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 CHAPTER VIII

PICTORIAL MOTIONS AT PLAY

The average matter-of-fact man thinks that artists concern themselves only with copying their subjects, and that their success as artists consists in copying correctly. He is satisfied with a painted portrait of his wife, provided it is a "speaking likeness," and he craves no other magic of design and color. Such a man praises a photoplay if it presents a "rattling good story," and expects no thrill from the cinema composer's conjuring with shifting patterns and evanescent tones. At least he would say something to that effect if you argued the matter with him. But he would be mistaken in his self-analysis, for even a prosaic person really enjoys the decorative rhythmical quality in a picture, though he may not be conscious of doing so. And every spectator can get the richest beauty from the screen only when the pictorial motions play as well as they work.

What is the difference between play and work? We know that when our work most resembles play it is most enjoyable. And we know, too, that play, even when it has not been professionalized, often comes very near being work. The playing of children, as that of grown-ups, is often very highly organized and pursued with a great deal of effort and earnestness. Play, however, may be characterized by spontaneity