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Rh days later: it was a fortunate week altogether for I heard the Sacre du Printemps of Strawinsky the next day, and this tremendous shaking of the forgotten roots of being gave me reassurance.

More than that I am convinced that if one is going to live fully and not shut oneself away from half of civilized existence, one must care for both. It is possible to do well enough with either, and much depends on how one derives pleasure from them.

Most of the great works of art have reference to our time only indirectly—as they and we are related to eternity. And we require arts which specifically refer to our moment, which create the image of our lives. There are some twenty workers in literature, music, painting, sculpture, architecture, and the dance who are doing this for us now—and doing it in such a manner as to associate our modern existence with that extraordinary march of mankind which we like to call the progress of humanity. It is not enough. In addition to them—in addition, not in place of them—we must have arts which, we feel, are for ourselves alone, which no one before us could have cared for so much, which no one after us will wholly understand. The picture by Picasso could have been admired by an unprejudiced critic a thousand years ago, and will be a thousand years hence. We require, for nourishment, something fresh and transient. It is this which makes jazz so much the characteristic art of our time and Jolson a more typical figure than Chaplin, who also is outside of time. There must be ephemera. Let us see to it that they are good.

The characteristic of the great arts is high seriousness—it occurs in Mozart and Aristophanes and Rabelais and Molière as surely as in Aeschylus and Racine. And the essence of the minor arts is high levity which existed in the commedia dell' arte and exists in Chaplin, which you find in the music of Berlin and Kern (not "funny" in any case). It is a question of exaltation, of carrying a given theme to the "high" point. The reference in a great work of art is to something more profound; and no trivial theme has ever required, or had, or been able to bear, a high seriousness in treatment. Avoiding the question of creative genius, what impresses us in a work of art is the intensity or the pressure with which the theme, emotion, sentiment, even "idea" is rendered. Assuming that a blow from the butt of a revolver is not exactly artistic presentation, that "effectiveness" is not the only criterion, we have the beginning of a criticism of aesthetics. We know that the method does count, the