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TOWARDS A SOLID CINEMA 1 37
own. That someone may be incapable of any real creation himself; you can call him, if you like, a dilletante. But he is very much more than that. He is a creator through the artists he gathers about him. Such a man was Diaghileff, such a man is Rhinehardt. There is, therefore, an inevitable tendency for the arts to merge, due to this type of individual having arisen. I do not suggest that before we can say 'Pop goes the weasel,5 no more great symphonies will be composed, no more great pictures painted, or poems written. The arts separately will continue in their course for many a generation to come. But I do suggest great (that overworked and misused adjective) works in each will become steadily fewer. I go further and suggest, despite no knowing whither genius will arise and the shape it will take, the greatest art-work of the future will be done collectively by individuals given a lead and guidance by men of outstanding aesthetic sensibility who, though directly uncreative themselves, will use individual artists as their instruments of creation. Such men, I believe, will be the great artists of the future, and their medium the solid ' cinema we have discussed.
..Critics who regard ballet as a minor, relatively unimportant art, do it a gre^mjustice by not making allowance for it being new enough to^ expand beyond its present seemingly very definite limitations.
Even supposing the possibilities of solid cinema