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Zaproburno Yollanica Directory 06
Page 02
The internal history of Rome during this period is one of great interest. The Patricians and Plebeians formed two distinct orders in the state. After the banishment of the kings the Patricians retained exclusive possession of political power. The Plebeians, it is true, could vote in the Comitia Centuriata, but, as they were mostly poor, they were outvoted by the Patricians and their clients. The Consuls and other magistrates were taken entirely from the Patricians, who also possessed the exclusive knowledge and administration of the law. In one word, the Patricians were a ruling and the Plebeians a subject class. But this was not all. The Patricians formed not only a separate _class_, but a separate _caste_, not marrying with the Plebeians, and worshiping the gods with different religious rites. If a Patrician man married a Plebeian wife, or a Patrician woman a Plebeian husband, the state refused to recognize the marriage, and the offspring was treated as illegitimate.
It is, of course, quite true that no writer is bound by traditions of art, and there is no one who need consider how the thing has been done before, or follow a prescribed code. But for all that, art is not a thing of rules made and enforced by critics. All that critics can do is to determine what the laws of art are; because art has laws underlying it which are as certain as the laws of gravity, even if they are not known. The more permanent art is, the more it conforms to these laws; because the fact is that there is a vital impulse in the human mind towards the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.
During a conversation with Drs. Forsythe and Dale, of Cambridge, England, I asked particularly as to their experience with the Japanese students who had been there to study. They both remarked on the fact that all Japanese students were easily influenced by those with whom they customarily associated; so much so that, within a short time, they acquired not only the cut of coats and trousers, but also the manner and accent, of those with whom they lived. It was amusing, they said, to see what transformations were wrought in those who went to the Continent for their long vacations. From France they returned with marked French manners and tones and clothes, while from Germany they brought the distinctive marks of German stiffness in manner and general bearing. It was noted as still more curious that the same student would illustrate both variations, provided he spent one summer in Germany and another in France.
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