There is no excuse for amateur work being bad. Amateurs often excuse their shortcomings on the ground that they are not professionals, the professional could plead with greater justice that he is not an amateur. The professional has not, he might well say, the leisure and freedom from money anxieties which will let him devote himself to his art in singleness of heart, telling of things as he sees them without fear of what man shall say unto him; he must think not of what appears to him right and loveable but of what his patrons will think and of what the critics will tell his patrons to say they think; he has got to square everyone all round and will assuredly fail to make his way unless he does this; if, then, he betrays his trust he does so under temptation. Whereas the amateur who works with no higher aim than that of immediate recognition betrays it from the vanity and wantonness of his spirit. The one is naughty because he is needy, the other from natural depravity. Besides, the amateur can keep his work to himself, whereas the professional man must exhibit or starve.
The question is what is the amateur an amateur of? What is he really in love with? Is he in love with other people, thinking he sees something which he would like to show them, which he feels sure they would enjoy if they could only see it as he does, which he is therefore trying as best he can to put before the few nice people whom he knows? If this is his position he can do no wrong, the spirit in which he works will ensure that his defects will be only as bad spelling or bad grammar in some pretty saying of a child. If, on the other hand, he is playing for social success and to get a reputation for being clever, then no matter how dexterous his work may be, it is but another mode of the speaking with the tongues of men and angels without charity; it is as sounding brass or a tinkling cymbal, full of sound and fury signifying nothing.(from The notebooks of Samuel Butler.)
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