DEMOCRATIC ART 

 WITH SPECIAL REFERENCE TO WALT WHITMAN 



DURING the first half of this century, the rival merits of 

 classical and romantic art were stormily debated. There is 

 no need to revive that discussion. People of sense now 

 recognise the truth that in whatever style an artist works, 

 the style will be classical, provided the work itself be good, 

 sincere, and representative of sterling thought. Yet a few 

 words have to be said about this bygone phase of European 

 criticism, since it forms a necessary prelude to the treatment 

 of Democratic Art. 



The romantic revolt against those canons of taste which 

 prevailed in Europe after the Revival of Learning, was in 

 some respects analogous to the insurgence of realism against 

 idealism. It took its origin in a desire for free and spon- 

 taneous artistic form. It started from the conviction that 

 there was something radically insincere in the orthodox rules 

 regarding dignity of sentiment, sustained diction, and heroic 

 action. The study of mediaeval antiquities, the revived 

 enthusiasm for Shakespeare, and the powerful impact of the 

 German mind aroused from its long lethargy, provoked a 

 reaction against humanistic traditions, which acquired revo- 

 lutionary force in France. Romantic poets, novelists, and 

 painters declared their abhorrence of the conventional ' grand 

 style.' They sought inspiration from hitherto neglected 

 masterpieces of the Middle Ages. They delighted in the 

 crudest aspects of human life and nature. To be striking, 



