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+Project Gutenberg's Right Living as a Fine Art, by Newell Dwight Hillis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Right Living as a Fine Art
+       A Study of Channing's Symphony as an Outline of the Ideal
+       Life and Character
+
+Author: Newell Dwight Hillis
+
+Release Date: July 10, 2011 [EBook #36695]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK RIGHT LIVING AS A FINE ART ***
+
+
+
+
+Produced by Juliet Sutherland, Alex Gam and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  _RIGHT LIVING AS
+  A FINE ART_
+
+  A Study of Channing's Symphony
+  as an Outline of the
+  Ideal Life and Character
+
+  NEWELL DWIGHT HILLIS
+
+  [Illustration]
+
+  Fleming H. Revell Company
+  New York  Chicago  Toronto
+  1903
+
+  COPYRIGHTED 1898-1899 BY
+  FLEMING H. REVELL COMPANY.
+
+
+
+
+Contents
+
+
+  _ONE_
+  A Study of Channing's "Symphony" as an
+  Outline of the Ideal Life and Character
+
+  _TWO_
+  Channing's Vision of the Beautiful Life
+
+  _THREE_
+  The Largest Wealth
+
+  _FOUR_
+  The World a Whispering Gallery
+
+  _FIVE_
+  How Knowledge Becomes Wisdom
+
+  _SIX_
+  The Disguises of Inferiority
+
+  _SEVEN_
+  Strength Blossoming into Beauty
+
+  _EIGHT_
+  Life's Crowning Perfection
+
+
+
+
+"_And let the beauty of the Lord our God be upon us; and establish thou the
+work of our hands upon us; yea, the work of our hands establish thou it._"
+
+_Psalm xc: 17._
+
+
+
+
+MY SYMPHONY.
+
+
+To live content with small means; to seek elegance rather than luxury, and
+refinement rather than fashion; to be worthy, not respectable, and wealthy,
+not rich; to listen to stars and birds, babes and sages with open heart; to
+study hard; to think quietly, act frankly, talk gently, await occasions,
+hurry never; in a word, to let the spiritual, unbidden and unconscious,
+grow up through the common--this is my symphony.
+
+                                                    WILLIAM HENRY CHANNING.
+
+
+
+
+A STUDY OF CHANNING'S "SYMPHONY" AS AN OUTLINE OF THE IDEAL LIFE AND
+CHARACTER.
+
+
+To the revival of learning in the fourteenth century, to the revival of
+religion in the sixteenth, and the revival of liberty in the eighteenth
+century must now be added the revival of the beautiful in this new era for
+art. In former ages man was content if his house was dry, his coat was
+warm, his tool strong. But now has come an era when man's house must have
+beautiful walls, when woman's dress must have harmonious hues, when the
+speaker's truth must be clothed in words of beauty; while in religion if
+the worshiper once was content with a harsh hymn, now man best loves the
+song that has a beautiful sentiment and a sweet tune. Always the useful had
+a cash value. Now beauty has become a commodity. To-day, to hold his place,
+the artisan must become an artist. The era of ugliness, with its clumsy
+tools and ungainly garments, has gone forever. No longer content with
+lending strength to coat or chair or car, manufacturers now vie with one
+another in a struggle to make the garment take on lines of grace, and
+colors soft and beautiful. Society seems to be standing upon the threshold
+of the greatest art movement in history. Best of all this, revival of the
+beautiful promises to be a permanent social possession.
+
+Very brief and fitful that first art epoch when Phidias polished statues,
+the very fragments of which are the despair of modern sculptors. All too
+short also that era when Raphael and Botticelli brought the canvas into
+what seemed the zenith of its perfection. It was as if the vestal virgin of
+beauty had drawn near to fan the flickering light into a fierce flame only
+to allow it quickly to die out again. But if other art epochs have been
+soon followed by eras of ugliness and tyranny, it was because formerly the
+patrician class alone was interested in the beautiful. In that far-off
+time, Pericles had his palace and Athens her temple, but the common people
+dwelt in mud huts, wore coats of sheepskin, and slept on beds of straw. The
+beauty that was manifest in pictures, marbles, rich textures, bronzes,
+belonged exclusively to the cathedral or the palace.
+
+Now has come an era when art is diffused. Beauty is sprinkled all over the
+instruments of dining-room, parlor and library. It is organized into
+textures of cotton, wool and silk. Even in the poor man's cottage blossoms
+break forth upon floor and walls, while vines festoon the humblest door.
+Once, at great expense, a baron in France or Germany would send an artist
+into Italy to copy some masterpiece of Titian or Tintoretto. Now modern
+photography makes it possible for the poorest laborer to look upon the
+semblance of great pictures, statues, cathedrals, landscapes--treasures
+these once beyond the wealth of princes. Having made tools, books, travel,
+home, religion to be life-teachers, God has now ordained the beautiful as
+an apostle of the higher Christian life.
+
+Recognizing the hand of God in every upward movement of society, we explain
+this new enthusiasm for art upon the principle that beauty is the outer
+sign of an inner perfection. Oft with lying skill men veneer the plaster
+pillar with slabs of marble, and hide soft wood with strips of mahogany.
+But beauty is no outer veneer. When ripeness enters the fruit within a soft
+bloom steals over the peach without. When every drop of blood in the veins
+is pure a beauteous flush overcasts the young girl's cheek. When summer
+hath lent ripeness to the harvests God casts a golden hue over the sheaf
+and lends a crimson flush to the autumn leaves. For beauty is ripeness,
+maturity and strength. Therefore when the seer says, "God maketh everything
+beautiful in its time," he indicates that God's handiwork is perfect work.
+When some Wordsworth or Emerson leaves behind men's clumsy creations and
+enters the fields where God's workmanship abounds, the poet finds the
+ground "spotted with fire and gold in tints of flowers"; he finds the trees
+hung with festooned vines; finds the forests uniting their branches in
+cathedral arches; finds the winds making music down the long, leafy aisles;
+finds the birds pouring forth notes in choiring anthems, while the very
+clouds rise like golden incense toward an unseen throne. Though the
+traveler journey far, he shall find no bud, no bough, no landscape or
+mountain or ocean, that is not overcast with bloom and beauty.
+
+We are not surprised therefore when we see that as man's arts and
+industries go toward perfection they go toward beauty. Carry the coarse
+flax up toward beauty and it becomes strong cloth. Carry the cocoon of a
+worm up to beauty and it becomes a soft silken robe. Carry rude Attic
+speech up to beauty and it becomes the language of Homer or Hesiod. Carry
+the strange face or form tatooed upon the arm of the savage up to beauty
+and it becomes a Madonna or a Transfiguration. Carry a stone altar and a
+smoking sacrifice up to beauty and it becomes a Cologne cathedral or a
+Westminster Abbey. Indeed, historians might use the beautiful as the
+touchstone of human progress. The old milestones of growth were metals.
+First came the age when arrows were tipped with flint. Then came the iron
+age, when the spear had a metal point. The bronze age followed, lending
+flexibility to ore hitherto unyielding. Later came the steel age, when
+weapons that bruised gave place to the keen edge that cuts. Perhaps the
+divinity chat represents our era will stand forth plated with oxide of
+silver.
+
+But his ideas of beauty would measure man's progress quite as accurately.
+In that first rude age beauty was external. Man twisted gay feathers into
+his hair, painted his cheeks red or yellow, wore rings of bright shells
+about his neck. But our age is high because beauty has ceased to be mere
+personal adornment. Man now seeks to make his books beautiful for the
+intellect, his library and gallery beautiful for taste and imagination, his
+temple beautiful for worship, his home beautiful in the interest of the
+heart, his song and prayer not simply true, but beautiful with praise to
+the unseen God. If in rude ages beauty was associated with physical
+elements, the glory of our era is that beauty, unfolding from century to
+century, is now increasingly associated with those moral qualities that
+lend remembrance to mother and martyr, to hero and patriot and saint.
+
+To-day, fortunately for society, this world-wide interest in art is
+becoming spiritualized. From beautiful objects men are passing to beautiful
+thoughts and deeds. We begin to hear much of the art of right living and
+the science of character building. Having lent charm and value to column
+and canvas, to marble and masterpiece, beauty now moves on to lend
+loveliness to mind and heart. For it seems an incongruous thing for man to
+adorn his cottage, lend charm to its walls and windows, make its ceilings
+to be like the floor of heaven for beauty, while within his heart he
+cherishes groveling littleness, slimy sin, light-winged evasions, brutal
+passions. He whose body rides in a palace car must not carry a soul that is
+like unto a savage. Having lingered long before the portrait of Antigone or
+Cordelia, the young girl finds herself pledged to turn that ideal into life
+and character. The copy of the Sistine Madonna hanging upon the wall asks
+the woman who placed it there to realize in herself this glorious type of
+motherhood.
+
+When the admirers of Shakespeare bought the house in which their hero was
+born, they planted in the garden the flowers which the poet loved. Passing
+through the little wicket gate the pilgrim finds himself moving along a
+perfumed path, while to his garments clings the odor of violets and roses,
+sweet peas and buttercups, the columbine and honeysuckle--flowers these,
+whose roots are in earth indeed, but whose beauty is borrowed from heaven.
+From these grounds men have expelled the poison ivy, the deadly nightshade,
+all burdocks and thistles. And the soul is a garden in which truth, purity,
+patience, love, long suffering are qualities whiter than any lily and
+sweeter than any rose, whose perfume never passes, whose beauty does not
+fade. And having succeeded in transforming waste places into centers of
+radiant beauty, man encourages the hope that he can carry his own reason,
+judgment and ambition up to full symmetry and perfection.
+
+What a transformation man has wrought in matter! Nature says, here is a
+lump of mud; man answers, let it become a beautiful vase. Nature says, here
+is a sweet briar; man answers, let it become a rose double and of many
+hues. Nature says, here is a string and a block of wood; man answers, let
+them be a sweet-voiced harp. Nature says, here is a daisy; Burns answers,
+let it become a poem. Nature says, here is a piece of ochre and some iron
+rust; Millet answers, let the colors become an Angelus. Nature says, here
+is reason rude and untaught; man must answer, let the mind become as full
+of thoughts as the sky of stars and more radiant. Nature says, here is a
+rude affection; man must answer, let the heart become as full of love and
+sympathy as the summer is full of ripeness and beauty. Nature says, here is
+a conscience, train it; man should answer, let the conscience be as true to
+Christ and God as a needle to the pole. Marvelous man's skill through the
+fine arts! Wondrous, too, his handicrafts! But no picture ever painted, no
+poem ever perfected, no temple ever builded is comparable for strength and
+beauty to a full-orbed soul, matured through a widely trained reason and a
+sober judgment--mellow in heart and conscience, pervaded throughout with
+the spirit of Jesus Christ, the soul's master and model.
+
+
+
+
+CHANNING'S VISION OF THE BEAUTIFUL LIFE.
+
+
+Among those gifted spirits who have toiled tirelessly to carry the
+individual life up to unity, symmetry and beauty, let us hasten to mention
+the name of Channing. The child of genius, he was gifted with a literary
+style that lent strange fascination to all his speech. But great as he was
+in intellect, his character shone with such splendor as to eclipse his
+genius. He was of goodness all compact.
+
+Early the winds of adversity beat against his little bark. Invalidism and
+misfortune, too, threatened to destroy his career. But bearing up amid all
+misfortune, he slowly wrought out his ideal of life as a fine art.
+Patiently he perfected his dreams. Daily he practiced frugality, honor,
+justice, faith, love and prayer. He met storm with calm; he met provocation
+with patience; he met organized iniquity with faith in God's eternal truth;
+he met ingratitude and enmity with forgiveness and love.
+
+At last he completed his symphony of an ideal life, that he hoped would
+help the youth and maiden to make each day as inspiring as a song, each
+deed as holy as a prayer, each character as perfect as a picture. For he
+felt that the life of child and youth, of patriot and parent should have a
+loveliness beyond that of any flower or landscape, and a majesty not found
+in any cataract or mountain, being clothed also with a beauty that does not
+inhere in Canova's marble and a permanency that is not possessed by Von
+Riles' cathedral, a structure builded of thoughts and hopes and
+aspirations, of tears and prayers, and purposes, whose foundation is
+eternal truth.
+
+
+THE FOUNDATION OF HAPPINESS.
+
+In founding his ideal life upon contentment with small means, Channing
+pleads for simplicity and the return to "plain living and high thinking."
+He would fain double the soul's leisure by halving its wants.
