Part 14 (1/2)

Yet, sincere as this complaint is, it is largely misdirected; for art is not the extravagance which it may superficially seem to be. Most of the best art has been produced by poor men who never dreamed of the prices that would be paid for their work when they were old or after they were dead. And these prices represent no consumption of the labor and capital of the community, but only a transference of wealth from one man to another. Even when the artist is paid large sums for his picture or opera or play, these sums do not represent their real cost, but only what they can command in a market controlled by rich consumers.

The real cost of genuine art is very small--only enough to maintain the artist in freedom for his work; for he would still produce without the incentive of large rewards. The seeming extravagance of art cannot, therefore, be blamed upon art itself, but upon the price system of modern capitalist economy. And this, of course, is clearly perceived by the ”intellectual proletarians,” who are willing to accord to the artist a place of honor as fellow-worker and ”comrade,” and direct their attacks, not upon him, but upon capitalism.

There is, however, a deeper root to the proletarian's grievance against the artist--the feeling that the moral principle of mutuality is violated in their relations.h.i.+p. The workman plows for him, cooks for him, builds for him, spins for him, but what does he do in return? He paints pictures, makes statues, writes novels or poems or plays or sonatas which the workman has neither the leisure nor the education to enjoy. The money paid by the artist to the artisan represents nothing which the former rightfully owns or can give, but only a claim to the labor of other men, enforced by the system of wage-economy. Of course, not only art but all speculation, all pure science and disinterested historical knowledge, is subject to this criticism. And such criticism is no longer purely academic, for to-day there exist large ma.s.ses of men in every community determined to bring about a ”world dictators.h.i.+p of the proletariat” based on just this principle of mutuality in the relations of men. Is this principle itself rational, and would art survive in a regime which embodied it? These, I repeat, are no longer speculative, but intensely practical problems.

Those who fear for art in a society where the process of democratization should go to its extreme limit of development point to the moving picture, the cheap magazine story and novel, the vaudeville and ”musical” comedy, as a hint of what to expect. These, they will say, are the popular forms of art, to the production of which the artist would have to devote his time and skill in return for subsistence.

Under the present system the people get what they want, but in a proletarian state n.o.body would be allowed to get anything else.

Of course, as to what would happen in a workers' republic, were it ever const.i.tuted, we can only speculate; but where we cannot know, there hope has an equal chance with fear. We have the single example of the Russian experiment from which to make inferences, the general validity of which is seriously limited by the peculiarities of the Russian nature and situation. But there, at any rate, we do know that efforts have been made to advance general education, to bring the cla.s.sic literature within reach of the ma.s.ses, and to encourage opera and drama. In Russia, at all events, the leaders of the revolutionary movement have sought rather to destroy what they believe to be a monopoly of culture than culture itself; and in England also they have a similar aim.

There can be little doubt, I think, that our capitalist economy does promote a monopoly of culture. Through their control of the market, the wealthy are able to bid up the prices of works of art until they are beyond the reach of the less prosperous. As a result, the best paintings and sculptures, with the exception of those that find their way into museums, are acc.u.mulated in inaccessible private collections, and opera and music are made needlessly expensive. One very evil consequence is the subst.i.tution of a purely pecuniary standard of valuation for aesthetic standards. I know a painter who made the experiment of reducing the price of his pictures to twenty-five dollars, in the hope that many people who really loved art but were unable to pay large prices would buy them, and that thus, by selling many of his pictures at a low price, he would be able to make as much money as if he sold only a few at the prevailing high rates. The experiment failed completely, for people thought that paintings at such a low price must be inferior, and even those who could afford to buy them, would not.

The painter now tried the reverse experiment and raised the prices of all his works, with much better success, for people reasoned--the higher the price, the better the picture. But worst of all, through the purely commercial motives governing those who undertake to supply the people with works of art, the public taste is corrupted; little or no attempt is made to educate the ma.s.ses, but merely to give them anything that will entertain them after a day of fatiguing labor,--anything that will sell. The demoralizing effect of commercialism upon artists themselves is too well known to require more than a reminder; hasty work for the sake of money supplants careful work for the sake of beauty; whole arts, like that of oriental rug weaving, are thereby threatened with extinction; and, instead of producing spontaneous art that would express themselves, people allow themselves to be merely entertained by things supplied to them, nasty and cheap--folk art disappears.

If, on the other hand, the commercial motive were eliminated, who can say what might not result, in each community, from the experimentation of men who could not make money but only honor and a living from the profession of providing people with interesting ways of spending their leisure. The increased efficiency of machine tool work will inevitably make possible a great reduction in hours of labor, when the workers themselves control industry for their own benefit rather than for that of a cla.s.s bent on still further increasing its own wealth and power.

