_c._ Art gives us that completeness, our aim, symbolized in a small and definite shape. III. GENIUS IS THE COMMON HUMAN QUALITY, DISTINCT FROM TALENT: _a._ The Genius differs not in _kind_, but in _degree_, from his fellows. _b._ The desire for understanding and completeness, present in some measure in all, is genius. _c._ The understanding in the spectator is akin to the genius in the artist. IV. TALENT IS THE POWER OF EXPRESSION: _a._ To see all things as distinct wholes, impersonally. _b._ The skill to portray, and to handle material. _c._ Genius and talent vary in degrees of relation in different artists’ work: 1. The great idea, imperfectly executed. 2. The small idea in perfect form. V. ART AS THE SYMBOL OF COMPLETENESS AND CREATIVE EXPRESSION: _a._ The sublime lie of the Symbol, truer than fact: 1. The effect of removal from life, of unreality, in relation to beauty. It seems more self-sufficient. _b._ A complete vision must not take sides: 1. When art is partisan, _for_ something, it is also _against_ something. Complete representation. _c._ Creative art gives us the joy of play, of creation: 1. Play—interplay—is the progress and will of life, and work but a name for the disagreeable but necessary part of the game. EIGHTH MEETING _Art_ I. REASON FOR ÆSTHETIC ENQUIRY: _a._ Art (creation) is the service of religion. _b._ Laws of beauty (completeness) may give us laws for life. _c._ Will prepare us to deal more sanely and surely with the involved problems of conduct. II. ART IN THE NOVEL: _a._ Completeness in the story: 1. Exclusion of unimportant and irrelevant matter. α. The “story-teller” in us all. β. The distractions of real life, with its far-relatedness. γ. The “outside” event in melodrama too like life. 2. Exclusion of author’s one-sided moral verdict. 3. Must not be “_for_” some characters, and “_against_” others. _b._ Understanding of Life in novel: 1. False simplicity of poetic justice, of all good, and all bad. 2. Cant phrases offend because they appear imitative, not sincere. 3. Psychological and dramatic treatment: α. Dramatic writer trusts reader’s insight. β. Action is more convincing than description of motive. 4. Humor and wit: α. Humor is knowledge of human nature, its contrasted greatness and littleness. β. Wit is a juggling of words into contrasted or incongruous effects. γ. Both are a bringing together of the incongruous, in a paradox of unity. NINTH MEETING