then I found the Arabian Mights! . . . I was haunted ty specters, . 2, Coleridge, Semel Taylors Anema Poctae Ghapts IV, pe 1812, THE IMPACT OF LIVE upow HIM, lion I an terrified at the Earth! it te ‘that calm and pstient, It grows such sweet things out of exch ‘oorruptions. Fron "Tis Coapost® Jelt Padtann "A motetan 4s leo a poet, and the mezie of « pair of eyes enn suddenly omse hin to feel transported into # more beautiful world.” ‘Beethoven (1) “Here 1s a whole fortnight that my mind und fingers have been Working Like two lost souls - Honsr, the ible, lato, Locke, Tyren, ‘Togo, Uenartine, Ghatesubriand, Beethoven, Tach, Hurael, Morert, Veber, are all around me, I study then, mditsts on then, devour then sith fury; besides ‘this I practice four or five hours, sh! provided T don't go wed, you will, find an artist tn me,® asst (2) *E v42L write ag truly us T can from experience, actual individual, ‘experience, not from book-imoxledge, Fut yot t 4s wonderful how exeetly ‘the imouledge from good books coincide with the experienes of men of the world,ty fotner found out the affect these books produosd and burned them, So T becens drosmer, and aeqitned an indisposttion to all body activityy I me frotfut, and tnontinately pasctonste- ~ decpsed snd hated by the bays, flattered and wondeved at by elt the old women. . . before Twas eight yours oli T vas a charcetar.* (2) "at school (London's great charity school - Christ's) I enjoyed the Aneetinwble advantage of a very sensible, though et the same tine, a ‘very savere master, the Reverend Jenos Bowyer, (It is recoried thet he deat the boys unveretfully.) ‘He esrly moulded wy taste to the preference of Demosthenes to Cicero, of Homer and Theccritus to Virgil, and again of Virgil to Ovid, , , At the sane time thet ne rere studying the Greck tragic poets, he made us rond Shakespeare and Milton in Leceeni I lonmnod from him that postry, oven thet of the Loftiest, and, seomingly, ‘thet of the wildest odes, had a logic of its om as severe ss that of sciences ani nore difficult, Leccuse more subtle, more complex and dependent fon more cid more fugitive causes, In the truly great yosts there is ® reason assignable, not only for every word, but for the position of every. word.* (2) "Action ie the great end of ells no intellect, hovever grand, t= valuable if it drape us from action, amd leads us to think amt think +112 ‘the time of action is pasred and wo oan do nothing," (5) ee eee #. Oaleriage,, Semeel Taylor! Blogrephta Liberarda eee ten 5. Coleridge, Samel Taylors Works, Vol. 1 Chapt. XVow ‘iy inner wind does not justify the thought thet I posses a genius, ny strength 4s so very enol in proportion to my porer." (1) nha o avara of thoughts, fooling end endlenely minute fregnants. « Je compact in any one moment! Bignt-mare 43, I think, avon when it ocoure in the aidet of sleep, «5 fa state not of eleep, but of stupor of the outward ongene of cence, . . to which the imagination, therefore, the true inrand creatrix, inetently out of the chaop of elements or shattered fragnents of aumory, puls together some form to fit it.” (i) "E dreamed the entire story, und I do not moan hui = victon of {1 while awake, but dresued it while asleep,” awed Lucas Thite, writing in the fourth orimting of ie novel dadiviug Yatubio. (5) Stoxvenson discussing the “Little People" - (cresturee of inaginetion) Thay are near comoctions of the dreazer'e, beyond doubty they shere 4m hie financial worries and have an aye to the bunk-booky they ohare plainly 4n his trainings they have plainly loarned like hin to build the schone of ‘a considerate story and to arrange enction in progressive orer; only T think they have more talent." (4) ‘Ty Galeritge, Semel Taylort Incas Footes, Gapt. yp. Chapt. 5, Wikenson, Marguriter The Tay of the Maker ~ Qotationfringe the vast solitade of the sea, For, their land = like ours - lies ‘under the inscrutable eyes of the Most High, Their hearts - Like ours - must endure the load of the gifts from Heaven: the curse of facts end the Blessing of Allusions, the bitterness of our wisdom and the deceptive ‘consolation of our folly.’ a To ly Readers in America ~ From that evening shen Janes Wait joined the ship = late for the muster of the crew = to the moment shen he left us in the open sea, shrouded 4m paileleth, through the open port, I had much to do with him, Tle was 4m wy watch, A liogro in a British forecaste 1s a lonely being, He hes no chums, Yet Janes Wait, afraid of death and making her his accomplice was ‘an impostor of some character - mastering our compassion, scarnful of our sentinentalion, triumphing over our suspicions. But in the book he is nothingy he is merely the centre of the ship's collective peychology and the pivot of the action, Yet he, who in the fantly circle and anongst my friends 1s fantlierly referred to as the "Migger*, reneing ‘very precious to me, or the book written round him is not the sort of thing ‘that can be attempted more than once in a life-time, It is the book by which, not as a novelist perhaps, but as an artist striving for the utmost sincerity of expression, I am willing to stand or fall, Its pages are the tritute of wy umalterable and profound affection for the ships, the seamen, the winds and ete I Preface. 