+
+Looking out upon his age, he beheld young men crazed with a mania for
+money. He saw them refusing to cross the college threshold, closing the
+book, neglecting conversation, despising friendship, postponing marriage,
+that they might increase their goods. Yet he remembered that earth's most
+gifted children have been content with small means, achieving their
+greatest triumphs midst comparative poverty.
+
+
+
+
+THE LARGEST WEALTH.
+
+
+The Divine Carpenter and His immortal band dwelt far from luxury. Poor
+indeed were Socrates, the reformer, and Epictetus, the slave, and Virgil,
+the poet. Burns, too, and Wordsworth and Coleridge, with Keats and
+Shelley--all these dwelt midway between poverty and riches. When that young
+English scholar learned that his relatives had willed him a fortune of
+£5,000 he wrote the dying man begging him to abandon his design, saying
+that he already had one servant, and that added care and responsibility
+meant the cutting off of a few minutes for study in the morning and a few
+minutes for reflection at night.
+
+
+A PLEA FOR SIMPLICITY.
+
+Here are our own Hawthorne and Longfellow--"content with small means." Here
+is Emerson resigning his church in Boston and leaving fame behind him, that
+upon the little farm at Concord he might escape the thousand and one
+details that robbed his soul of its simplicity. Here is Thoreau building
+his log cabin by Walden pond, living on forty dollars a year because he saw
+that man was being "destroyed by his unwieldy and overgrown establishment,
+cluttered with much furniture and tripped with his own traps, ruined by
+luxury and heedless expense, whose only hope was in rigid economy and
+Spartan simplicity."
+
+Ours is a world where Cervantes writes Don Quixote living upon three bowls
+of porridge brought by the jailer of the prison. The German philosopher
+asked one cluster of grapes, one glass of milk and a slice of bread twice
+each day. Having completed his philosophy, the old scholar looked back upon
+forty happy years, saying that every fine dinner his friends had given him
+had blunted his brain for one day, while indigestion consumed an amount of
+vital energy that would have sufficed for one page of good writing.
+
+A wise youth will think twice before embarking upon a career involving
+large wealth. Some there are possessed of vast property whose duty it is to
+carry bravely their heavy burden in the interest of society and the
+increase of life's comforts, conveniences and happiness. Yet wise Agur's
+prayer still holds: "Give me neither poverty nor riches." Whittier, on his
+little farm, refusing a princely sum for a lecture, was content with small
+means. Wendell Phillips, preferring the slave and the contempt of Boston's
+merchants and her patrician society, chose to "be worthy, not respectable."
+Some Ruskin, distributing his bonds and stocks and lands to found
+workingmen's clubs, art schools and colleges, that he might have more
+leisure for enriching his imagination and heart, chose to "be wealthy, not
+rich." Needing many forms of wisdom, our age needs none more than the grace
+to "live content with small means, seeking elegance rather than luxury, and
+refinement rather than fashion."
+
+
+
+
+THE WORLD A WHISPERING GALLERY.
+
+
+When the sage counsels us "to listen to stars and birds, to babes and
+sages," he opens to us the secrets of the soul's increase in wisdom and
+happiness. All culture begins with listening. Growth is not through shrewd
+thinking or eloquent speaking, but through accurate seeing and hearing. Our
+world is one vast whispering gallery, yet only those who listen hear "the
+still, small voice" of truth. Putting his ear down to the rocks, the
+listening geologist hears the story of the rocks. Standing under the stars,
+the listening astronomer hears the music of the spheres. Leaving behind the
+din and dirt of the city, Agassiz plunged into the forests of the Amazon,
+and listening to boughs and buds and birds he found out all their secrets.
+
+One of our wisest teachers has said, "The greatest thing a human soul ever
+does in this world, is to see something, and tell what it saw in a plain
+way. Hundreds of people can talk, for one who can think. But thousands can
+think for one who can see; to see clearly is poetry, prophecy and religion
+all in one. Therefore finding the world of literature more or less divided
+into thinkers and seers, I believe we shall find also, that the seers are
+wholly the greater race of the two." For greatness is vision. Opening his
+eyes, Newton sees the planets revolve and finds his fame. Opening his ears,
+Watt hears the movement of steam and finds his fortune. Millet explained
+his fame by saying he copied the colors of the sunset at the moment when
+reapers bow the head in silent prayer. The great bard, too, tells us he
+went apart and listened to find "sermons in stones, and books in the
+running brooks."
+
+
+THE SECRET OF CULTURE.
+
+It is a proverb that pilgrims to foreign lands find only what they take
+with them. Riding over the New England hills near Boston, Lowell spake not
+to his companion, for now he was looking out upon the pageantry of a
+glorious October day, and now he remembered that this was the road forever
+associated with Paul Revere's ride. Reaching the outskirts of Cambridge, he
+roused from his reverie to discover that his silent companion had been
+brooding over bales and barrels, not knowing that this had been one of
+those rare days when October holds an art exhibit, and also oblivious to
+the fact that he had been passing through scenes historic through the valor
+of the brave boy.
+
+Of the four artists copying the same landscape near Chamouni, all saw a
+different scene. To an idler a river means a fish pole, to a heated
+schoolboy a bath; to the man of affairs the stream suggests a turbine
+wheel; while the same stream leads the philosopher to reflect upon the
+influence of great rivers upon cities and civilizations. Coleridge thought
+the bank of his favorite stream was made to lie down upon, but Bunyan,
+beholding the stream through the iron bars of a prison cell, felt the
+breezes of the "Delectable Mountains" cool his fevered cheek, and stooping
+down he wet his parched lips with the river of the waters of life. Nature
+has no message for heedless, inattentive hearers. It is possible for a
+youth to go through life deaf to the sweetest sounds that ever fell over
+Heaven's battlements, and blind to the beauty of landscape and mountain and
+sea and sky. There is no music in the autumn wind until the listener comes.
+There is no order and beauty in the rolling spheres until some Herschel
+stands beneath the stars. There is no fragrance in the violet until the
+lover of flowers bends down above the blossoms.
+
+Listening to stars, Laplace heard the story how fire mists are changed to
+habitable earths, and so became wise toward iron and wood, steel and stone.
+Listening to birds, Cuvier heard the song within the shell and found out
+the life history of all things that creep or swim or fly. Listening to
+babes that have, as Froebel thought, been so recently playmates with
+angels, the philosopher discovered in the teachableness, trust and purity
+of childhood, the secret of individual happiness and progress. Listening to
+sages, the youth of to-day garners into the storehouse of his mind all the
+intellectual treasures of the good and great of past ages. That youth may
+have culture without college who gives heed to Channing's injunction "to
+listen to stars and birds, to babes and sages."
+
+
+
+
+HOW KNOWLEDGE BECOMES WISDOM.
+
+
+When all the caravans of knowledge have gone trooping through the eye-gate
+and the ear-gate into the soul city, Channing reminds us that these
+knowledges must be assorted and assimilated by "studying hard and thinking
+quietly."
+
+If some rich men fill their shelves with books that are never read, some
+poor men fill their memory with facts upon which they never think. The mere
+accumulation of truths about earth and air, about plants and animals and
+men, does not mean culture. Education does not mean stuffing the mind with
+Greek roots, as the husbandman stuffs his granary with vegetables. It is a
+proverb, that no fool is a perfect fool until he can talk Latin. Looking
+out upon land and sea and sky, the educated soul sees all, and appreciates
+all. Culture lends the note of distinction and acquaints the youth with all
+the best that has been said and done. Trying to steal the secret of the
+honey bee, a scientist extracted the sweets of half an acre of blossoms.
+Unfortunately, the vat of liquor proved to be only sweetened water. By its
+secret processes, the bee distills the same liquor into honey. It is
+possible for the youth to sweep into the memory a thousand great facts
+without having distilled one of these honeyed drops named wisdom and
+culture.
+
+In studying the French Revolution Carlyle read five hundred volumes,
+including reports of officers, generals, statesmen, spies, heroes,
+villains. Then, closing all the books, he journeyed into Scotland. In
+solitude he "thought quietly." Having brooded alone for weeks and months,
+one morning he rose to dip his pen in his heart's blood and write his
+French Revolution. In that hour the knowledge that had been in five hundred
+books became the culture distilled into one.
+
+
+THE INFLUENCE OF THE REFLECTIVE MIND.
+
+The youth who plans the life of affairs is in danger of despising the
+brooding that feeds the hidden life. We can never rightly estimate our
+indebtedness to those who have gone apart to "think quietly."
+
+All law and jurisprudence go back to Moses for forty years brooding in an
+empty, voiceless desert upon the principles of eternal justice. All
+astronomy goes back to Ptolemy, who looked out upon a weary waste of sand
+and turned his vision toward a highway paved with stars and suns. Our
+poetry and literature begins with Homer, blind indeed to earthly sights and
+sciences, but who traced with an inner eye, the strifes of gods and men,
+and gave his inner thoughts immortal form and beauty. All modern science
+begins with that scholar who for fifty years was unknown in the forum or
+market-place, for Charles Darwin was "studying hard and thinking quietly"
+in his little garden, where he watched his seeds, earthworms, his beetles
+and doves.
+
+The air of London is so charged with deadly acids that the lime tree alone
+flourishes there, for the reason that it sheds its bark each year, thus
+casting off the defiled garment. But there is a mountain peak in the
+Himalayas so high that it towers beyond the reach of snows and rains, and a
+scientist has said, an open page might there remain unsoiled by dust
+through passing centuries. And to those who "think quietly" it is given to
+rise into the upper air. Dwelling upon the heights, these may look down
+upon all heated centers with their soot and grime, their stacked houses,
+reeking gutters, the din and noise of wheels, the hoarse roar of the
+clashing streets, and in these hours of reverie, the soul marvels that it
+was ever tossed about upon these furious currents of ambition.
+
+Hours there are when Fame whispers, "Joy is not in me." Ambition, worn with
+its fierce fever, whispers, "Joy is not in me." Success confesses, "Joy is
+not in me." In such hours happy the youth who has learned in solitude to go
+apart and find that happiness that "the world can neither give nor take
+away."
+
+
+
+
+THE DISGUISES OF INFERIORITY.
+
+
+And when the soul has gone toward full-orbed splendor and stands forth
+clothed with full manhood the sage condenses the wisdom of a thousand
+volumes into four maxims, "Act frankly, talk gently, await occasions, hurry
+never."
+
+The principle of acting frankly demands truth in the hidden parts, rebukes
+him whose method is "the iron hand in a velvet glove," smites the
+Machiavelian policy of smiling gently while arranging instruments of death.
+In their ignorance shrewd men advise the youth to cloak his keen desire
+beneath an outer indifference. But small men use lying artifices and
+disguises to protect themselves. Conscious of weakness, inferiority fears
+frankness. Great men are as open as glass bee-hives and as transparent as
+the sunbeams, for they are conscious of their enormous reserves. Nature
+permits no flower or fruit to conceal its real self. The violet frankly
+tells its story; the decaying fruit frankly reveals its nature. No flaming
+candle pretends to light while emitting rays of blackness. Victories won by
+concealment are lying victories. All these battles must be fought over
+again. The law of frankness is the law of truth, that is at once the
+foundation of character and crowns the structure with strength and beauty.
+
+Vast issues also are involved in the injunction "to talk gently." Noise is
+weakness. Bluster is inferiority rising into consciousness. The rattle of
+machinery means waste power somewhere. Rushing forward at the rate of
+thousands of miles an hour, the planets are noiseless as sunbeams, because
+they represent power that is harnessed and subdued. Silently the dewdrop
+falls upon some crimson-tipped flower. Yet the electric energy necessary to
+crystallize that drop would hurl a car from Cambridge to Boston. Those
+forces manifest in thunder are nature's weakest forces. Her monarch
+energies work silently in the roots and harvests, or lift, without rattle
+of engine or noise of wheel, countless millions of tons of water from ocean
+into the air. For gentleness is not weakness. Only giants can be gentle.
+Fronting an emergency weakness is agitated, but strength is calm and cool.
+Gentleness is controlled strength. The giant _is_ gentle, because his vast
+energies are restrained, subdued, and wisely used. The test of all great
+work is the ease with which it is done. Scott writes one of his priceless
+chapters before breakfast. Ruskin says Turner finished a whole drawing in a
+morning, before going out to shoot, without strain or struggle. The highest
+eloquence also is not a spasmodic effort, but the quiet manifestation of
+years of preparation. But this easy effort has infinite reserve lying back
+of it. There is a profound philosophy in this injunction, "Talk gently,"
+and act quietly.
+
+
+SUCCESS AND TIMELINESS.
