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Arthur Bernard was no flatterer, it is true, but chivalrous in every sense of the word. A keen appreciator of all that is honorable and high-minded, he could not stoop to those petty meanesses, which too often characterize the conduct of those who flatter themselves with the name of =gentleman=, a title which Tennyson forcibly describes as
His reverence was one source of its inspiration, and a desire to do everything well which he undertook. He was a faithful friend and a keen appreciator; he disliked profoundly to hear the depreciation of others. His character was clear-cut and defined, like his small, erect figure; perfect of its kind, and possessed of great innate dignity, veiled only by delightful, incomparable gifts and charms.
On the part of the appreciator, likewise, the emotion expressed in one kind of medium is not to be translated into any other terms without a difference. Every kind of material has its special value for expression. The meaning of pictures, accordingly, is limited precisely to the expressive power of color and form.
He is at once the artist translated into simpler terms and the appreciator raised to a higher power of perception and response. The service of criticism to the layman is to furnish him a clue to the meaning of the work in hand, and by the critic's own response to its beauty to reveal its potency and charm. With technique as such the critic is not concerned.
Both for the artist and the appreciator, they are ends in themselves. The one, since it has its purpose within itself, is returned to and repeated; the other, being chiefly a means to an end, would be senseless if repeated, once the end that called it forth is accomplished.
What is actually said may be reinforced by some understanding on the beholder's part of what was intended. In order to win its fullest message, therefore, the appreciator must set the work against the large background out of which it has proceeded.
One of the most interesting things about Forster was his "receptivity." Stern and inflexible as he was in the case of old canons, he was always ready to welcome anything new or striking, provided it had merit and was not some imposture. I never met a better appreciator of genuine humour. He had been trained, or had trained himself; whatever shape it had, only let it have merit.
The central fact with regard to art is this, that a work of art is the expression of some part of the artist's experience of life, his vision of some aspect of the world. For the appreciator, the work takes on a meaning as it becomes for him in his turn the expression of his own actual or possible experience and thus relates itself by the subtle links of feeling to his own life.
Yet the intellect and the senses, though they are finally but the channel through which the artist's meaning flows to reach and rouse the feelings, nevertheless play their part in appreciation. Between the spirit of the artist and the spirit of the appreciator stands the individual work of art as the means of expression and communication. In the work itself emotion is embodied in material form.
But probably their language was such as would shock Nannie.... Supposing Frank Gardner did come to England? In that case it might be safer to confide in Frank. He was harum-scarum, but he was chivalrous and he pitied Vivie. Besides he was a prime appreciator of a lark. Should she even tell Rossiter? No, of course not. That was just one of the advantages of being "David."
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