Most of what we read on this matter in the sphere of journalism is pure badinage, and little besides--entertainingly and ably written it is true, but generally very wide of the fundamental principles at stake, and of that consciousness of dealing with a deeply serious question, which the subject Art ought to awaken. No one seems to feel nowadays that a picture, like a sonnet, like a sonata, and like a statue, if it claim attention at all, should claim the attention of all those who are most deeply concerned with the problems of Life, Humanity, and the Future; and that every breath of Art comes from the lungs of Life herself, and is full of indications as to her condition. When one says these things nowadays, people are apt to regard one as a little peculiar, a little morbid, and perhaps a little too earnest as well. Only two or three months ago, a certain critic, commenting upon a sentence of mine in my Introduction to Nietzsche's _Case of Wagner_,[60] in which I declared that "the principles of Art are inextricably bound up with the laws of Life," assured the readers of the Nation that "the plainest facts of everyday life contradict this theory of non-artistic philosophers in their arm-chairs."[61] And thus the fundamental questions are shelved, year after year, while Art withers, and real artists become ever more and more scarce. "I loathe this great city," cried Zarathustra. "Woe to this great city!--And I would that I already saw the pillar of fire in which it will be consumed! "For such pillars of fire must precede the great noontide. But this hath its time and its own fate."[62] [57] _The Times_, May 22nd, 1909. [58] _The Daily Telegraph_, May 31st, 1909. [59] A further example of what I mean can be found in the _Morning Post's_ article (4th April), on the International Society's 1910 Show. Here the writer's only comments on a Simon Bussy (No. 149), which really required serious treatment, or no treatment at all, are: "Could any English tourist at Mentone see that resort in the terms of M. Bussy?" And his comments on an important Monet (No. 133) are: "What happy Idler at Antibes other than a Frenchman could record the particular impression of Monet (No. 133), even in enjoying the hospitalities of Eilenroe?" [60] Dr. Oscar Levy's Authorized English Edition of Nietzsche's _Complete Works._ [61] _The Nation_, July 9th, 1910. [62] _Z._, III, LI. Part II Suggested Causes Of The Anarchy In Modern Art "... To them gave he power to become the sons of God, even to them that do believe in his name."--_John_ i. 12. And now, what are the causes of this depression and this madness in Art? For Nietzsche was not alone in recognizing it. Many voices, some wholly trustworthy, have been raised in support of his view.