+
+But the strongest man needs to "await occasions." The essence of all good
+work is timeliness. For the right thing done at the wrong time is as bad as
+the wrong thing at any time. Preparing telescopes and instruments of
+photography, the astronomer sails to Africa, and there waits weeks for the
+moment of full eclipse. At last the "occasion" comes. Nature will not be
+hurried. For her finest effects in fruits and flowers, she takes her own
+time. In February the husbandman finds the sun refusing warmth, the clouds
+refusing rain, the soil refusing seed. Therefore he awaits occasions. And
+lo! in May, the sunbeams wax warm, the soil wakens to full ardor, the
+clouds give forth their rain, and the husbandman enters into his
+opportunity.
+
+In his reminiscences General Sherman explains his victorious march to the
+sea by saying that during his college days he spent a summer in Georgia.
+While his companions were occupied with playing cards and foolish talk he
+tramped over the hills, and made a careful map of the country. Years passed
+by. The war came on. Ordered to march upon Atlanta his expert knowledge won
+his victory. Readiness for the occasion brought him to fame and honor.
+To-morrow some jurist, merchant, statesman will die. The youth who is ready
+for the place, will find the mantle falling upon his shoulders. Success is
+readiness for occasions.
+
+But whether waiting or working, man must "hurry never." It is fear that
+makes haste. Confidence is composed. Greatness is tranquillity. Dead
+objects, like bullets, can be hurled swiftly. Living seeds cannot be
+forced. Slowly the acorn goes toward the oak. Slowly the babe journeys
+toward the sage. Slowly and with infinite delays Haydn and Handel moved
+toward their perfect music. Filling barrels with manuscripts and refusing
+to publish, Robert Louis Stevenson attained his exquisite style. Millet
+described his career as ten years of daubing, ten years of drudgery, ten
+years of despair and ten years of liberty and success. Man begins at
+nothing. Life is a school. Duties are drill-masters. Man's faculties are
+complex. Slowly the soul moves toward harmony, symmetry and beauty. He who
+"hurries never" has found the secret of growth, serenity and repose.
+
+
+
+
+STRENGTH BLOSSOMING INTO BEAUTY.
+
+
+If the greatest scientist is he who discerns some law of gravity that
+explains the forward movement of all stars and planets, if the great
+historian is he who unfolds one social principle that governs all nations,
+so he is the greatest moral teacher who discovers some unit idea that
+sweeps all details into one glorious unity, as did Channing when he said,
+"Let the spiritual, unbidden and unconscious, grow up through the common."
+All undefined and indefinable the spiritual glow and beauty that lie upon
+the soul, like the soft bloom upon a ripe peach. What song is to the birds,
+what culture is to the intellect, and eloquence is to the orator, that the
+spiritual is to character. It is the soul made ample in faculty, fertile in
+resource, struck through and through with ripeness, and inflected toward
+Christ's own sympathy, self-sacrifice and love.
+
+The spiritual element also explains the note of distinction in the highest
+life and art. Many of our modern painters have failed, because they have
+been fleshly. Mud shows in the bottom of their eyes. Their pictures are
+indeed so shallow that "a fly could wade through them without wetting its
+feet." Fra Angelico, preparing to paint, entered his closet, expelled every
+evil thought, subdued every unholy ambition, flung away anger and jealousy
+as one would fling away a club or dagger. Then, with face that shone with
+the divine light, upon his knees he painted his angels and seraphs, and the
+spiritual breaking through the common lent a radiant glow and an immortal
+beauty to his priceless pictures.
+
+Certain pictures of Rubens are of "the earth, earthy." In painting them,
+the artist seems to have had no thought save of the flesh tints. The mood
+and soul of Rubens' Venus was nothing--her body everything. Here, beauty is
+only color deep. Paint is everything--spirit nothing. But with the great
+artists in their greatest moods, paint is at best only an incident, and for
+the soul aspirations and ideals as seen in vision hours are everything.
+Hope, faith, love, joy, peace, sympathy, self-sacrifice,
+humility--spiritual qualities these, that shine through the face, and
+transform the life.
+
+
+
+
+LIFE'S CROWNING PERFECTION.
+
+
+Culture can do much, but art, music, books, and travel have their
+limitations. When that brave boy returned from battling with the Black
+Prince, the tenants gathered before his father's castle and presented him
+tokens of love and honor. The farmer brought a golden sheaf, the husbandman
+brought a ripe cluster and a bough of fruit, the goldsmith offered a ring,
+the printer gave a rare book, while children strewed flowers in the way.
+But last of all his father gave the youth the title deeds of his
+inheritance and lent him name and power. Not otherwise the soul enters the
+scene like a conqueror to whom gifts are offered. The library offers a
+book. The lecture hall offers learning. The gallery offers a picture.
+Travel offers experience. But the fine arts, wisdom and culture cannot do
+everything. Culture can beautify the life, lend refinement to reason, lend
+wings to imagination. But God, the soul's father, alone can crown life with
+richness and influence. The secret of strength and beauty is hidden with
+Jesus Christ. What the great thinkers and seers can do for the intellect,
+what the poets can do for imagination, what the heroes can do for
+aspiration and purpose, that and a thousand fold more the Christ can do for
+the soul's life. He alone has mastered the science of right living. He only
+can teach the art of character building. He can lend reason true wisdom. He
+can lend taste true refinement. He can make conscience clear, and will
+invincible. Freeing the soul from sin, He can crown it with supreme beauty.
+He can make life a song, and the soul career a symphony.
+
+
+
+
+Newell Dwight Hillis
+
+
+GREAT BOOKS AS LIFE-TEACHERS
+
+Studies of Character, Real and Ideal.
+
+12mo, cloth, gilt top, $1.50.
+
+
+_Fifteenth Edition_
+
+A MAN'S VALUE TO SOCIETY
+
+Studies in Self-culture and Character.
+
+16mo, cloth, gilt top, $1.25.
+
+
+_Ninth Edition_
+
+THE INVESTMENT OF INFLUENCE
+
+A Study of Social Sympathy and Service.
+
+Uniform with "A Man's Value to Society," $1.25.
+
+
+RIGHT LIVING AS A FINE ART
+
+A Study of the Ideal Character, based upon Channing's "Symphony of
+Life."
+
+12mo, decorated boards, 35 cents, net.
+
+
+_Little Book Series_
+
+FORETOKENS OF IMMORTALITY
+
+Studies for the Hour when the Immortal Hope Burns Low in the Heart.
+
+Long 16mo, decorated cloth, 50 cents.
+
+
+_Quiet Hour Series_
+
+HOW THE INNER LIGHT FAILED
+
+A Study of the Atrophy of the Spiritual Sense, to which is added "How
+the Inner Light Grows."
+
+18mo, cloth, 25 cents.
+
+
+Fleming H. Revell Company
+
+
+
+
+
+End of Project Gutenberg's Right Living as a Fine Art, by Newell Dwight Hillis
+
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+<pre>
+
+Project Gutenberg's Right Living as a Fine Art, by Newell Dwight Hillis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Right Living as a Fine Art
+       A Study of Channing's Symphony as an Outline of the Ideal
+              Life and Character
+
+Author: Newell Dwight Hillis
+
+Release Date: July 10, 2011 [EBook #36695]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK RIGHT LIVING AS A FINE ART ***
+
+
+
+
+Produced by Juliet Sutherland, Alex Gam and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class="imgcenter" style="width: 423px;">
+<img id="coverpage" src="images/cover.jpg" width="423" height="600" alt="" title="" />
+</div>
+
+<h1>RIGHT LIVING AS<br />
+A FINE ART</h1>
+
+<p class="center" style="margin: 2.5em auto;">A Study of Channing's Symphony<br />
+as an Outline of the<br />
+Ideal Life and Character</p>
+
+<p class="center">NEWELL DWIGHT HILLIS</p>
+
+<div class="imgcenter" style="width: 107px;">
+<img src="images/cover_1.jpg" width="107" height="150" alt="" title="" />
+</div>
+
+<p class="center" style="margin: 2.5em auto;">Fleming H. Revell Company<br />
+New York&nbsp;&nbsp;&nbsp;&nbsp;Chicago&nbsp;&nbsp;&nbsp;&nbsp;Toronto<br />
+1903</p>
+
+<p class="center">COPYRIGHTED 1898-1899 BY<br />
+FLEMING H. REVELL COMPANY.</p>
+
+
+<h2>Contents</h2>
+
+<p class="center italic"><a href="#Chapter_One">ONE</a></p>
+<p class="center smcap">A Study of Channing's "Symphony" as an<br />
+Outline of the Ideal Life and Character</p>
+
+<p class="center italic"><a href="#Chapter_Two">TWO</a></p>
+<p class="center smcap">Channing's Vision of the Beautiful Life</p>
+
+<p class="center italic"><a href="#Chapter_Three">THREE</a></p>
+<p class="center smcap">The Largest Wealth</p>
+
+<p class="center italic"><a href="#Chapter_Four">FOUR</a></p>
+<p class="center smcap">The World a Whispering Gallery</p>
+
+<p class="center italic"><a href="#Chapter_Five">FIVE</a></p>
+<p class="center smcap">How Knowledge Becomes Wisdom</p>
+
+<p class="center italic"><a href="#Chapter_Six">SIX</a></p>
+<p class="center smcap">The Disguises of Inferiority</p>
+
+<p class="center italic"><a href="#Chapter_Seven">SEVEN</a></p>
+<p class="center smcap">Strength Blossoming into Beauty</p>
+
+<p class="center italic"><a href="#Chapter_Eight">EIGHT</a></p>
+<p class="center smcap">Life's Crowning Perfection</p>
+
+<p style="margin-top: 4em;">"<i>And let the beauty of the Lord our God be upon us; and establish
+thou the work of our hands upon us; yea, the work of our hands establish
+thou it.</i>"</p>
+
+<p class="right"><i>Psalm xc: 17.</i></p>
+
+<hr />
+
+<h2>MY SYMPHONY.</h2>
+
+<p>To live content with small means; to seek elegance rather than luxury,
+and refinement rather than fashion; to be worthy, not respectable, and
+wealthy, not rich; to listen to stars and birds, babes and sages with open
+heart; to study hard; to think quietly, act frankly, talk gently, await
+occasions, hurry never; in a word, to let the spiritual, unbidden and
+unconscious, grow up through the common&mdash;this is my symphony.</p>
+
+<p class="right smcap">William Henry Channing.</p>
+
+<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
+
+<h2><a name="Chapter_One">A STUDY OF CHANNING'S "SYMPHONY" AS AN OUTLINE OF THE IDEAL LIFE AND
+CHARACTER.</a></h2>
+
+<div>
+<img class="drop-cap" src="images/illus07.jpg" width="150" height="149" alt="T" title="" />
+</div>
+
+<p class="drop-cap">To the revival of learning in the fourteenth century, to the revival of
+religion in the sixteenth, and the revival of liberty in the eighteenth
+century must now be added the revival of the beautiful in this new era for
+art. In former ages man was content if his house was dry, his coat was
+warm, his tool strong. But now has come an era when man's house must have
+beautiful walls, when woman's dress must have harmonious hues, when the
+speaker's truth must be clothed in words of beauty;
+
+<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>
+
+while in religion if the worshiper once was content with a harsh hymn, now
+man best loves the song that has a beautiful sentiment and a sweet tune.
+Always the useful had a cash value. Now beauty has become a commodity.
+To-day, to hold his place, the artisan must become an artist. The era of
+ugliness, with its clumsy tools and ungainly garments, has gone forever. No
+longer content with lending strength to coat or chair or car, manufacturers
+now vie with one another in a struggle to make the garment take on lines of
+grace, and colors soft and beautiful. Society seems to be standing upon the
+threshold of the greatest art movement in history. Best of all this,
+revival of the beautiful promises to be a permanent social possession.</p>
+
+<p>Very brief and fitful that first art epoch when Phidias polished
+statues, the very
+
+<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+
+fragments of which are the despair of modern sculptors. All too short also
+that era when Raphael and Botticelli brought the canvas into what seemed
+the zenith of its perfection. It was as if the vestal virgin of beauty had
+drawn near to fan the flickering light into a fierce flame only to allow it
+quickly to die out again. But if other art epochs have been soon followed
+by eras of ugliness and tyranny, it was because formerly the patrician
+class alone was interested in the beautiful. In that far-off time, Pericles
+had his palace and Athens her temple, but the common people dwelt in mud
+huts, wore coats of sheepskin, and slept on beds of straw. The beauty that
+was manifest in pictures, marbles, rich textures, bronzes, belonged
+exclusively to the cathedral or the palace.</p>
+
+<p>Now has come an era when art is diffused. Beauty is sprinkled all over
+the
+
+<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+
+instruments of dining-room, parlor and library. It is organized into
+textures of cotton, wool and silk. Even in the poor man's cottage blossoms
+break forth upon floor and walls, while vines festoon the humblest door.
