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168 This quarrel is due not only to the conflict of stereotypes, but to the pioneering artist's reverence for his material. Whatever the plane he chooses, on that plane he remains. If he is dealing with the inwardness of an event he follows it to its conclusion regardless of the pain it causes. He will not tag his fantasy to help anyone, or cry peace where there is no peace. There is his America. But big audiences have no stomach for such severity. They are more interested in themselves than in anything else in the world. The selves in which they are interested are the selves that have been revealed by schools and by tradition. They insist that a work of art shall be a vehicle with a step where they can climb aboard, and that they shall ride, not according to the contours of the country, but to a land where for an hour there are no clocks to punch and no dishes to wash. To satisfy these demands there exists an intermediate class of artists who are able and willing to confuse the planes, to piece together a realistic-romantic compound out of the inventions of greater men, and, as Miss Patterson advises, give "what real life so rarely does—the triumphant resolution of a set of difficulties; the anguish of virtue and the triumph of sin changed to the glorifications of virtue and the eternal punishment of its enemy."

The ideologies of politics obey these rules. The foothold of realism is always there. The picture of some real evil, such as the German threat or