CHAPTER VIII
PICTORIAL MOTIONS AT PLAY
The average matter-of-fact man thinks that artists
concern themselves only with copying their subjects,
and that their success as artists consists in copying
correctly. He is satisfied with a painted portrait of
his wife, provided it is a "speaking likeness," and he
craves no other magic of design and color. Such a
man praises a photoplay if it presents a "rattling good
story," and expects no thrill from the cinema composer's
conjuring with shifting patterns and evanescent
tones. At least he would say something to that
effect if you argued the matter with him. But he
would be mistaken in his self-analysis, for even a
prosaic person really enjoys the decorative rhythmical
quality in a picture, though he may not be conscious
of doing so. And every spectator can get the richest
beauty from the screen only when the pictorial motions
play as well as they work.
What is the difference between play and work? We know that when our work most resembles play it is most enjoyable. And we know, too, that play, even when it has not been professionalized, often comes very near being work. The playing of children, as that of grown-ups, is often very highly organized and pursued with a great deal of effort and earnestness. Play, however, may be characterized by spontaneity
