The soul of the moving picture (1924)

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CHAPTER IX THE PATH TO ART The lyric poem is poised on a shoreless sea; its prime feature is its indefiniteness ; it leads on to the undetermined goal of mortal mood. But harmony — that resting which satisfies itself — soon exhausts itself. And, to repeat once more, undetermined mood may easily be converted into monotony, or it may change to a chaotic ebb and flow that connotes the surging of unanticipated floods rather than tidal regularity. No "progressive" work of art revels in planlessness. The sails in which the winds play, as an idle mood may dictate, do not indulge in their seeming gaiety with impunity. Punishment of one sort or another follows. The helm decides a certain course; in this course lie the fruits of strength. In poetry, mood is routed by action. The feelings remain the driving power. For when feeling and passion form an alliance, "action" ensues. A purely lyrical stage drama such as Anton Wildgans's Armut ("Poverty") fails to produce the really deep echo: our sympathy, rattling around itself as the sole pivot it can commandeer 153