CLASSICISM AND ROMANTICISM IN ART
PART. 1 Ce) dhe One. Tea iw

The scope of my theme is immonsc whon one considers it from

the point of view of attempting to forge a working definition,
thet is,.ene which is applicablo to works of irt on cn extonded
scale. However, the n-ture of my theme has found its exposi-
tion and I. must..attempt to mould it in some form,

Before we commence to consider Classicism, < word or two of
apology is in order, first for the essauy's fragmentary nature,
end sccondly, for: the inevitcbleo prejudices which somchow
center it. When one amasses onc'ts material, broods over it and
sifts.it.so that what.romains..is.cloar and ossential one also
becomes involved, which incurs 2 failure to reach that. ideal
state of impersonal Analysis

In seoking to. redefine Classicism, a mode of crtistic express-
ion essentially different from that of Romanticism, wo must
first give somc preliminary consideration to the nature of O
definition and its appointed offices which are three in nunber,
to. describe.to expound, and to interpret. In essence, a def-
*NkblOn Is on Tselation of 3 meaning or meanings. A torm is
the abstractieynbol ef a meaning and this abstracticn can only
spring to life and take on added meaning (become in a Sensoy a
thing greater than the sim of its parts) by virtue of the re-
m

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lationship struck between it and othor Panton teolations.,  1&
only attains full boing when HIIPLOYED and its isolation is
meaningless, only taking on meaning when it becomes onc of the
many threads of the fabric which informs and enfolds cxoression
of thouzht i.e. the sentonce,

Now, if I hypothetically strike classicism as being & «ool
crystallized, concentrated essenec capable of producing in one

& sense of tranquility and the dehight..of contemphation, ) «1

will have done with my hypothesis nd declared my prejudices,
Although Classicism may be faceloss, that is, lacking in char-
acter or in personality (in the colourful meaning of theso

words) and its decper, purcr clements bo encased beneath a

vencer of sclf-effacoment to tho point of indifference, it Con...
unlike Romanticism, be casily defined. “If we crack its outer
casement we find clarity (its central ideal) .nd pristine purity
of form and a commensurate ambiguity in oxpression or in intent.
This it achieves with a breathlossnoss that is truly cternal,.

The romantic looks on all of this as Bethe rather chilly SUvurs s
its very Lackiof bifc in the organic scnse) repels him to such

& degrec that he is apt to exclaim that it is nob ont at alts

To him its purity is an cmasculatod version of life, or a decd
thing. The Romanticist docs not roalize that its volition towards
the -idoal..is transcendent, expressivo of warmth, of love, of
péssion and of the thousand moods we associate with temporal life.

Ween