. . . a dim analogue to creation.
David Hume mentions the "intangling brambles" raised to cover and protect the weaknesses which a considerable part of metaphysics derives from "the craft of popular superstitions." In the preceding chapter, we sought to indicate the tenacity with which the bramble, "inspiration," has clung to the notion of the artist as creator and what it has obscured. It would appear that we are now similarly about to entangle our essay of the artist's freedom in what is no less a product of the craft that Hume mentions. That possibility is implicit in the statements that the monolithic theory of artistic inspiration has sustained, while yet obscuring, the conviction that man as creator is free in some sense as God is free and that tradition has interpreted divine freedom equally as creativity and making.
The course of this essay is not determined in this regard by a dearth of alternative and possible analogies. For Plato, the artist is like a mirror; for John Galsworthy, he is like a fisherman of odds and ends;1 and for E. M. Forster, he is like a bucket lowered for "something which is normally beyond . . . reach."2 Moreover, these modern writers recognize a bifurcation in the artist, parallel to that which has led the principal thinkers in the Western tradition to weigh his powers in terms of a God who originates and constructs. Galsworthy believes that the artist is a "welder" of what is "fished up"; Forster believes that what, as a bucket, he brings up from the uncon-____________________