The greater part of modern realism is the outcome of this poverty. It is reactive art, resulting from reflex actions; and, as such, is an exceedingly unhealthy sign. Not only does it show that the power of resisting stimuli is waning or altogether absent; but it also denotes that that inner power which requires no stimulus to discharge itself is either lacking or exceedingly weak.
With these words upon the subject of realism, I shall now conclude this part of Lecture II.
I shall return to realism in my next lecture; but you will see that it will be of a different kind from that of which I have just spoken. It will be superior, and will be the outcome of riches rather than of poverty. Although beneath genuine Ruler-art, which transfigures reality, it will nevertheless be superior to the poverty-realism which I have just discussed; for it will be of a kind which is forced upon the powerful artist who, in the midst of a world upholding other values than his own, is obliged to bring forward his ideal with such a preponderance of characteristic features as would seem almost to represent a transcript of reality. This realism I call militant realism, to distinguish it from the former kind.
In discussing mediæval. Renaissance and Greek Art, in my next lecture, this distinction will, I hope, be made quite plain to you.
[73] G. E., p. 120
[74] Z., I, XXI.
[75] The Book of Tea, p. 152.
[76] Ibid. 199.
[77] Z., I, XXVI.