+Once, at great expense, a baron in France or Germany would send an artist
+into Italy to copy some masterpiece of Titian or Tintoretto. Now modern
+photography makes it possible for the poorest laborer to look upon the
+semblance of great pictures, statues, cathedrals,
+landscapes&mdash;treasures these once beyond the wealth of princes. Having
+made tools, books, travel, home, religion to be life-teachers, God has now
+ordained the beautiful as an apostle of the higher Christian life.</p>
+
+<p>Recognizing the hand of God in every upward movement of society, we
+explain this new enthusiasm for art upon the
+
+<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+
+principle that beauty is the outer sign of an inner perfection. Oft with
+lying skill men veneer the plaster pillar with slabs of marble, and hide
+soft wood with strips of mahogany. But beauty is no outer veneer. When
+ripeness enters the fruit within a soft bloom steals over the peach
+without. When every drop of blood in the veins is pure a beauteous flush
+overcasts the young girl's cheek. When summer hath lent ripeness to the
+harvests God casts a golden hue over the sheaf and lends a crimson flush to
+the autumn leaves. For beauty is ripeness, maturity and strength. Therefore
+when the seer says, "God maketh everything beautiful in its time," he
+indicates that God's handiwork is perfect work. When some Wordsworth or
+Emerson leaves behind men's clumsy creations and enters the fields where
+God's workmanship abounds, the poet finds the ground "spotted with
+
+<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+
+fire and gold in tints of flowers"; he finds the trees hung with festooned
+vines; finds the forests uniting their branches in cathedral arches; finds
+the winds making music down the long, leafy aisles; finds the birds pouring
+forth notes in choiring anthems, while the very clouds rise like golden
+incense toward an unseen throne. Though the traveler journey far, he shall
+find no bud, no bough, no landscape or mountain or ocean, that is not
+overcast with bloom and beauty.</p>
+
+<p>We are not surprised therefore when we see that as man's arts and
+industries go toward perfection they go toward beauty. Carry the coarse
+flax up toward beauty and it becomes strong cloth. Carry the cocoon of a
+worm up to beauty and it becomes a soft silken robe. Carry rude Attic
+speech up to beauty and it becomes the language of Homer or Hesiod.
+
+<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>
+
+Carry the strange face or form tatooed upon the arm of the savage up to
+beauty and it becomes a Madonna or a Transfiguration. Carry a stone altar
+and a smoking sacrifice up to beauty and it becomes a Cologne cathedral or
+a Westminster Abbey. Indeed, historians might use the beautiful as the
+touchstone of human progress. The old milestones of growth were metals.
+First came the age when arrows were tipped with flint. Then came the iron
+age, when the spear had a metal point. The bronze age followed, lending
+flexibility to ore hitherto unyielding. Later came the steel age, when
+weapons that bruised gave place to the keen edge that cuts. Perhaps the
+divinity chat represents our era will stand forth plated with oxide of
+silver.</p>
+
+<p>But his ideas of beauty would measure man's progress quite as
+accurately. In
+
+<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
+
+that first rude age beauty was external. Man twisted gay feathers into his
+hair, painted his cheeks red or yellow, wore rings of bright shells about
+his neck. But our age is high because beauty has ceased to be mere personal
+adornment. Man now seeks to make his books beautiful for the intellect, his
+library and gallery beautiful for taste and imagination, his temple
+beautiful for worship, his home beautiful in the interest of the heart, his
+song and prayer not simply true, but beautiful with praise to the unseen
+God. If in rude ages beauty was associated with physical elements, the
+glory of our era is that beauty, unfolding from century to century, is now
+increasingly associated with those moral qualities that lend remembrance to
+mother and martyr, to hero and patriot and saint.</p>
+
+<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg
+17]</a></span></p>
+
+<p>To-day, fortunately for society, this world-wide interest in art is
+becoming spiritualized. From beautiful objects men are passing to beautiful
+thoughts and deeds. We begin to hear much of the art of right living and
+the science of character building. Having lent charm and value to column
+and canvas, to marble and masterpiece, beauty now moves on to lend
+loveliness to mind and heart. For it seems an incongruous thing for man to
+adorn his cottage, lend charm to its walls and windows, make its ceilings
+to be like the floor of heaven for beauty, while within his heart he
+cherishes groveling littleness, slimy sin, light-winged evasions, brutal
+passions. He whose body rides in a palace car must not carry a soul that is
+like unto a savage. Having lingered long before the portrait of Antigone or
+Cordelia, the young girl finds herself pledged to turn that ideal into life
+and character.
+
+<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
+
+The copy of the Sistine Madonna hanging upon the wall asks the woman who
+placed it there to realize in herself this glorious type of motherhood.</p>
+
+<p>When the admirers of Shakespeare bought the house in which their hero
+was born, they planted in the garden the flowers which the poet loved.
+Passing through the little wicket gate the pilgrim finds himself moving
+along a perfumed path, while to his garments clings the odor of violets and
+roses, sweet peas and buttercups, the columbine and
+honeysuckle&mdash;flowers these, whose roots are in earth indeed, but whose
+beauty is borrowed from heaven. From these grounds men have expelled the
+poison ivy, the deadly nightshade, all burdocks and thistles. And the soul
+is a garden in which truth, purity, patience, love, long suffering are
+qualities whiter than
+
+<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+
+any lily and sweeter than any rose, whose perfume never passes, whose
+beauty does not fade. And having succeeded in transforming waste places
+into centers of radiant beauty, man encourages the hope that he can carry
+his own reason, judgment and ambition up to full symmetry and
+perfection.</p>
+
+<p>What a transformation man has wrought in matter! Nature says, here is a
+lump of mud; man answers, let it become a beautiful vase. Nature says, here
+is a sweet briar; man answers, let it become a rose double and of many
+hues. Nature says, here is a string and a block of wood; man answers, let
+them be a sweet-voiced harp. Nature says, here is a daisy; Burns answers,
+let it become a poem. Nature says, here is a piece of ochre and some iron
+rust; Millet answers, let the colors become an Angelus. Nature says, here
+is
+
+<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+
+reason rude and untaught; man must answer, let the mind become as full of
+thoughts as the sky of stars and more radiant. Nature says, here is a rude
+affection; man must answer, let the heart become as full of love and
+sympathy as the summer is full of ripeness and beauty. Nature says, here is
+a conscience, train it; man should answer, let the conscience be as true to
+Christ and God as a needle to the pole. Marvelous man's skill through the
+fine arts! Wondrous, too, his handicrafts! But no picture ever painted, no
+poem ever perfected, no temple ever builded is comparable for strength and
+beauty to a full-orbed soul, matured through a widely trained reason and a
+sober judgment&mdash;mellow in heart and conscience, pervaded throughout
+with the spirit of Jesus Christ, the soul's master and model.</p>
+
+
+<hr />
+
+<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+
+<h2><a name="Chapter_Two">CHANNING'S VISION OF THE BEAUTIFUL LIFE.</a></h2>
+
+<div>
+<img class="drop-cap" src="images/illus19.jpg" width="150" height="147" alt="A" title="" />
+</div>
+
+<p class="drop-cap">Among those gifted spirits who have toiled tirelessly to carry the
+individual life up to unity, symmetry and beauty, let us hasten to mention
+the name of Channing. The child of genius, he was gifted with a literary
+style that lent strange fascination to all his speech. But great as he was
+in intellect, his character shone with such splendor as to eclipse his
+genius. He was of goodness all compact.</p>
+
+<p>Early the winds of adversity beat against his little bark. Invalidism
+and misfortune, too, threatened to destroy his career. But
+
+<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+
+bearing up amid all misfortune, he slowly wrought out his ideal of life as
+a fine art. Patiently he perfected his dreams. Daily he practiced
+frugality, honor, justice, faith, love and prayer. He met storm with calm;
+he met provocation with patience; he met organized iniquity with faith in
+God's eternal truth; he met ingratitude and enmity with forgiveness and
+love.</p>
+
+<p>At last he completed his symphony of an ideal life, that he hoped would
+help the youth and maiden to make each day as inspiring as a song, each
+deed as holy as a prayer, each character as perfect as a picture. For he
+felt that the life of child and youth, of patriot and parent should have a
+loveliness beyond that of any flower or landscape, and a majesty not found
+in any cataract or mountain, being clothed also with a beauty that does not
+
+<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+
+inhere in Canova's marble and a permanency that is not possessed by Von
+Riles' cathedral, a structure builded of thoughts and hopes and
+aspirations, of tears and prayers, and purposes, whose foundation is
+eternal truth.</p>
+
+<h3>THE FOUNDATION OF HAPPINESS.</h3>
+
+<p>In founding his ideal life upon contentment with small means, Channing
+pleads for simplicity and the return to "plain living and high thinking."
+He would fain double the soul's leisure by halving its wants.</p>
+
+<p>Looking out upon his age, he beheld young men crazed with a mania for
+money. He saw them refusing to cross the college threshold, closing the
+book, neglecting conversation, despising friendship, postponing marriage,
+that they might increase their goods. Yet he remembered
+
+<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+
+that earth's most gifted children have been content with small means,
+achieving their greatest triumphs midst comparative poverty.</p>
+
+<hr />
+
+<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+
+<h2><a name="Chapter_Three">THE LARGEST WEALTH.</a></h2>
+
+<div>
+<img class="drop-cap" src="images/illus23.jpg" width="150" height="145" alt="T" title="" />
+</div>
+
+<p class="drop-cap">The Divine Carpenter and His immortal band dwelt far from luxury. Poor
+indeed were Socrates, the reformer, and Epictetus, the slave, and Virgil,
+the poet. Burns, too, and Wordsworth and Coleridge, with Keats and
+Shelley&mdash;all these dwelt midway between poverty and riches. When that
+young English scholar learned that his relatives had willed him a fortune
+of £5,000 he wrote the dying man begging him to abandon his design, saying
+that he already had one servant, and that added care and responsibility
+meant the
+
+<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+
+cutting off of a few minutes for study in the morning and a few minutes for
+reflection at night.</p>
+
+<h3>A PLEA FOR SIMPLICITY.</h3>
+
+<p>Here are our own Hawthorne and Longfellow&mdash;"content with small
+means." Here is Emerson resigning his church in Boston and leaving fame
+behind him, that upon the little farm at Concord he might escape the
+thousand and one details that robbed his soul of its simplicity. Here is
+Thoreau building his log cabin by Walden pond, living on forty dollars a
+year because he saw that man was being "destroyed by his unwieldy and
+overgrown establishment, cluttered with much furniture and tripped with his
+own traps, ruined by luxury and heedless expense, whose only hope was in
+rigid economy and Spartan simplicity."</p>
+
+<p>Ours is a world where Cervantes writes
+
+<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>
+
+Don Quixote living upon three bowls of porridge brought by the jailer of
+the prison. The German philosopher asked one cluster of grapes, one glass
+of milk and a slice of bread twice each day. Having completed his
+philosophy, the old scholar looked back upon forty happy years, saying that
+every fine dinner his friends had given him had blunted his brain for one
+day, while indigestion consumed an amount of vital energy that would have
+sufficed for one page of good writing.</p>
+
+<p>A wise youth will think twice before embarking upon a career involving
+large wealth. Some there are possessed of vast property whose duty it is to
+carry bravely their heavy burden in the interest of society and the
+increase of life's comforts, conveniences and happiness. Yet wise Agur's
+prayer still holds: "Give me
+
+<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span>
+
+neither poverty nor riches." Whittier, on his little farm, refusing a
+princely sum for a lecture, was content with small means. Wendell Phillips,
+preferring the slave and the contempt of Boston's merchants and her
+patrician society, chose to "be worthy, not respectable." Some Ruskin,
+distributing his bonds and stocks and lands to found workingmen's clubs,
+art schools and colleges, that he might have more leisure for enriching his
+imagination and heart, chose to "be wealthy, not rich." Needing many forms
+of wisdom, our age needs none more than the grace to "live content with
+small means, seeking elegance rather than luxury, and refinement rather
+than fashion."</p>
+
+
+<hr />
+
+<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+
+<h2><a name="Chapter_Four">THE WORLD A WHISPERING GALLERY.</a></h2>
+
+<div>
+<img class="drop-cap" src="images/illus27.jpg" width="150" height="150" alt="W" title="" />
+</div>
+
+<p class="drop-cap drop-wide">When the sage counsels us "to listen to stars and birds, to babes and
+sages," he opens to us the secrets of the soul's increase in wisdom and
+happiness. All culture begins with listening. Growth is not through shrewd
+thinking or eloquent speaking, but through accurate seeing and hearing. Our
+world is one vast whispering gallery, yet only those who listen hear "the
+still, small voice" of truth. Putting his ear down to the rocks, the
+listening geologist hears the story of the rocks. Standing under the stars,
+the listening astronomer hears the music of
+
+<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>
+
+the spheres. Leaving behind the din and dirt of the city, Agassiz plunged
+into the forests of the Amazon, and listening to boughs and buds and birds
+he found out all their secrets.</p>
+
+<p>One of our wisest teachers has said, "The greatest thing a human soul
+ever does in this world, is to see something, and tell what it saw in a
+plain way. Hundreds of people can talk, for one who can think. But
+thousands can think for one who can see; to see clearly is poetry, prophecy
+and religion all in one. Therefore finding the world of literature more or
+less divided into thinkers and seers, I believe we shall find also, that
+the seers are wholly the greater race of the two." For greatness is vision.
