can be of
"manner" with little "substance." Substance has something to do with
character. Manner has nothing to do with it. The "substance" of a tune
comes from somewhere near the soul, and the "manner" comes from--God
knows where.

4

The lack of interest to preserve, or ability to perceive the
fundamental divisions of this duality accounts to a large extent, we
believe, for some or many various phenomena (pleasant or unpleasant
according to the personal attitude) of modern art, and all art. It is
evidenced in many ways--the sculptors' over-insistence on the "mold,"
the outer rather than the inner subject or content of his
statue--over-enthusiasm for local color--over-interest in the
multiplicity of techniques, in the idiomatic, in the effect as shown,
by the appreciation of an audience rather than in the effect on the
ideals of the inner conscience of the artist or the composer. This lack
of perceiving is too often shown by an over-interest in the material
value of the effect. The pose of self-absorption, which some men, in
the advertising business (and incidentally in the recital and composing
business) put into their photographs or the portraits of themselves,
while all dolled up in their purple-dressing-gowns, in their twofold
wealth of golden hair, in their cissy-like postures over the piano
keys--this pose of "manner" sometimes sounds out so loud that the more
their music is played, the less it is heard. For does not Emerson tell
them this when he says "What you are talks so loud, that I cannot hear
what you say"? The unescapable impression that one sometimes gets by a
glance at these public-inflicted trade-marks, and without having heard
or seen any of their music, is that the one great underlying desire of
these appearing-artists, is to impress, perhaps startle and shock their
audiences and at any cost. This may have some such effect upon some of
the lady-part (male or female) of their listeners but possibly the
members of the men-part, who as boys liked hockey better than
birthday-parties, may feel like shocking a few of these picture-sitters
with something stronger than their own forzandos.

The insistence upon manner in its relation to local color is wider than
a self-strain for effect. If local color is a natural part, that is, a
part of substance, the art-effort cannot help but show its color--and
it will be a true color, no matter how colored; if it is a part, even a
natural part of "manner," eit