<h2>THE HONOURS OF MORTALITY</h2>
<p>The brilliant talent which has quite lately and quite suddenly arisen,
to devote itself to the use of the day or of the week, in illustrated
papers—the enormous production of art in black and white—is
assuredly a confession that the Honours of Mortality are worth working
for. Fifty years ago, men worked for the honours of immortality;
these were the commonplace of their ambition; they declined to attend
to the beauty of things of use that were destined to be broken and worn
out, and they looked forward to surviving themselves by painting bad
pictures; so that what to do with their bad pictures in addition to
our own has become the problem of the nation and of the householder
alike. To-day men have began to learn that their sons will be
grateful to them for few bequests. Art consents at last to work
upon the tissue and the china that are doomed to the natural and necessary
end—destruction; and art shows a most dignified alacrity to do
her best, daily, for the “process,” and for oblivion.</p>
<p>Doubtless this abandonment of hopes so large at once and so cheap
costs the artist something; nay, it implies an acceptance of the inevitable
that is not less than heroic. And the reward has been in the singular
and manifest increase of vitality in this work which is done for so
short a life. Fittingly indeed does life reward the acceptance
of death, inasmuch as to die is to have been alive. There is a
real circulation of blood-quick use, brief beauty, abolition, recreation.
The honour of the day is for ever the honour of that day. It goes
into the treasury of things that are honestly and—completely ended
and done with. And when can so happy a thing be said of a lifeless
oil-painting? Who of the wise would hesitate? To be honourable
for one day—one named and dated day, separate from all other days
of the ages—or to be for an unlimited time tedious?</p>
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