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 sciousness—Weber was very earnest, but in no sense theatrical—, on the part of both capital and labour, is one cause of this great modern struggle. Were this art consciousness more general, material possession would be less valued; the covetous spirit would soon die out. . . . Yorska, a wraith of black satin and black tulle, her pale Pierrot face slit with crimson and punctuated with two black holes, lined with purple, stood in the doorway motionless, like another Rachel, with one hand lifted above her head, grasping the curtain, trying to look uncovetous. . . . Art socializes more than socialism with its platform and its platitudes. . . . Bravo! This from Hippolyte Havel. . . . Economists go not deep enough into the modern monetary disease. They deal only with materialism. They concentrate only on what is obvious, the physical starvation of the toiling class, but never do they see or seem to realize the spiritual starvation or the lack of an art consciousness to both capital and labour. They would argue that the material relief must come first. I reply, now as always, we must begin with the spiritual. I do not see, however, how the spiritual or æsthetic can be separated from the material. . . . Clara Barnes gave an angry shake to her long ear-rings, but Donald Evans had the rapt attentive air of a man hearing a great truth for the first time. . . . The common solution of this great problem is too dry, too matter of fact, too calculated, too technical, too scientifically intellectual