Now, there may be some here who, wondering at my classification of the Hoosier poet, are saying to themselves, “Was Riley also among the Realists?” And I ask in turn, why has Realism come to connote a proportion of things that do not enter at all into the lives of most of us? We have all known and loved the old swimmin’ hole; how many of us are familiar with the man who commits suicide, not to end an intolerable situation, not in a frenzy of grief or remorse, but just to see what will happen? Yet when a Russian writes about such anomalies as this our critics say, “What wonderful realism!” If realism is anything, it must surely be real. There is morbidity in life; we cannot avoid it or overlook it. But is there anything in life that corresponds to ninety-nine per cent of morbidity? Not in my life, nor in yours. For you and for me, Riley is a realist. God forbid that he may ever be anything else. There is something in the situation of this city in which we are assembled, that encourages men to look life straight in the face. Those who dwell amid rocky heights and caverns may be excused for looking behind them when they walk and for trembling at shadows. The sailor between whom and eternity there stands only a two-inch plank may live largely among unrealities. But the man of the open prairie, with God’s solid earth stretching away north, south, east and west, and God’s free air above and about him, stands firmly and sees clearly. What interests him is the present and its necessary relationships with the future, with only so much of the past as is able to consolidate these relationships and illumine them. Here, as one would expect, is growing up a school of representative artists, working some with the pen and others with the brush, whose aim and whose high privilege it is to record those relationships on canvas and on the printed page, each in his own fashion, of course, for a love for the outer realities can never do away with that supreme inner reality, a man’s own self that which looks out upon the world and sees that world through its own spectacles. It is the triumph of all art that faithfully as it may represent what it sees, its representations will still be, in large part, functions of the artist’s own mood, so that the same scene, the same event, portrayed by different writers or different painters, may arouse in us emotions as varied as joy, grief or mere restfulness. And of course, although we may praise James Whitcomb Riley portraying what he saw about him there would be little to praise if he were not at the same time portraying James Whitcomb Riley and if that portrayal were not worth while.