e steward be faithful.

[Note 11: Newlandsmith. "The Temple of Art."]

Contrast the work done in this spirit with that accomplished under the
stimulus of financial gain, or for the end of mere selfish display. The
latter is a species of artistic prostitution. Superficially the
performances may seem something alike, the difference may be intangible,
but it exists and is real. Time is ever the winnower. Things always
prove their survival value, that is to say the real things last, while
the shams are sooner or later extinguished. It is necessary, no doubt,
to make a living, no one will be so foolish as to overlook this
elementary fact: but the mere aim of making a living only too often
obscures the actual meaning of life. Balanced and informed views of life
work, through a law of consonance, to ensure a corresponding equilibrium
in the outer circumstances: in other words, if we seek first the inner
Kingdom, all these things, financial means and so forth, will be added.
But there are thousands who drive for the financial and other incidental
ends, and as a matter of fact miss the Kingdom entirely. To find the
personal centre of gravity in the world is to master life, to fail to
find it is to be mastered by life.

A performance that has self as its central motive can never ring true or
achieve any lasting success. Inferior music may be decked out by a
capable performer to sound impressive or pretentious, or be invested
with a glamour which is largely fictitious, but this surely amounts to
false pretences. It is simply a method of misleading the public. Such a
performer has misconceived his function, which should be to act as
interpreter, guide, philosopher, and friend to those who follow his
efforts. What is to be said to the singer of royalty ballads? Here is a
vocalist who receives, maybe, two or three guineas for each dozen times
he sings particular songs, the publisher of the song in question being
his paymaster. Of this type of song a contemporary Musical Journal
states:--"Every serious musician knows it, and, scenting the boredom,
tries to avoid it. It is highly sentimental, it moves within a limited
scope, emotionally and technically, and it deals with a few well-worn
subjects. Gardens, spring, sunshine, flowers--these are favourite
themes. If only, the singer tells us, he could have a cottage on the
hillside, with honeysuckle round the door (this appears to be of great
importance), heaven would indeed be there." T