+Opening his eyes, Newton sees the planets revolve and finds his fame.
+Opening his ears, Watt hears the movement of steam and finds his fortune.
+
+<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+
+Millet explained his fame by saying he copied the colors of the sunset at
+the moment when reapers bow the head in silent prayer. The great bard, too,
+tells us he went apart and listened to find "sermons in stones, and books
+in the running brooks."</p>
+
+<h3>THE SECRET OF CULTURE.</h3>
+
+<p>It is a proverb that pilgrims to foreign lands find only what they take
+with them. Riding over the New England hills near Boston, Lowell spake not
+to his companion, for now he was looking out upon the pageantry of a
+glorious October day, and now he remembered that this was the road forever
+associated with Paul Revere's ride. Reaching the outskirts of Cambridge, he
+roused from his reverie to discover that his silent companion had been
+brooding over bales and barrels, not knowing that this had been
+
+<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+
+one of those rare days when October holds an art exhibit, and also
+oblivious to the fact that he had been passing through scenes historic
+through the valor of the brave boy.</p>
+
+<p>Of the four artists copying the same landscape near Chamouni, all saw a
+different scene. To an idler a river means a fish pole, to a heated
+schoolboy a bath; to the man of affairs the stream suggests a turbine
+wheel; while the same stream leads the philosopher to reflect upon the
+influence of great rivers upon cities and civilizations. Coleridge thought
+the bank of his favorite stream was made to lie down upon, but Bunyan,
+beholding the stream through the iron bars of a prison cell, felt the
+breezes of the "Delectable Mountains" cool his fevered cheek, and stooping
+down he wet his parched lips with the river of the waters of life. Nature
+
+<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+
+has no message for heedless, inattentive hearers. It is possible for a
+youth to go through life deaf to the sweetest sounds that ever fell over
+Heaven's battlements, and blind to the beauty of landscape and mountain and
+sea and sky. There is no music in the autumn wind until the listener comes.
+There is no order and beauty in the rolling spheres until some Herschel
+stands beneath the stars. There is no fragrance in the violet until the
+lover of flowers bends down above the blossoms.</p>
+
+<p>Listening to stars, Laplace heard the story how fire mists are changed
+to habitable earths, and so became wise toward iron and wood, steel and
+stone. Listening to birds, Cuvier heard the song within the shell and found
+out the life history of all things that creep or swim or fly. Listening to
+babes that have, as Froebel thought, been so recently playmates with
+
+<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+
+angels, the philosopher discovered in the teachableness, trust and purity
+of childhood, the secret of individual happiness and progress. Listening to
+sages, the youth of to-day garners into the storehouse of his mind all the
+intellectual treasures of the good and great of past ages. That youth may
+have culture without college who gives heed to Channing's injunction "to
+listen to stars and birds, to babes and sages."</p>
+
+
+<hr />
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
+
+<h2><a name="Chapter_Five">HOW KNOWLEDGE BECOMES WISDOM.</a></h2>
+
+<div>
+<img class="drop-cap" src="images/illus33.jpg" width="150" height="151" alt="W" title="" />
+</div>
+
+<p class="drop-cap drop-wide">When all the caravans of knowledge have gone trooping through the
+eye-gate and the ear-gate into the soul city, Channing reminds us that
+these knowledges must be assorted and assimilated by "studying hard and
+thinking quietly."</p>
+
+<p>If some rich men fill their shelves with books that are never read, some
+poor men fill their memory with facts upon which they never think. The mere
+accumulation of truths about earth and air, about plants and animals and
+men, does not mean culture. Education does not
+
+<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+
+mean stuffing the mind with Greek roots, as the husbandman stuffs his
+granary with vegetables. It is a proverb, that no fool is a perfect fool
+until he can talk Latin. Looking out upon land and sea and sky, the
+educated soul sees all, and appreciates all. Culture lends the note of
+distinction and acquaints the youth with all the best that has been said
+and done. Trying to steal the secret of the honey bee, a scientist
+extracted the sweets of half an acre of blossoms. Unfortunately, the vat of
+liquor proved to be only sweetened water. By its secret processes, the bee
+distills the same liquor into honey. It is possible for the youth to sweep
+into the memory a thousand great facts without having distilled one of
+these honeyed drops named wisdom and culture.</p>
+
+<p>In studying the French Revolution Carlyle read five hundred volumes,
+including
+
+<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+
+reports of officers, generals, statesmen, spies, heroes, villains. Then,
+closing all the books, he journeyed into Scotland. In solitude he "thought
+quietly." Having brooded alone for weeks and months, one morning he rose to
+dip his pen in his heart's blood and write his French Revolution. In that
+hour the knowledge that had been in five hundred books became the culture
+distilled into one.</p>
+
+<h3>THE INFLUENCE OF THE REFLECTIVE MIND.</h3>
+
+<p>The youth who plans the life of affairs is in danger of despising the
+brooding that feeds the hidden life. We can never rightly estimate our
+indebtedness to those who have gone apart to "think quietly."</p>
+
+<p>All law and jurisprudence go back to Moses for forty years brooding in
+an empty, voiceless desert upon the principles
+
+<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+
+of eternal justice. All astronomy goes back to Ptolemy, who looked out upon
+a weary waste of sand and turned his vision toward a highway paved with
+stars and suns. Our poetry and literature begins with Homer, blind indeed
+to earthly sights and sciences, but who traced with an inner eye, the
+strifes of gods and men, and gave his inner thoughts immortal form and
+beauty. All modern science begins with that scholar who for fifty years was
+unknown in the forum or market-place, for Charles Darwin was "studying hard
+and thinking quietly" in his little garden, where he watched his seeds,
+earthworms, his beetles and doves.</p>
+
+<p>The air of London is so charged with deadly acids that the lime tree
+alone flourishes there, for the reason that it sheds its bark each year,
+thus casting off the defiled garment. But there is a mountain peak in the
+Himalayas so high that it
+
+<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>
+
+towers beyond the reach of snows and rains, and a scientist has said, an
+open page might there remain unsoiled by dust through passing centuries.
+And to those who "think quietly" it is given to rise into the upper air.
+Dwelling upon the heights, these may look down upon all heated centers with
+their soot and grime, their stacked houses, reeking gutters, the din and
+noise of wheels, the hoarse roar of the clashing streets, and in these
+hours of reverie, the soul marvels that it was ever tossed about upon these
+furious currents of ambition.</p>
+
+<p>Hours there are when Fame whispers, "Joy is not in me." Ambition, worn
+with its fierce fever, whispers, "Joy is not in me." Success confesses,
+"Joy is not in me." In such hours happy the youth who has learned in
+solitude to go apart and find that happiness that "the world can neither
+give nor take away."</p>
+
+
+<hr />
+
+<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
+
+<h2><a name="Chapter_Six">THE DISGUISES OF INFERIORITY.</a></h2>
+
+<div>
+<img class="drop-cap" src="images/illus38.jpg" width="150" height="150" alt="A" title="" />
+</div>
+
+<p class="drop-cap">And when the soul has gone toward full-orbed splendor and stands forth
+clothed with full manhood the sage condenses the wisdom of a thousand
+volumes into four maxims, "Act frankly, talk gently, await occasions, hurry
+never."</p>
+
+<p>The principle of acting frankly demands truth in the hidden parts,
+rebukes him whose method is "the iron hand in a velvet glove," smites the
+Machiavelian policy of smiling gently while arranging instruments of death.
+In their ignorance shrewd men advise the youth to cloak his
+
+<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>
+
+keen desire beneath an outer indifference. But small men use lying
+artifices and disguises to protect themselves. Conscious of weakness,
+inferiority fears frankness. Great men are as open as glass bee-hives and
+as transparent as the sunbeams, for they are conscious of their enormous
+reserves. Nature permits no flower or fruit to conceal its real self. The
+violet frankly tells its story; the decaying fruit frankly reveals its
+nature. No flaming candle pretends to light while emitting rays of
+blackness. Victories won by concealment are lying victories. All these
+battles must be fought over again. The law of frankness is the law of
+truth, that is at once the foundation of character and crowns the structure
+with strength and beauty.</p>
+
+<p>Vast issues also are involved in the injunction "to talk gently." Noise
+is weakness.
+
+<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+
+Bluster is inferiority rising into consciousness. The rattle of machinery
+means waste power somewhere. Rushing forward at the rate of thousands of
+miles an hour, the planets are noiseless as sunbeams, because they
+represent power that is harnessed and subdued. Silently the dewdrop falls
+upon some crimson-tipped flower. Yet the electric energy necessary to
+crystallize that drop would hurl a car from Cambridge to Boston. Those
+forces manifest in thunder are nature's weakest forces. Her monarch
+energies work silently in the roots and harvests, or lift, without rattle
+of engine or noise of wheel, countless millions of tons of water from ocean
+into the air. For gentleness is not weakness. Only giants can be gentle.
+Fronting an emergency weakness is agitated, but strength is calm and cool.
+Gentleness is controlled strength. The giant <em>is</em> gentle, because
+his vast
+
+<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>
+
+energies are restrained, subdued, and wisely used. The test of all great
+work is the ease with which it is done. Scott writes one of his priceless
+chapters before breakfast. Ruskin says Turner finished a whole drawing in a
+morning, before going out to shoot, without strain or struggle. The highest
+eloquence also is not a spasmodic effort, but the quiet manifestation of
+years of preparation. But this easy effort has infinite reserve lying back
+of it. There is a profound philosophy in this injunction, "Talk gently,"
+and act quietly.</p>
+
+<h3>SUCCESS AND TIMELINESS.</h3>
+
+<p>But the strongest man needs to "await occasions." The essence of all
+good work is timeliness. For the right thing done at the wrong time is as
+bad as the wrong thing at any time. Preparing telescopes and instruments of
+photography, the astronomer
+
+<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+
+sails to Africa, and there waits weeks for the moment of full eclipse. At
+last the "occasion" comes. Nature will not be hurried. For her finest
+effects in fruits and flowers, she takes her own time. In February the
+husbandman finds the sun refusing warmth, the clouds refusing rain, the
+soil refusing seed. Therefore he awaits occasions. And lo! in May, the
+sunbeams wax warm, the soil wakens to full ardor, the clouds give forth
+their rain, and the husbandman enters into his opportunity.</p>
+
+<p>In his reminiscences General Sherman explains his victorious march to
+the sea by saying that during his college days he spent a summer in
+Georgia. While his companions were occupied with playing cards and foolish
+talk he tramped over the hills, and made a careful map of the country.
+Years passed by. The war
+
+<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>
+
+came on. Ordered to march upon Atlanta his expert knowledge won his
+victory. Readiness for the occasion brought him to fame and honor.
+To-morrow some jurist, merchant, statesman will die. The youth who is ready
+for the place, will find the mantle falling upon his shoulders. Success is
+readiness for occasions.</p>
+
+<p>But whether waiting or working, man must "hurry never." It is fear that
+makes haste. Confidence is composed. Greatness is tranquillity. Dead
+objects, like bullets, can be hurled swiftly. Living seeds cannot be
+forced. Slowly the acorn goes toward the oak. Slowly the babe journeys
+toward the sage. Slowly and with infinite delays Haydn and Handel moved
+toward their perfect music. Filling barrels with manuscripts and refusing
+to publish, Robert Louis Stevenson attained his exquisite style. Millet
+described
+
+<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>
+
+his career as ten years of daubing, ten years of drudgery, ten years of
+despair and ten years of liberty and success. Man begins at nothing. Life
+is a school. Duties are drill-masters. Man's faculties are complex. Slowly
+the soul moves toward harmony, symmetry and beauty. He who "hurries never"
+has found the secret of growth, serenity and repose.</p>
+
+
+<hr />
+
+<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
+
+<h2><a name="Chapter_Seven">STRENGTH BLOSSOMING INTO BEAUTY.</a></h2>
+
+<div>
+<img class="drop-cap" src="images/illus45.jpg" width="150" height="151" alt="I" title="" />
+</div>
+
+<p class="drop-cap drop-narrow">If the greatest scientist is he who discerns some law of gravity that
+explains the forward movement of all stars and planets, if the great
+historian is he who unfolds one social principle that governs all nations,
+so he is the greatest moral teacher who discovers some unit idea that
+sweeps all details into one glorious unity, as did Channing when he said,
+"Let the spiritual, unbidden and unconscious, grow up through the common."
