The soul of the moving picture (1924)

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86 The Soul of the Moving Picture faith rules supreme. We give in; we resign. Was this world a copy of reality? Was it the sole product of the artist's wish ? The whole thing was a play, a marvelous mask, the expression of an animated and enlivened will. There was much more style to the interior of the rooms. And for this very reason they were less natural; they were more alien to free and easy conception. But the room of the Rabbi, with its low, crooked, burdened walls, the stairway of which the least that can be said was that it was heavily constructed (Illustration No. n) was entirely in keeping with the city sighing as it was under its mighty load. But Golem lay apart; it was a unique picture. The swirling, over-decorated flourishes of this world which had become so introspective, which had retired unto itself, and which retires unto itself again and again and at every opportunity, did not somehow make the right replies to the questions of our soul. The final echo, the longedfor repercussion of those wishes that creep into the hearts of the children of men, are always and invariably lacking in phantastic art. Such art may cause curiosity to grow; on such curiosity may batten; but it is never the creation that at once constitutes the longing and stills the longing that has been aroused.