nationality. But as style and personality create in every epoch
certain definite forms, which, for all their superficial
differences, are really closely related, these forms can be
spoken of as one side of art--the SUBJECTIVE. Every artist
chooses, from the forms which reflect his own time, those which
are sympathetic to him, and expresses himself through them. So
the subjective element is the definite and external expression of
the inner, objective element.

The inevitable desire for outward expression of the OBJECTIVE
element is the impulse here defined as the "inner need." The
forms it borrows change from day to day, and, as it continually
advances, what is today a phrase of inner harmony becomes
tomorrow one of outer harmony. It is clear, therefore, that the
inner spirit of art only uses the outer form of any particular
period as a stepping-stone to further expression.

In short, the working of the inner need and the development of
art is an ever-advancing expression of the eternal and objective
in the terms of the periodic and subjective.

Because the objective is forever exchanging the subjective
expression of today for that of tomorrow, each new extension of
liberty in the use of outer form is hailed as the last and
supreme. At present we say that an artist can use any form he
wishes, so long as he remains in touch with nature. But this
limitation, like all its predecessors, is only temporary. From
the point of view of the inner need, no limitation must be made.
The artist may use any form which his expression demands; for his
inner impulse must find suitable outward expression.