+All undefined and indefinable the spiritual glow and beauty that lie upon
+the soul, like the
+
+<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>
+
+soft bloom upon a ripe peach. What song is to the birds, what culture is to
+the intellect, and eloquence is to the orator, that the spiritual is to
+character. It is the soul made ample in faculty, fertile in resource,
+struck through and through with ripeness, and inflected toward Christ's own
+sympathy, self-sacrifice and love.</p>
+
+<p>The spiritual element also explains the note of distinction in the
+highest life and art. Many of our modern painters have failed, because they
+have been fleshly. Mud shows in the bottom of their eyes. Their pictures
+are indeed so shallow that "a fly could wade through them without wetting
+its feet." Fra Angelico, preparing to paint, entered his closet, expelled
+every evil thought, subdued every unholy ambition, flung away anger and
+jealousy as one would fling away a club or dagger. Then,
+
+<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>
+
+with face that shone with the divine light, upon his knees he painted his
+angels and seraphs, and the spiritual breaking through the common lent a
+radiant glow and an immortal beauty to his priceless pictures.</p>
+
+<p>Certain pictures of Rubens are of "the earth, earthy." In painting them,
+the artist seems to have had no thought save of the flesh tints. The mood
+and soul of Rubens' Venus was nothing&mdash;her body everything. Here,
+beauty is only color deep. Paint is everything&mdash;spirit nothing. But
+with the great artists in their greatest moods, paint is at best only an
+incident, and for the soul aspirations and ideals as seen in vision hours
+are everything. Hope, faith, love, joy, peace, sympathy, self-sacrifice,
+humility&mdash;spiritual qualities these, that shine through the face, and
+transform the life.</p>
+
+
+<hr />
+
+<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span></p>
+
+<h2><a name="Chapter_Eight">LIFE'S CROWNING PERFECTION.</a></h2>
+
+<div>
+<img class="drop-cap" src="images/illus48.jpg" width="150" height="151" alt="C" title="" />
+</div>
+
+<p class="drop-cap">Culture can do much, but art, music, books, and travel have their
+limitations. When that brave boy returned from battling with the Black
+Prince, the tenants gathered before his father's castle and presented him
+tokens of love and honor. The farmer brought a golden sheaf, the husbandman
+brought a ripe cluster and a bough of fruit, the goldsmith offered a ring,
+the printer gave a rare book, while children strewed flowers in the way.
+But last of all his father gave the youth the
+
+<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span>
+
+title deeds of his inheritance and lent him name and power. Not otherwise
+the soul enters the scene like a conqueror to whom gifts are offered. The
+library offers a book. The lecture hall offers learning. The gallery offers
+a picture. Travel offers experience. But the fine arts, wisdom and culture
+cannot do everything. Culture can beautify the life, lend refinement to
+reason, lend wings to imagination. But God, the soul's father, alone can
+crown life with richness and influence. The secret of strength and beauty
+is hidden with Jesus Christ. What the great thinkers and seers can do for
+the intellect, what the poets can do for imagination, what the heroes can
+do for aspiration and purpose, that and a thousand fold more the Christ can
+do for the soul's life. He alone has mastered the science of right living.
+He only can teach the art of character building. He can lend reason true
+
+<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+
+wisdom. He can lend taste true refinement. He can make conscience clear,
+and will invincible. Freeing the soul from sin, He can crown it with
+supreme beauty. He can make life a song, and the soul career a
+symphony.</p>
+
+<hr />
+
+<h2>Newell Dwight Hillis</h2>
+
+<p class="book-title">Great books as life-teachers</p>
+
+<p class="center">Studies of Character, Real and Ideal.<br />
+12mo, cloth, gilt top, $1.50.</p>
+
+<p class="center italic">Fifteenth Edition</p>
+
+
+<p class="book-title">A man's value to society</p>
+
+<p class="center">Studies in Self-culture and Character.<br />
+16mo, cloth, gilt top, $1.25.</p>
+
+<p class="center italic">Ninth Edition</p>
+
+
+<p class="book-title">The investment of influence</p>
+
+<p class="center">A Study of Social Sympathy and Service.<br />
+Uniform with "A Man's Value to Society," $1.25.</p>
+
+
+<p class="book-title">Right living as a fine art</p>
+
+<p class="center">A Study of the Ideal Character, based upon<br />
+Channing's "Symphony of Life."<br />
+12mo, decorated boards, 35 cents, net.</p>
+
+
+<p class="series">Little Book Series</p>
+
+<p class="book-title">Foretokens of immortality</p>
+
+<p class="center">Studies for the Hour when the Immortal Hope<br />
+Burns Low in the Heart.<br />
+Long 16mo, decorated cloth, 50 cents.</p>
+
+
+<p class="series">Quiet Hour Series</p>
+
+<p class="book-title">How the inner light failed</p>
+
+<p class="center">A Study of the Atrophy of the Spiritual Sense,<br />
+to which is added "How the Inner Light Grows."<br />
+18mo, cloth, 25 cents.</p>
+
+<p class="center" style="font-size: large; font-weight: bold; margin-top: 2em;">Fleming H. Revell Company</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Right Living as a Fine Art, by Newell Dwight Hillis
+
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+</pre>
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+Project Gutenberg's Right Living as a Fine Art, by Newell Dwight Hillis
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Right Living as a Fine Art
+       A Study of Channing's Symphony as an Outline of the Ideal
+       Life and Character
+
+Author: Newell Dwight Hillis
+
+Release Date: July 10, 2011 [EBook #36695]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK RIGHT LIVING AS A FINE ART ***
+
+
+
+
+Produced by Juliet Sutherland, Alex Gam and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  _RIGHT LIVING AS
+  A FINE ART_
+
+  A Study of Channing's Symphony
+  as an Outline of the
+  Ideal Life and Character
+
+  NEWELL DWIGHT HILLIS
+
+  [Illustration]
+
+  Fleming H. Revell Company
+  New York  Chicago  Toronto
+  1903
+
+  COPYRIGHTED 1898-1899 BY
+  FLEMING H. REVELL COMPANY.
+
+
+
+
+Contents
+
+
+  _ONE_
+  A Study of Channing's "Symphony" as an
+  Outline of the Ideal Life and Character
+
+  _TWO_
+  Channing's Vision of the Beautiful Life
+
+  _THREE_
+  The Largest Wealth
+
+  _FOUR_
+  The World a Whispering Gallery
+
+  _FIVE_
+  How Knowledge Becomes Wisdom
+
+  _SIX_
+  The Disguises of Inferiority
+
+  _SEVEN_
+  Strength Blossoming into Beauty
+
+  _EIGHT_
+  Life's Crowning Perfection
+
+
+
+
+"_And let the beauty of the Lord our God be upon us; and establish thou the
+work of our hands upon us; yea, the work of our hands establish thou it._"
+
+_Psalm xc: 17._
+
+
+
+
+MY SYMPHONY.
+
+
+To live content with small means; to seek elegance rather than luxury, and
+refinement rather than fashion; to be worthy, not respectable, and wealthy,
+not rich; to listen to stars and birds, babes and sages with open heart; to
+study hard; to think quietly, act frankly, talk gently, await occasions,
+hurry never; in a word, to let the spiritual, unbidden and unconscious,
+grow up through the common--this is my symphony.
+
+                                                    WILLIAM HENRY CHANNING.
+
+
+
+
+A STUDY OF CHANNING'S "SYMPHONY" AS AN OUTLINE OF THE IDEAL LIFE AND
+CHARACTER.
+
+
+To the revival of learning in the fourteenth century, to the revival of
+religion in the sixteenth, and the revival of liberty in the eighteenth
+century must now be added the revival of the beautiful in this new era for
+art. In former ages man was content if his house was dry, his coat was
+warm, his tool strong. But now has come an era when man's house must have
+beautiful walls, when woman's dress must have harmonious hues, when the
+speaker's truth must be clothed in words of beauty; while in religion if
+the worshiper once was content with a harsh hymn, now man best loves the
+song that has a beautiful sentiment and a sweet tune. Always the useful had
+a cash value. Now beauty has become a commodity. To-day, to hold his place,
+the artisan must become an artist. The era of ugliness, with its clumsy
+tools and ungainly garments, has gone forever. No longer content with
+lending strength to coat or chair or car, manufacturers now vie with one
+another in a struggle to make the garment take on lines of grace, and
+colors soft and beautiful. Society seems to be standing upon the threshold
+of the greatest art movement in history. Best of all this, revival of the
+beautiful promises to be a permanent social possession.
+
+Very brief and fitful that first art epoch when Phidias polished statues,
+the very fragments of which are the despair of modern sculptors. All too
+short also that era when Raphael and Botticelli brought the canvas into
+what seemed the zenith of its perfection. It was as if the vestal virgin of
+beauty had drawn near to fan the flickering light into a fierce flame only
+to allow it quickly to die out again. But if other art epochs have been
+soon followed by eras of ugliness and tyranny, it was because formerly the
+patrician class alone was interested in the beautiful. In that far-off
+time, Pericles had his palace and Athens her temple, but the common people
+dwelt in mud huts, wore coats of sheepskin, and slept on beds of straw. The
+beauty that was manifest in pictures, marbles, rich textures, bronzes,
+belonged exclusively to the cathedral or the palace.
+
+Now has come an era when art is diffused. Beauty is sprinkled all over the
+instruments of dining-room, parlor and library. It is organized into
+textures of cotton, wool and silk. Even in the poor man's cottage blossoms
+break forth upon floor and walls, while vines festoon the humblest door.
+Once, at great expense, a baron in France or Germany would send an artist
+into Italy to copy some masterpiece of Titian or Tintoretto. Now modern
+photography makes it possible for the poorest laborer to look upon the
+semblance of great pictures, statues, cathedrals, landscapes--treasures
+these once beyond the wealth of princes. Having made tools, books, travel,
+home, religion to be life-teachers, God has now ordained the beautiful as
+an apostle of the higher Christian life.
+
+Recognizing the hand of God in every upward movement of society, we explain
+this new enthusiasm for art upon the principle that beauty is the outer
+sign of an inner perfection. Oft with lying skill men veneer the plaster
+pillar with slabs of marble, and hide soft wood with strips of mahogany.
+But beauty is no outer veneer. When ripeness enters the fruit within a soft
+bloom steals over the peach without. When every drop of blood in the veins
+is pure a beauteous flush overcasts the young girl's cheek. When summer
+hath lent ripeness to the harvests God casts a golden hue over the sheaf
+and lends a crimson flush to the autumn leaves. For beauty is ripeness,
+maturity and strength. Therefore when the seer says, "God maketh everything
+beautiful in its time," he indicates that God's handiwork is perfect work.
+When some Wordsworth or Emerson leaves behind men's clumsy creations and
+enters the fields where God's workmanship abounds, the poet finds the
+ground "spotted with fire and gold in tints of flowers"; he finds the trees
+hung with festooned vines; finds the forests uniting their branches in
+cathedral arches; finds the winds making music down the long, leafy aisles;
+finds the birds pouring forth notes in choiring anthems, while the very
+clouds rise like golden incense toward an unseen throne. Though the
+traveler journey far, he shall find no bud, no bough, no landscape or
+mountain or ocean, that is not overcast with bloom and beauty.
+
+We are not surprised therefore when we see that as man's arts and
+industries go toward perfection they go toward beauty. Carry the coarse
+flax up toward beauty and it becomes strong cloth. Carry the cocoon of a
+worm up to beauty and it becomes a soft silken robe. Carry rude Attic
+speech up to beauty and it becomes the language of Homer or Hesiod. Carry
+the strange face or form tatooed upon the arm of the savage up to beauty
+and it becomes a Madonna or a Transfiguration. Carry a stone altar and a
+smoking sacrifice up to beauty and it becomes a Cologne cathedral or a
+Westminster Abbey. Indeed, historians might use the beautiful as the
+touchstone of human progress. The old milestones of growth were metals.