3‘the great sea - the moulders of my youth, the companions of the best yours of wy life, After writing the last words of that book, in the revulsion of feelings before the accomplished task, I understood that I had done with the sen, and that henceforth I had to be a writer." (1) 2% THE_ARILSD'S astawrr at anvercre "A work thet aspires, hovever humbly, to the condition of art should carry its justifiestion in every line, . .The artist, then, Like the ‘thinker or the scientist, secks the truth and mkes his appesl, Tapressed hy the aspect of the world the thinker plunges into ideas, the scientist Anto facts ~ whence, presently, emerging they make their appeal to those qalitied of our being that fit us best for the hazardous enterprise of fing,» . 4.44 4+ + + Confronted by the sane enigmationl spectacle the ‘artiet descends within hinself, and in the lonely region of stress end strife, Af he be deserving and fortunate, he finds the terms of his appel. . « Hie appeal 4s less loud, more profound, less aistinct, more stirring - and sooner forgotten, Yet his effect endures forever, The changing wisdon of eucessnive Generations diseard ideas, questions facts, dencliches theérdes, But the artist‘appeals to thet part of our veing which 49 not dependent on wistoas to ‘that in us which ts Gift and not an acquisition ~ and, therefore, nore Pormmently enduring, He speaks to our capacity for delight and wonder, to ‘the sense of mystery surrounding our Lives, to our sense of pity ani beauty ‘and pain; to the latent feeling of fellowship with all creation - end to ‘the subtile but invicible conviction of solidarity that knits together the oneliness of innumerable hearts, to the solidarity in dress, in joy, 4m sorror, in aspirations, in {llustons, in hope, in fear, which bind sen Yo each other, which binds together all humanity - the dead to the Living end ‘The sincere endeavour to accomplish that creative task, to go es far on that roed as bis strength will carry him, to go undeterred ty faltering, weariness or reproach, 19 the only valid justification for the worker of prose + + My task which I an trying to schteve te, by ‘the power of the written word to ake you hear, to mike you feel - it is, Defore all, to make you see, That = and no more, and it 4e everything, If I succeed, you shall find there according to your deserter encouragement, eonsolation, fear, charm - all you demend - end, perhaps, also that limpee of truth for which you have forgotten to ask." (1) ‘hen I paint a gun, I want to make people feel it revolving at a terrific rate of speed, Giving off Light and heat waves of tremenious porer. hon I paint a cornfield I want people to feel the atons within the cor Pushing out to their final growth and bursting, then I paint an apple I Excerpts from the Prefece,want people to feel the Juice of that aprile pushing out egainst the ekin, the soeds at the core striving outward to their own fruition, I want ‘to make people feel all the millions of tons of water that have poured over ‘the side of a ravine, then I paint the portrait of « man, I wont them to feel the entire flow of that man's life, everything he has seen and done ‘and suffered." (1) ‘Only in men's imagination does every truth find an effective ‘and undeniable existence, Inagination, not invention, is the supreme master of art as of life, An Amaginative end exact rendering of suthentic memories may serve vorthily that ppirit of piety towards ali things human which sanctions ‘the conceptions of a writer of tales, end the enotions of the man reviewing his om experience." (2) me Inagination then I consider either as primary, or secondary. The primary Imagination I hold to be the Living power and prime agent of all ‘nunen pereoption, and as a repition in the fintte mind of the etornel art of creation in the infinite Tam, The secondary Tasgination T consider the echo of the former, co-existing with the conscious will, yot still as Adenticed with the primary in the kind of {te agency; snd differing only tm agree, and in the mode of operation, It dissolves, diffuses, dtsetpates 2. Irving, Stoner Lust for Life Quoted from Letters of Vincent Van Gogh. 24 Conrad, Jopepht Personal Record Ghapter I, poge 25in onder to create: or here this process 4s rendered impossible, yet still at all events it otruggles to idealize and to unify, It 1s essentially vital, oven as all objects (as objects) are escentially fixed and dead, Fancy, on the contrary, has no other counters to play with but fixities and definites, ‘The fancy is indeed no other than « mode of menory emancipated fron the order of tine and spaces thile it is blended with, ‘and modified by that emperical phenomenon of the will which we express by the word hance, But equally with the ordinary menory the Yonoy wust receive all its materials ready made from the lew of association,” (1) “During the first your that Mr, Wordsworth and I were neighbours our conversation turned frequently on the two cardinal points of poetry, the poner of exciting the sympathy of the reader by faithful atherence to the truth of nature, and the power of giving the interest of novelty ty the nodffying oclore of imagination, The sudden chars, which accidents of ‘ght