THE PHOTOPLAY
common to all and which are understood by
everybody. Love and hate, gratitude and
envy, hope and fear, pity and jealousy, re¬
pentance and sinfulness, and all the similar
crude emotions have been sufficient for the
construction of most scenarios. The more
mature development of the photoplay will
certainly overcome this primitive character,
as, while such an effort to reduce human life
to simple instincts is very convenient for the
photoplay, it is not at all necessary. In any
case where this tendency prevails it must help
greatly to excite and to intensify the personal
feeling of life and to stir the depths of the
human mind.
But the richest source of the unique satis¬
faction in the photoplay is probably that es¬
thetic feeling which is significant for the new
art and which we have understood from its
psychological conditions. The massive outer
world has lost its weighty it has been freed
from spacey time, and causality, and it has
been clothed in the forms of our own con¬
sciousness. The mind has triumphed over
matter and the pictures roll on with the ease
of musical tones. It is a superb enjoyment
which no other art can furnish us. No wonder
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