of primitive man in symmetry."[*] Burial mounds, of unknown
antiquity, and the rude stone monuments such as Stonehenge and the
dolmens of Brittany and Wales, emerging out of prehistoric dawns,
are evidence of man's striving after architectural unity in design and
harmony of proportion.

[*] S. Reinach, _The Story of Art throughout the Ages,_ chapter i.

The existence of these two separate motives which impel creation,
man's desire to imitate and his delight in harmony, gives rise to a
division of the arts into two general classes, namely, the
representative arts and the arts of pure form. The representative arts
comprise painting and sculpture, and literature in its manifestations
of the drama, fiction, and dramatic and descriptive poetry. These arts
draw their subjects from nature and human life, from the world
external to the artist. The arts of form comprise architecture and
music, and that limitless range of human activities in design and
pattern-making for embellishment--including also the whole
category of "useful arts"--which may be subsumed under the
comprehensive term _decoration._ In these arts the "subject" is
self-constituted and does not derive its significance from its likeness to
any object external to it; the form itself is the subject. Lyric poetry
stands midway between the two classes. It is the expression of
"inner states" but it externalizes itself in terms of the outer world. It
has a core of thought, and it employs images from nature which can
be visualized, and it recalls sounds whose echo can be wakened in
imaginative memory.

"Hark! hark! the lark at heaven's gate sings,
And Phoebus 'gins arise,
His steeds to water at those springs
On chaliced flowers that lies;
And winking Mary-buds begin
To ope their golden eyes;
With everything that pretty bin,
My lady sweet, arise!
Arise, arise!"

The intellectual and sensuous elements which lyric poetry embodies
are finally submerged under the waves of emotional stimulus which
flow from the form as form. Such poetry does not depend upon the
fact of representation for its meaning; the very form itself, as in
music, is its medium of communicating the emotion. Art, therefore,
to phrase the same matter in slightly different terms, has a subjective
and an objective aspect. In the one case, the artist projects his
feeling into the forms which he himself creates; in the other case,