+First came the age when arrows were tipped with flint. Then came the iron
+age, when the spear had a metal point. The bronze age followed, lending
+flexibility to ore hitherto unyielding. Later came the steel age, when
+weapons that bruised gave place to the keen edge that cuts. Perhaps the
+divinity chat represents our era will stand forth plated with oxide of
+silver.
+
+But his ideas of beauty would measure man's progress quite as accurately.
+In that first rude age beauty was external. Man twisted gay feathers into
+his hair, painted his cheeks red or yellow, wore rings of bright shells
+about his neck. But our age is high because beauty has ceased to be mere
+personal adornment. Man now seeks to make his books beautiful for the
+intellect, his library and gallery beautiful for taste and imagination, his
+temple beautiful for worship, his home beautiful in the interest of the
+heart, his song and prayer not simply true, but beautiful with praise to
+the unseen God. If in rude ages beauty was associated with physical
+elements, the glory of our era is that beauty, unfolding from century to
+century, is now increasingly associated with those moral qualities that
+lend remembrance to mother and martyr, to hero and patriot and saint.
+
+To-day, fortunately for society, this world-wide interest in art is
+becoming spiritualized. From beautiful objects men are passing to beautiful
+thoughts and deeds. We begin to hear much of the art of right living and
+the science of character building. Having lent charm and value to column
+and canvas, to marble and masterpiece, beauty now moves on to lend
+loveliness to mind and heart. For it seems an incongruous thing for man to
+adorn his cottage, lend charm to its walls and windows, make its ceilings
+to be like the floor of heaven for beauty, while within his heart he
+cherishes groveling littleness, slimy sin, light-winged evasions, brutal
+passions. He whose body rides in a palace car must not carry a soul that is
+like unto a savage. Having lingered long before the portrait of Antigone or
+Cordelia, the young girl finds herself pledged to turn that ideal into life
+and character. The copy of the Sistine Madonna hanging upon the wall asks
+the woman who placed it there to realize in herself this glorious type of
+motherhood.
+
+When the admirers of Shakespeare bought the house in which their hero was
+born, they planted in the garden the flowers which the poet loved. Passing
+through the little wicket gate the pilgrim finds himself moving along a
+perfumed path, while to his garments clings the odor of violets and roses,
+sweet peas and buttercups, the columbine and honeysuckle--flowers these,
+whose roots are in earth indeed, but whose beauty is borrowed from heaven.
+From these grounds men have expelled the poison ivy, the deadly nightshade,
+all burdocks and thistles. And the soul is a garden in which truth, purity,
+patience, love, long suffering are qualities whiter than any lily and
+sweeter than any rose, whose perfume never passes, whose beauty does not
+fade. And having succeeded in transforming waste places into centers of
+radiant beauty, man encourages the hope that he can carry his own reason,
+judgment and ambition up to full symmetry and perfection.
+
+What a transformation man has wrought in matter! Nature says, here is a
+lump of mud; man answers, let it become a beautiful vase. Nature says, here
+is a sweet briar; man answers, let it become a rose double and of many
+hues. Nature says, here is a string and a block of wood; man answers, let
+them be a sweet-voiced harp. Nature says, here is a daisy; Burns answers,
+let it become a poem. Nature says, here is a piece of ochre and some iron
+rust; Millet answers, let the colors become an Angelus. Nature says, here
+is reason rude and untaught; man must answer, let the mind become as full
+of thoughts as the sky of stars and more radiant. Nature says, here is a
+rude affection; man must answer, let the heart become as full of love and
+sympathy as the summer is full of ripeness and beauty. Nature says, here is
+a conscience, train it; man should answer, let the conscience be as true to
+Christ and God as a needle to the pole. Marvelous man's skill through the
+fine arts! Wondrous, too, his handicrafts! But no picture ever painted, no
+poem ever perfected, no temple ever builded is comparable for strength and
+beauty to a full-orbed soul, matured through a widely trained reason and a
+sober judgment--mellow in heart and conscience, pervaded throughout with
+the spirit of Jesus Christ, the soul's master and model.
+
+
+
+
+CHANNING'S VISION OF THE BEAUTIFUL LIFE.
+
+
+Among those gifted spirits who have toiled tirelessly to carry the
+individual life up to unity, symmetry and beauty, let us hasten to mention
+the name of Channing. The child of genius, he was gifted with a literary
+style that lent strange fascination to all his speech. But great as he was
+in intellect, his character shone with such splendor as to eclipse his
+genius. He was of goodness all compact.
+
+Early the winds of adversity beat against his little bark. Invalidism and
+misfortune, too, threatened to destroy his career. But bearing up amid all
+misfortune, he slowly wrought out his ideal of life as a fine art.
+Patiently he perfected his dreams. Daily he practiced frugality, honor,
+justice, faith, love and prayer. He met storm with calm; he met provocation
+with patience; he met organized iniquity with faith in God's eternal truth;
+he met ingratitude and enmity with forgiveness and love.
+
+At last he completed his symphony of an ideal life, that he hoped would
+help the youth and maiden to make each day as inspiring as a song, each
+deed as holy as a prayer, each character as perfect as a picture. For he
+felt that the life of child and youth, of patriot and parent should have a
+loveliness beyond that of any flower or landscape, and a majesty not found
+in any cataract or mountain, being clothed also with a beauty that does not
+inhere in Canova's marble and a permanency that is not possessed by Von
+Riles' cathedral, a structure builded of thoughts and hopes and
+aspirations, of tears and prayers, and purposes, whose foundation is
+eternal truth.
+
+
+THE FOUNDATION OF HAPPINESS.
+
+In founding his ideal life upon contentment with small means, Channing
+pleads for simplicity and the return to "plain living and high thinking."
+He would fain double the soul's leisure by halving its wants.
+
+Looking out upon his age, he beheld young men crazed with a mania for
+money. He saw them refusing to cross the college threshold, closing the
+book, neglecting conversation, despising friendship, postponing marriage,
+that they might increase their goods. Yet he remembered that earth's most
+gifted children have been content with small means, achieving their
+greatest triumphs midst comparative poverty.
+
+
+
+
+THE LARGEST WEALTH.
+
+
+The Divine Carpenter and His immortal band dwelt far from luxury. Poor
+indeed were Socrates, the reformer, and Epictetus, the slave, and Virgil,
+the poet. Burns, too, and Wordsworth and Coleridge, with Keats and
+Shelley--all these dwelt midway between poverty and riches. When that young
+English scholar learned that his relatives had willed him a fortune of
+L5,000 he wrote the dying man begging him to abandon his design, saying
+that he already had one servant, and that added care and responsibility
+meant the cutting off of a few minutes for study in the morning and a few
+minutes for reflection at night.
+
+
+A PLEA FOR SIMPLICITY.
+
+Here are our own Hawthorne and Longfellow--"content with small means." Here
+is Emerson resigning his church in Boston and leaving fame behind him, that
+upon the little farm at Concord he might escape the thousand and one
+details that robbed his soul of its simplicity. Here is Thoreau building
+his log cabin by Walden pond, living on forty dollars a year because he saw
+that man was being "destroyed by his unwieldy and overgrown establishment,
+cluttered with much furniture and tripped with his own traps, ruined by
+luxury and heedless expense, whose only hope was in rigid economy and
+Spartan simplicity."
+
+Ours is a world where Cervantes writes Don Quixote living upon three bowls
+of porridge brought by the jailer of the prison. The German philosopher
+asked one cluster of grapes, one glass of milk and a slice of bread twice
+each day. Having completed his philosophy, the old scholar looked back upon
+forty happy years, saying that every fine dinner his friends had given him
+had blunted his brain for one day, while indigestion consumed an amount of
+vital energy that would have sufficed for one page of good writing.
+
+A wise youth will think twice before embarking upon a career involving
+large wealth. Some there are possessed of vast property whose duty it is to
+carry bravely their heavy burden in the interest of society and the
+increase of life's comforts, conveniences and happiness. Yet wise Agur's
+prayer still holds: "Give me neither poverty nor riches." Whittier, on his
+little farm, refusing a princely sum for a lecture, was content with small
+means. Wendell Phillips, preferring the slave and the contempt of Boston's
+merchants and her patrician society, chose to "be worthy, not respectable."
+Some Ruskin, distributing his bonds and stocks and lands to found
+workingmen's clubs, art schools and colleges, that he might have more
+leisure for enriching his imagination and heart, chose to "be wealthy, not
+rich." Needing many forms of wisdom, our age needs none more than the grace
+to "live content with small means, seeking elegance rather than luxury, and
+refinement rather than fashion."
+
+
+
+
+THE WORLD A WHISPERING GALLERY.
+
+
+When the sage counsels us "to listen to stars and birds, to babes and
+sages," he opens to us the secrets of the soul's increase in wisdom and
+happiness. All culture begins with listening. Growth is not through shrewd
+thinking or eloquent speaking, but through accurate seeing and hearing. Our
+world is one vast whispering gallery, yet only those who listen hear "the
+still, small voice" of truth. Putting his ear down to the rocks, the
+listening geologist hears the story of the rocks. Standing under the stars,
+the listening astronomer hears the music of the spheres. Leaving behind the
+din and dirt of the city, Agassiz plunged into the forests of the Amazon,
+and listening to boughs and buds and birds he found out all their secrets.
+
+One of our wisest teachers has said, "The greatest thing a human soul ever
+does in this world, is to see something, and tell what it saw in a plain
+way. Hundreds of people can talk, for one who can think. But thousands can
+think for one who can see; to see clearly is poetry, prophecy and religion
+all in one. Therefore finding the world of literature more or less divided
+into thinkers and seers, I believe we shall find also, that the seers are
+wholly the greater race of the two." For greatness is vision. Opening his
+eyes, Newton sees the planets revolve and finds his fame. Opening his ears,
+Watt hears the movement of steam and finds his fortune. Millet explained
+his fame by saying he copied the colors of the sunset at the moment when
+reapers bow the head in silent prayer. The great bard, too, tells us he
+went apart and listened to find "sermons in stones, and books in the
+running brooks."
+
+
+THE SECRET OF CULTURE.
+
+It is a proverb that pilgrims to foreign lands find only what they take
+with them. Riding over the New England hills near Boston, Lowell spake not
+to his companion, for now he was looking out upon the pageantry of a
+glorious October day, and now he remembered that this was the road forever
+associated with Paul Revere's ride. Reaching the outskirts of Cambridge, he
+roused from his reverie to discover that his silent companion had been
+brooding over bales and barrels, not knowing that this had been one of
+those rare days when October holds an art exhibit, and also oblivious to
+the fact that he had been passing through scenes historic through the valor
+of the brave boy.
+
+Of the four artists copying the same landscape near Chamouni, all saw a
+different scene. To an idler a river means a fish pole, to a heated
+schoolboy a bath; to the man of affairs the stream suggests a turbine
+wheel; while the same stream leads the philosopher to reflect upon the
+influence of great rivers upon cities and civilizations. Coleridge thought
+the bank of his favorite stream was made to lie down upon, but Bunyan,
+beholding the stream through the iron bars of a prison cell, felt the
+breezes of the "Delectable Mountains" cool his fevered cheek, and stooping
+down he wet his parched lips with the river of the waters of life. Nature
+has no message for heedless, inattentive hearers. It is possible for a
+youth to go through life deaf to the sweetest sounds that ever fell over
+Heaven's battlements, and blind to the beauty of landscape and mountain and
+sea and sky. There is no music in the autumn wind until the listener comes.
+There is no order and beauty in the rolling spheres until some Herschel
+stands beneath the stars. There is no fragrance in the violet until the
+lover of flowers bends down above the blossoms.
+
+Listening to stars, Laplace heard the story how fire mists are changed to
+habitable earths, and so became wise toward iron and wood, steel and stone.
+Listening to birds, Cuvier heard the song within the shell and found out
+the life history of all things that creep or swim or fly. Listening to
+babes that have, as Froebel thought, been so recently playmates with
+angels, the philosopher discovered in the teachableness, trust and purity
+of childhood, the secret of individual happiness and progress. Listening to
+sages, the youth of to-day garners into the storehouse of his mind all the
+intellectual treasures of the good and great of past ages. That youth may
+have culture without college who gives heed to Channing's injunction "to
+listen to stars and birds, to babes and sages."
+
+
+
+
+HOW KNOWLEDGE BECOMES WISDOM.
+
+
+When all the caravans of knowledge have gone trooping through the eye-gate
+and the ear-gate into the soul city, Channing reminds us that these
+knowledges must be assorted and assimilated by "studying hard and thinking
+quietly."
