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28 tion; you must heroically suppress the understanding. The result, when the penance is genuinely performed, has a very deep and recondite charm; you revert to what the spinal column might feel if it had a separate consciousness, or to what the retina might see if it could be painlessly cut off from the brain; lights, patterns, dynamic suggestions, sights and memories fused together, hypnotic harmonies such as may visit a vegetative or even mineral sensibility; you become a thousand prisms and mirrors reflecting one another. This is one kind of aesthetic repentance. Vain, vain, it says to itself, was the attempt to depict or beautify external objects; let material things be what they will; what are they to the artist? Nature has the urgency of life, which art cannot rival; it has the lure, the cruelty, of actual existence, where all is sin and confusion and vanity, a hideous strife of forms devouring one another, in which all are mutilated and doomed. What is that to the spirit? Let it confess its own impotence in that field, and abandon all attempts to observe or preserve what are called things. let it devote itself instead to cleansing the inside of the cup, to purifying its sensibility, which is after all what nature plays upon when she seems to us to be beautiful. Perhaps in that way spirit may abstract the gold of beauty and cast the dross away—all that alloy of preoccupation with material forms and external events and moral sentiments and vain animal adventures which has so long distracted the misguided artist, when he could paint the whole world and had lost his own soul. It is always the play of sensibility, and nothing else, that lends interest to external themes; and it was an evil obsession with alien things that dragged sensibility into a slavery to things which stifled and degraded it: salvation lies in emancipating the medium.

To renounce representation, or be representative only by accident, is accordingly one sort of penitent art; but there is another sort, more humble and humourous. This second sort makes no attempt to resist the impulse to observe and to express external things. It does not proudly imagine that the medium, which is the human contribution to representation, can be sufficient unto itself. On the contrary, in its sensuous orchestration it is content to be rudimentary, to work in clay or in wood, and to dress in homespun. It is all feeling, all childlike tenderness, all sense of life. Persons and animals fascinate it. At the same time, warned by the fate of explicit poets and realistic painters, it does not attempt, in its portraiture, to give