While I hope that the book may attract the traditional "general reader," I have also tried to arrange it in such a fashion that it may be utilized in the classroom. I have therefore ventured, in the Notes and Illustrations and Appendix, to suggest some methods and material for the use of students.
surely, afford one of the obvious conditions for the impulse to art. The hand-clapping and thigh-smiting of primitive savages in a state of crowd-excitement, the song-and-dance before admiring spectators, the chorus of primitive ballads,--the crowd repeating and altering the refrains,--the rhythmic song of laboring men and of women at their weaving, sailors' "chanties," the celebration of funeral rites, religious processional and pageant, are all expressions of communal feeling, and it is this communal feeling--"the sense of joy in widest commonalty spread"--which has inspired, in Greece and Italy, some of the greatest artistic epochs. It is true that as civilization has proceeded, this communal emotion has often seemed to fade away and leave us in the presence of the individual artist only. We see Keats sitting at his garden table writing the "Ode to Autumn," the lonely Shelley in the Cascine at Florence composing the "West Wind," Wordsworth pacing the narrow walk behind Dove Cottage and mumbling verses, Bee
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