+
+If some rich men fill their shelves with books that are never read, some
+poor men fill their memory with facts upon which they never think. The mere
+accumulation of truths about earth and air, about plants and animals and
+men, does not mean culture. Education does not mean stuffing the mind with
+Greek roots, as the husbandman stuffs his granary with vegetables. It is a
+proverb, that no fool is a perfect fool until he can talk Latin. Looking
+out upon land and sea and sky, the educated soul sees all, and appreciates
+all. Culture lends the note of distinction and acquaints the youth with all
+the best that has been said and done. Trying to steal the secret of the
+honey bee, a scientist extracted the sweets of half an acre of blossoms.
+Unfortunately, the vat of liquor proved to be only sweetened water. By its
+secret processes, the bee distills the same liquor into honey. It is
+possible for the youth to sweep into the memory a thousand great facts
+without having distilled one of these honeyed drops named wisdom and
+culture.
+
+In studying the French Revolution Carlyle read five hundred volumes,
+including reports of officers, generals, statesmen, spies, heroes,
+villains. Then, closing all the books, he journeyed into Scotland. In
+solitude he "thought quietly." Having brooded alone for weeks and months,
+one morning he rose to dip his pen in his heart's blood and write his
+French Revolution. In that hour the knowledge that had been in five hundred
+books became the culture distilled into one.
+
+
+THE INFLUENCE OF THE REFLECTIVE MIND.
+
+The youth who plans the life of affairs is in danger of despising the
+brooding that feeds the hidden life. We can never rightly estimate our
+indebtedness to those who have gone apart to "think quietly."
+
+All law and jurisprudence go back to Moses for forty years brooding in an
+empty, voiceless desert upon the principles of eternal justice. All
+astronomy goes back to Ptolemy, who looked out upon a weary waste of sand
+and turned his vision toward a highway paved with stars and suns. Our
+poetry and literature begins with Homer, blind indeed to earthly sights and
+sciences, but who traced with an inner eye, the strifes of gods and men,
+and gave his inner thoughts immortal form and beauty. All modern science
+begins with that scholar who for fifty years was unknown in the forum or
+market-place, for Charles Darwin was "studying hard and thinking quietly"
+in his little garden, where he watched his seeds, earthworms, his beetles
+and doves.
+
+The air of London is so charged with deadly acids that the lime tree alone
+flourishes there, for the reason that it sheds its bark each year, thus
+casting off the defiled garment. But there is a mountain peak in the
+Himalayas so high that it towers beyond the reach of snows and rains, and a
+scientist has said, an open page might there remain unsoiled by dust
+through passing centuries. And to those who "think quietly" it is given to
+rise into the upper air. Dwelling upon the heights, these may look down
+upon all heated centers with their soot and grime, their stacked houses,
+reeking gutters, the din and noise of wheels, the hoarse roar of the
+clashing streets, and in these hours of reverie, the soul marvels that it
+was ever tossed about upon these furious currents of ambition.
+
+Hours there are when Fame whispers, "Joy is not in me." Ambition, worn with
+its fierce fever, whispers, "Joy is not in me." Success confesses, "Joy is
+not in me." In such hours happy the youth who has learned in solitude to go
+apart and find that happiness that "the world can neither give nor take
+away."
+
+
+
+
+THE DISGUISES OF INFERIORITY.
+
+
+And when the soul has gone toward full-orbed splendor and stands forth
+clothed with full manhood the sage condenses the wisdom of a thousand
+volumes into four maxims, "Act frankly, talk gently, await occasions, hurry
+never."
+
+The principle of acting frankly demands truth in the hidden parts, rebukes
+him whose method is "the iron hand in a velvet glove," smites the
+Machiavelian policy of smiling gently while arranging instruments of death.
+In their ignorance shrewd men advise the youth to cloak his keen desire
+beneath an outer indifference. But small men use lying artifices and
+disguises to protect themselves. Conscious of weakness, inferiority fears
+frankness. Great men are as open as glass bee-hives and as transparent as
+the sunbeams, for they are conscious of their enormous reserves. Nature
+permits no flower or fruit to conceal its real self. The violet frankly
+tells its story; the decaying fruit frankly reveals its nature. No flaming
+candle pretends to light while emitting rays of blackness. Victories won by
+concealment are lying victories. All these battles must be fought over
+again. The law of frankness is the law of truth, that is at once the
+foundation of character and crowns the structure with strength and beauty.
+
+Vast issues also are involved in the injunction "to talk gently." Noise is
+weakness. Bluster is inferiority rising into consciousness. The rattle of
+machinery means waste power somewhere. Rushing forward at the rate of
+thousands of miles an hour, the planets are noiseless as sunbeams, because
+they represent power that is harnessed and subdued. Silently the dewdrop
+falls upon some crimson-tipped flower. Yet the electric energy necessary to
+crystallize that drop would hurl a car from Cambridge to Boston. Those
+forces manifest in thunder are nature's weakest forces. Her monarch
+energies work silently in the roots and harvests, or lift, without rattle
+of engine or noise of wheel, countless millions of tons of water from ocean
+into the air. For gentleness is not weakness. Only giants can be gentle.
+Fronting an emergency weakness is agitated, but strength is calm and cool.
+Gentleness is controlled strength. The giant _is_ gentle, because his vast
+energies are restrained, subdued, and wisely used. The test of all great
+work is the ease with which it is done. Scott writes one of his priceless
+chapters before breakfast. Ruskin says Turner finished a whole drawing in a
+morning, before going out to shoot, without strain or struggle. The highest
+eloquence also is not a spasmodic effort, but the quiet manifestation of
+years of preparation. But this easy effort has infinite reserve lying back
+of it. There is a profound philosophy in this injunction, "Talk gently,"
+and act quietly.
+
+
+SUCCESS AND TIMELINESS.
+
+But the strongest man needs to "await occasions." The essence of all good
+work is timeliness. For the right thing done at the wrong time is as bad as
+the wrong thing at any time. Preparing telescopes and instruments of
+photography, the astronomer sails to Africa, and there waits weeks for the
+moment of full eclipse. At last the "occasion" comes. Nature will not be
+hurried. For her finest effects in fruits and flowers, she takes her own
+time. In February the husbandman finds the sun refusing warmth, the clouds
+refusing rain, the soil refusing seed. Therefore he awaits occasions. And
+lo! in May, the sunbeams wax warm, the soil wakens to full ardor, the
+clouds give forth their rain, and the husbandman enters into his
+opportunity.
+
+In his reminiscences General Sherman explains his victorious march to the
+sea by saying that during his college days he spent a summer in Georgia.
+While his companions were occupied with playing cards and foolish talk he
+tramped over the hills, and made a careful map of the country. Years passed
+by. The war came on. Ordered to march upon Atlanta his expert knowledge won
+his victory. Readiness for the occasion brought him to fame and honor.
+To-morrow some jurist, merchant, statesman will die. The youth who is ready
+for the place, will find the mantle falling upon his shoulders. Success is
+readiness for occasions.
+
+But whether waiting or working, man must "hurry never." It is fear that
+makes haste. Confidence is composed. Greatness is tranquillity. Dead
+objects, like bullets, can be hurled swiftly. Living seeds cannot be
+forced. Slowly the acorn goes toward the oak. Slowly the babe journeys
+toward the sage. Slowly and with infinite delays Haydn and Handel moved
+toward their perfect music. Filling barrels with manuscripts and refusing
+to publish, Robert Louis Stevenson attained his exquisite style. Millet
+described his career as ten years of daubing, ten years of drudgery, ten
+years of despair and ten years of liberty and success. Man begins at
+nothing. Life is a school. Duties are drill-masters. Man's faculties are
+complex. Slowly the soul moves toward harmony, symmetry and beauty. He who
+"hurries never" has found the secret of growth, serenity and repose.
+
+
+
+
+STRENGTH BLOSSOMING INTO BEAUTY.
+
+
+If the greatest scientist is he who discerns some law of gravity that
+explains the forward movement of all stars and planets, if the great
+historian is he who unfolds one social principle that governs all nations,
+so he is the greatest moral teacher who discovers some unit idea that
+sweeps all details into one glorious unity, as did Channing when he said,
+"Let the spiritual, unbidden and unconscious, grow up through the common."
+All undefined and indefinable the spiritual glow and beauty that lie upon
+the soul, like the soft bloom upon a ripe peach. What song is to the birds,
+what culture is to the intellect, and eloquence is to the orator, that the
+spiritual is to character. It is the soul made ample in faculty, fertile in
+resource, struck through and through with ripeness, and inflected toward
+Christ's own sympathy, self-sacrifice and love.
+
+The spiritual element also explains the note of distinction in the highest
+life and art. Many of our modern painters have failed, because they have
+been fleshly. Mud shows in the bottom of their eyes. Their pictures are
+indeed so shallow that "a fly could wade through them without wetting its
+feet." Fra Angelico, preparing to paint, entered his closet, expelled every
+evil thought, subdued every unholy ambition, flung away anger and jealousy
+as one would fling away a club or dagger. Then, with face that shone with
+the divine light, upon his knees he painted his angels and seraphs, and the
+spiritual breaking through the common lent a radiant glow and an immortal
+beauty to his priceless pictures.
+
+Certain pictures of Rubens are of "the earth, earthy." In painting them,
+the artist seems to have had no thought save of the flesh tints. The mood
+and soul of Rubens' Venus was nothing--her body everything. Here, beauty is
+only color deep. Paint is everything--spirit nothing. But with the great
+artists in their greatest moods, paint is at best only an incident, and for
+the soul aspirations and ideals as seen in vision hours are everything.
+Hope, faith, love, joy, peace, sympathy, self-sacrifice,
+humility--spiritual qualities these, that shine through the face, and
+transform the life.
+
+
+
+
+LIFE'S CROWNING PERFECTION.
+
+
+Culture can do much, but art, music, books, and travel have their
+limitations. When that brave boy returned from battling with the Black
+Prince, the tenants gathered before his father's castle and presented him
+tokens of love and honor. The farmer brought a golden sheaf, the husbandman
+brought a ripe cluster and a bough of fruit, the goldsmith offered a ring,
+the printer gave a rare book, while children strewed flowers in the way.
+But last of all his father gave the youth the title deeds of his
+inheritance and lent him name and power. Not otherwise the soul enters the
+scene like a conqueror to whom gifts are offered. The library offers a
+book. The lecture hall offers learning. The gallery offers a picture.
+Travel offers experience. But the fine arts, wisdom and culture cannot do
+everything. Culture can beautify the life, lend refinement to reason, lend
+wings to imagination. But God, the soul's father, alone can crown life with
+richness and influence. The secret of strength and beauty is hidden with
+Jesus Christ. What the great thinkers and seers can do for the intellect,
+what the poets can do for imagination, what the heroes can do for
+aspiration and purpose, that and a thousand fold more the Christ can do for
+the soul's life. He alone has mastered the science of right living. He only
+can teach the art of character building. He can lend reason true wisdom. He
+can lend taste true refinement. He can make conscience clear, and will
+invincible. Freeing the soul from sin, He can crown it with supreme beauty.
+He can make life a song, and the soul career a symphony.
+
+
+
+
+Newell Dwight Hillis
+
+
+GREAT BOOKS AS LIFE-TEACHERS
+
+Studies of Character, Real and Ideal.
+
+12mo, cloth, gilt top, $1.50.
+
+
+_Fifteenth Edition_
+
+A MAN'S VALUE TO SOCIETY
+
+Studies in Self-culture and Character.
+
+16mo, cloth, gilt top, $1.25.
+
+
+_Ninth Edition_
+
+THE INVESTMENT OF INFLUENCE
+
+A Study of Social Sympathy and Service.
+
+Uniform with "A Man's Value to Society," $1.25.
+
+
+RIGHT LIVING AS A FINE ART
+
+A Study of the Ideal Character, based upon Channing's "Symphony of
+Life."
+
+12mo, decorated boards, 35 cents, net.
+
+
+_Little Book Series_
+
+FORETOKENS OF IMMORTALITY
+
+Studies for the Hour when the Immortal Hope Burns Low in the Heart.
+
+Long 16mo, decorated cloth, 50 cents.
+
+
+_Quiet Hour Series_
+
+HOW THE INNER LIGHT FAILED
+
+A Study of the Atrophy of the Spiritual Sense, to which is added "How
+the Inner Light Grows."
+
+18mo, cloth, 25 cents.
+
+
+Fleming H. Revell Company
+
+
+
+
+
+End of Project Gutenberg's Right Living as a Fine Art, by Newell Dwight Hillis
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