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“Il ne peut y avoir qu’une méthode parfaite, qui est la méthode naturelle; on nomme ainsi un arrangement dans lequel les êtres du même genre seraient plus voisins entre eux que ceux de tous les autres genres; les genres du même ordre, plus que ceux de tous les autres ordres; et ainsi de suite.
What we want of art depends, not only on comparison between works of art belonging to the same genre, but on comparison of the purposes of different genres, indeed of the different arts themselves. What we want of painting depends upon what we want of sculpture; what we want of poetry depends upon what we want of painting and music.
But when you have gathered the names of Gilbert White, Jeffries, Fabre, Maeterlinck, and in slightly different genres, Izaak Walton, Hudson, and Kipling from various literatures you will find few others abroad to list with ours. Nor do our men owe one jot or title of their inspiration to individuals on the other side of the water.
ERNEST RHYS, Lyric Poetry That "confusion of the genres" which characterizes so much of contemporary art has not obliterated the ancient division of poetry into three chief types, namely, lyric, epic and dramatic. We still mean by these words very much what the Greeks meant: a "lyric" is something sung, an "epic" tells a story, a "drama" sets characters in action.
The Greeks are justly admired for individual poems, plays, and pieces of writing; but it was something even greater to have explored the possibilities of literature so far that posterity, while it has developed Greek genres, has not hitherto been able to add to them. This is one part of the Greek Legacy to literature. Another part are the works themselves.
We cannot here attempt to trace, even in outline, the course of this historic evolution of genres. But in contemporary types of both dramatic and narrative poetry, there may still be discovered the influence of lyric form and mood.
In the gaudy foliage of the exotic island, with the three chandeliers of a bygone epoch, the sharp dissonance of styles is indicated. Aubrey Beardsley would have rejoiced at this mingling of genres; at the figures of Harlequin, Scaramuccio; at the quaint and gorgeous costuming; at the Dryad, Naiad, Echo, and all the rest of seventeenth-century burlesque appanage.
Let it be the home of Melodrama and Burlesque, the same play serving for both genres. Let, say, Mr. Sims who is so clever in either species write the pieces each melodrama being its own burlesque.
This should, however, connote no inept mingling of genres; the style seems to be called for by the very nature of the vast theme that moment at which the native and the immigrant strain begin to merge in the land of the future the promised land that the protagonists are destined never to enter, even as Moses himself, upon Mount Nebo in the land of Moab, beheld Canaan and died in the throes of the great vision.
Rousseau, for instance, has created a number of different genres. Imagination transforms him, and he is able to play the most varied parts with credit, among them even that of the pure logician. But as the imagination is his intellectual axis his master faculty he is, as it were, in all his works only half sincere, only half in earnest.
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