and shade, which moon-Light or sun-set diffused over a know and familiar landscape, appeared to represent the practicability of combining doth. . . In this idea originated the plan of the Lyrical Palladss in which 4. was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantics yet so as to transfer from our inward nature « husen interest and a semblance of truth sufficient to procure for ‘these shadows of imagination that willing suspension of disbelief for the“a moment which constitutes poctic faith, . . lth this view I wrote the Anchont Mariner." (1) "E cannot remember the time when I wae not trying to wilife, often with mo reasonable amount of skill, I think it would be true to state thet I always wanted to write - although I also cherished other ambitions at one period I qmaved a carcer as a concert pianist; st another, as « jockey - tut I 4o not think st firet 4t occurred to me that I wanted to write a book. . « at the University I specialized in inglish. and still ay friend, "i21ian Vaughn Moody and Robert Herrick... « Wy tiret home in Hew York was « large room at 59 Test Sth Street where Binclatr Leis occupied en adjoining chamber, but I cannot deceribe him as the s+ ¢ the best teacher I ever had second novelist I met because et that time he was yet to publish his firet book, . In the opring of 1916, with no occupation, I begen to consider ltr. Koore's casual suggestion, also bearing in mind the sapient advice of Jack Reed, who had reed a good many of my articles: Why don't you try to write the vay you taut. compoeition of Peter Whiffle, then ft was completed I took the memceript to + + In the winter of 1920 I conceived the idea chich led to the Me, Knopf, I had not told him thet I ms writing « novel. As a matter of feet I do not believe I kmew that I was writing a novel, However, after it epreared, ‘the reviewers began to declare that 4t ms a novel and 0, to my astonisiment, I found wyself © novelist and sat dow to write, mith the greatest esse, the ‘Blind Bow-Boy,* (2) 1g : : 5 2.¥an Vechten, Carl: Sacred and Profane Mesories - Hotes.PART THE, BORKTIG TOTARDS CONCTUSTONS "Te day was nearly done; only the hem of his golden tae was rustling.* From Moby Dick ty Horaan Melville1, 16 TH ARGTST BORU OR 18 HE THE ORGAPON OF HIS mIVIROMMENT'? Peychologiots, sociologists and eusctors differ widely in their opinion on this subjeot, Most of them frankly say that while they heve ‘worked out working thearies on the matter final conslusions have not boon formiated, ‘Helen Roos strossos the beliof that the artist 4s primarily ‘© soetal being ani therefore places her exphasis won the importance of Proper soctal contrel, Sho tenis tomrds the eonolusien thet the propor ‘eavironnent =il1 profuse the artist, Te 4s aiettoutt to quarrel with this point of view besause tt 4s Sorious that the erent majority of mm on tho onrth heve almys beon foroed ‘to concern themselves with tho strugele for mere existence, Over large Portions of the earth that struggle has been 20 terrible that evry other instinet ms doadened, Philosophers, thinksrs, artist have boon few because only the few had tine, Flato and Aristotle eould ait dom and arrive at certain omolusions conseraing art besuuse the atvansed eivilisation of tho few 4m Athens rested wpon the backs of slaves) the inspiring story of a hundred nonks, painotakingly copying precious mmuscripts, tending the flickering light of otviliantion during the Long night does not tmortelize the countless, manelees drab lumps of humanity who dug into the esrth, dragged and enrrie’ hocry Loads, eonstrusted anasive wails, bore children + and died, How aan wo know what Kind of world wo might of had today had all the people, overyshere had breed?2, WON BEST TO RELCASE DNUMIC CREATIC PONER, In our day At has boon clearly suteblished that in very individual te dormant untouched rosevoirs of creative energy, To the releasing of ‘these dynamic powers edusators are giving their best efforts, There would appear to bo two mjor schools of thougat as to how this oan best be dats Biueators said to be "progressive" are quoted as stressing “learning by doing"s “Liveral" odueators are said to stress "book learning", John Demy 18 usually named as the loading exponant of the progressive school while Robert Ttehins or Stringfellow Barr are placed at the extroms opposite end of the pole of measuromanty Desiganting names are often more misleading than holpful, 1 em Anelinod to think thet these oduectors are not as far from each other in their ‘thinking as is gonerelly supposed, AIL reaogaize cortein nocdless defects in ‘our schools and all are ooncernet with tho best alds fer enabling the pupil to find himself that he my stand on his om foety é _ To entire course ond purpose of sdusation should be the matter of releasing dyaaste crostive power, When, howsver, this 1s neoomplished for oll Iumanity Wo sell have attained the perfect worlds for we camot seperate these Processes fron tho whole, A fow conslusions would soem to grow out of this study: 1, Tho whole of the individcal must be considered, Tais has to de with the nocd for physieel well beings One must have ‘time te think, This involves everything said ov implied tn “freodea fron mut® and “freodom from fear",