On the other hand, he who by reason of physical inefficiency or environmental conditions spends his life in inhibiting physical action, finds a substitute for action in thought.
The intellectual life has two main attitudes: active reasoning and esthetic contemplation. Though these two complement one another, we find them variously accented in different individuals. The scholar leads, in the main, an intellectual life, yet the esthetic complement to his nature may be very slightly developed. His reasoning processes have the aim of elucidating and, therefore, of bringing peace of mind with respect to some phase of life. But his pleasure is more largely in the business of thinking, in the solving of his concrete problem, than it is in the contemplation of a complete result such as characterizes the esthetic attitude. The true artist has his esthetic ideal always before him. His function is to express this ideal as a complete and conformable whole. Whether his work be of head or of hand, it is always informed by such an ideal and the artist's genius rests all in his ability to give adequate expression to this ideal.
Each of us has these esthetic ideals in some degree, but only a few of us attempt to express them. We seek, rather, an expression for them in the work of another and, finding it, we obtain esthetic pleasure in the contemplation. But he whose ideas become crystallized to such an extent that he can objectify them and give them expression in a picture, a drama or a symphony, he has a peculiar talent which the rest of us, however esthetically appreciative we may be, do not possess.
The genius must possess a certain technical skill to enable him to express himself objectively, and he must also be so imbued with the force of his ideas that he is, in a sense, impelled to give them such expression. This necessity of artistic expression is one of the factors of his esthetic nature. A demand is felt to realize a certain ideal, to give it a clear objective expression such as must always be lacking so long as it remains clothed only in the vague imagery of the mind. The hack author, painter or musician may make a mere business of his talent. In so far as he does this his work must be of low merit as art. It is forced rather than spontaneous. It caters to an audience instead of being a natural expression of his own ideas.
There is something very intimate about true art. It always expresses the man behind it and, in the last analysis, its merit is a token of the character and mental bigness of the artist. Those who have no clear and definite ideas, but busy themselves with vague intentions, only reflect in their works the unrest of hyper-sensitive natures. We, their audience, may recognize and sympathize with their unhappy states and, indeed, derive a certain esthetic enjoyment from their expression, but it remains for the man able to give a positive impetus to
