“Art for Heart’s Sake” by Reuben Lucius Essay

invention for He blinds Sake is a short figment written by Reuben Lucius Rube G venerableberg, an Ameri pot cartoonist, sculptor, author, engineer, and inventor, who lived between 1883 and 1970. He is best cognise as a cartoonist and a founding member of Americas National Cartoonists Society.Collins P. Ellsworth is a wealthy 76-year-old businessman who is being handle for a form of compulsive buying disorder, otherwise known as oniomania His uncontrollable buying habitshe can hardly suppress the impulse to purchase businesses and quality much(prenominal) as grocery stores and railroadshave precipitated a host of mental and physical problems. Dr. Caswell, his doctor, convinces him to try art therapy sessions with click Swain, a young art student. As the treatment progresses, Ellsworth turns his interest to vox populi and to the trading operations of art galleries. He then paints an amateurish picture, which he exhibits at the Lathrop Gallery. A letter soon arrives, reveali ng that the First Prize of the Lathrop Show has been awarded to none other than Ellsworth it turns out that the old businessman has recently purchased the Lathrop Gallery.Written in a combination of third-person narrative and direct speech, the theme brings Ellsworth and his experiment with art therapy into focus, reaching its climax when the old man, almost improbably, decides to exhibit his third-rate painting at the Lathrop Gallery (He was going to exhibit it . . . ). The story whitethorn be divided into five sections, each of which recounts a different comprise of Ellsworths progress from his background as a compulsive property buyer, to Dr. Caswells treatment suggestion, to the art therapy sessions with Frank Swain, to the Lathrop exhibition, and finally, to the startling revelation of Ellsworths purchase of the gallery. Possible section titles Enter a Cranky Property Addict, Cajoled into Rehab, artistry is Medicine, Practice Doesnt Al substances Make Perfect, A Relapse.The story is told in a brainous and, to an extent, ironic tone. We would be hard-pressed to deny the situational humor of a snappy and petulant, albeit very wealthy, 76-year-old in a hospital-like establishment. The epithets aloud, blatant splash on the wall and a god-awful smudge, along with the simile gob of salad dressing, ar teasingly said in reference to Ellsworths weak painting skills. His personified dislike of the pineapple succus prescribed by Dr. Caswell (. . . old pineapple juice comes back.) is likewise worth a smile. By using zeugma (All his purchases of recent years had to be liquidated at a great sacrifice both to his health and his pocketbook.), Goldberg forges a link of derision between Ellsworths health and his money the more money the old man dies on compulsive property purchases, the more his condition deteriorates. The ultimate irony, however, is that a treatment designed to alleviate Ellsworths oniomania sues only to irritate it.The character of Collins P. Ellsworth is portrayed, mostly indirectly, as crabby, materialistic, and petulant. From the very first lines, we can hear him retorting with the informal nope and brandishing dated colloquial pejoratives (e.g., bosh, rot, poppycock). The simile like a child playing with his picture book brings out Ellsworths immatureness, piece his impatience is highlighted by his frequent use of the interjection umph. Vain and impatient, he snaps and grunts with satisfaction at his feeble attempts at painting. His belief that moneyas opposed to talentcan buy one anything may not be the best philosophy to live by, for it is money and his uncontrollable urges to spend it that have undermined Ellsworths health. Dr. Caswell is driven by professionalism (. . . with his usual professional unagitated . . .), logic (He had done some constructive thinking . . . .), and compassion, ever so acting with Ellsworths best interests at heart. The fact that he recommends Frank Swain as tutor to the often intole rable Ellsworth, thereby back up Swain pay his tuition, also speaks positively of Dr. Caswell. Frank Swain is in like manner patient and attentive, which is evident, for example, when he brings the grumpy old man watercolors and oils, or when he politely (Not bad, sir.) comments on Ellsworths risible picture, although there is no certain way of establishing whether the remark was or was not used reasonably sarcastically. The character of Koppel, the male nurse, does nothing but fetch pineapple juice and therefore plays only a subsidiary role in the storyperhaps that of helping fuel Ellsworths grumpiness and of functioning as a sort of human prop in the final amazement scene of the story.As noted above, apart from largely neural vocabulary, the story features a number of dated informal words (as above, e.g., bosh, rot, poppycock), phrases (by gum), and colloquialisms (kinda), which all serve the purpose of portraying Ellsworth as an old, grumpy, and childish man. Vocabulary pertai ning to paintingsuch as water-colors, oils, picture book, gallery, exhibit, and numerous othershelps establish the setting and reinforces the image of Ellsworth as a grown-up baby fooling around with chalk and crayons.At the syntactic level, brisk, saucer-eyed sentences account for the majority of the sentences found in the story. If not too simple, the syntax, on the whole, is rather uncomplicated, with a significant number of elliptical (Not bad. Fine.) and emphatic (Nope Bosh Umph) sentences. Such sentences, in conjunction with the straightforward syntax, strengthen the impression of Ellsworths awkwardness. Through repetition (See, see . . .) and aposiopesis (But, butwell, now . . . .), Goldberg imitates the way many people would react in moments of overwhelming surprise.This story is elicit in that it portrays a complex manold, rich, petulant like a child, and in a precarious state of mental and physical health. As we watch his ostensible passion for art develop, we may find ourselves stimulate by his progress and, not infrequently, even amused by his irate remarks. But when we learn about his regression at the end of the story, we are bound for disappointmentwe begin to view Ellsworth as a childish and materialistic person not worthy of our sympathy. Is he such a man? That is precisely why this story is so interesting enchantment humorous and ironic on the surface, it poses the deep question of whether Ellsworth is really in control of himself when he decides to purchase the Lathrop Gallery, or whether he is a dupe of a mentall illness none of us would ever wish on our worst enemies. Should we be amused at his regression, or should we pity him?