ELEMENTS OF SUCCESS IN ART
Let us, therefore, examine some of the elements of success in art. We have seen that the born artist has a passion for
creation. He must draw, or paint, or act, or sing, or write. That which is within him demands expression and will not be denied. His love is for the work and not for the reward or the applause. These are but incidental. His visions and dreams are of ever greater achievements and not of an ever increasing income or wider popularity. Work well done and the conscious approval of his own mind are the sweetest nectar to his soul.
But this passion of creation is, perhaps, not enough in itself. "Art is a jealous mistress." Even the passion for creation must wait upon slowly and painfully acquired technique, and, in the case of painting, sculpture, instrumental music, and some other forms of art, upon inherent capacity and manual skill. Many an artist's soul is imprisoned in a clumsy body which will not do its bidding.
"Art is long," and he who is unwilling or unable to keep alive the divine spark through years of poverty had better turn back before he sets forth upon the great adventure. Searching the portraits of the world's great artists, living and dead, you will not find a lazy man amongst them.
AN ATTEMPT TO MIX INDOLENCE AND POETRY
During our school days we made the acquaintance of Larime Hutchinson, then a lad of twenty, shy, self-conscious, pathetically credulous, and hobbled by a prodigious ineptitude which made him a favorite butt for schoolboy jokes and pranks. Larime was in great disfavor with the teachers because he almost never had his lessons. He was also in disfavor with the college treasurer because he did not pay his bills. Larime's father was a country minister and could send him only a few dollars a month. The rest of his financial necessities he was supposed to meet by sawing wood, mowing lawns, attending furnaces, and other such odd jobs. But Larime never could hold these jobs because he was too lazy to do them well. He was also in high disfavor with his schoolmates, first, because of his timidity and self-consciousness; second, because of the strange air of superiority which, paradoxically enough, he
managed to affect even in spite of these handicaps. A little confidential consorting with this peculiar young man soon revealed the fact that he yearned to be heralded with great acclaim as "The Poet of the New World." Not only did he yearn; he confidently expected it. Nay, more; he already was "The Poet of the New World," and awaited only the day of his acknowledgment by those who, despite their prejudices and envy, would eventually be compelled to accord him his true position. To prove his claims, Larime read us some of his "poetry." It was bad, very bad, and yet it was not quite bad enough to be good.
Such visions of glory as obscured Larime Hutchinson's sensible view of the practical world are, perhaps, common enough in adolescence, and, as a general rule, work no serious harm. There were, however, two fatal defects of character in this case. The first was that Larime continued to dream and to write what he thought was verse, when he ought to have been at work plowing corn, for he had qualities which, with industry, would have made him a successful farmer. Second, he was mentally too lazy for the drudgery even the greatest poet must perform if he is to perfect his technique.
A MIND FOCUSSED ON DETAILS