It is entirely possible that the leisure of men will then absorb as much of their devoted energies as work does now, and that they will be educated for the one as well as for the other. It is not impossible to hope that, the machine tool supplanting the slave, the commonwealth of workers will develop as free and liberal a life as existed among the citizens of ancient Greece. Then perhaps each group will have its painters, actors, and musicians just as surely as it now has its judges, aldermen, and police.

It is impossible to judge what art might do for people in a reorganized society by what it does for them now. Art has its roots in interests that are well nigh universal. Everybody loves to dance, to sing, to tell a story; everybody loves either to paint or be painted, to sculpture or be sculptured. Again, everybody is at least potentially sensitive to rhythm, harmony, and balance, and to the beauties of lines, colors, and tones. It is not native incapacity, but rather a failure in aesthetic education due to the one-sided emphasis on work rather than play, industry rather than leisure, success rather than happiness, that is responsible for much of the seeming lack of artistic appreciation among the ma.s.ses. Under a different social system the people may come to recognize the artist as a fellow-worker, elaborating his products in exchange for other desirable things, and may accord him welcome rather than envy.

However, it will doubtless always remain true that the subtler and more intellectual types of art can never become popular. Like higher mathematics, they will continue to be completely intelligible only to the few. Yet I can conceive of no social system likely to grow out of modern tendencies that would suppress them. The artist in the new state would have his leisure, as other men would, in which he could devote himself to the refinements of his art. It is doubtful whether he would have less time for that then than he has now. How many artists under our present system waste a large part of their lives doing hack work of various kinds to make a living; only the fortunate few are masters of themselves. Moreover, under any social system, men would be permitted to spend their surplus income as they chose, and the art lovers of the future are as likely to spend it for art then as now. Not being so rich, they could not reward the artist so munificently as some are rewarded now; but even now most working artists are poor, and the impulse to art is independent of large rewards. Heretical and unpopular artists, who could find no public backing, would come to be supported by their own special clients, as they are to-day. In a complex rational society, the principle of mutuality would be transitive rather than strictly symmetrical--a woman would cook for a machine designer although she got no machine in return, provided the designer made one, say, for the shoemaker, who could thus supply her with shoes. Just so, there is no moral objection to the artist's receiving goods and services from people to whose life he contributes nothing personally, so long as these people are compensated by those whose life he does enrich.

In other words, part of the reward which the art lover would receive for the work he performed would be paid, not to himself, but to the artist--art would be voluntarily supported by those who appreciated it. No complex social life could be maintained under the principle of strict mutuality, and certainly no system that undertook to preserve the variety and spontaneity of human interests. Only a complete dead-level regimentation of human life in accordance with the average desires of the ma.s.ses, which is unlikely, would destroy the more intellectual and subtle types of art, and, by the same token, speculation and disinterested higher learning. The higher culture has survived many revolutions; it will survive the next, when it comes.

CHAPTER XV

THE FUNCTION OF ART: ART AND RELIGION

The distinctive purpose of art, so we have argued throughout this study, is culture, the enrichment of the spirit. But lovers of art have always claimed for it more active and broader influences. To my thinking, most of such claims, especially in our age, like similar claims for religion, are greatly exaggerated. Pa.s.sion, convention, economic fact in the largest sense, practical intelligence, these are the dominant forces swaying men, not beauty, not religion. Indeed, one who would compare the influence of art upon life at the present time with its influence upon primitive societies might infer the early extinction of that influence altogether. For among primitive men the influence of art is all-pervading. With them art is inseparable from utility and communal activities, upon which it has an immediate modifying or strengthening effect. The movement of civilization, with the exception of the Greek, mediaval, and renaissance city states, has involved a breaking away from this original unity until, among ourselves, art is developed and enjoyed in isolation from the rest of life. Art is valued for its own sake, for its contribution to culture, not for any further influence upon life, and this freedom has come to be part of its very meaning. Instead of being interested only in pictures and statues representing ourselves, our rulers, our G.o.ds, or our neighborhood, we enjoy imitations of people who have had no effect upon our lives whatever and scenes which we have never visited, and we repair to museums to see them; instead of employing music to beautify our daily life, we leave that life for the concert hall, where we shut ourselves away for a few hours of ”absolute” musical experience. Prose literature and the drama, when inspired by contemporary social problems, offer exceptions to this isolation, for through their ability to express ideas they can exert a more pervasive influence. Although social problems are solved in obedience to forces and demands beyond the control of artists, literary expression is effective in persuading and drawing into a movement men whose status would tend to make them hostile or indifferent, as in Russia, where numerous men and women of the aristocratic and wealthy cla.s.ses became revolutionaries by reason of literature. And yet the literary arts also have acquired a large measure of isolation and independence. A play representing Viennese life is appreciated in New York, a novel of contemporary manners in England is enjoyed in America. Literature does not depend for its interest upon its ability to interpret and influence the life that the reader himself lives; he values it more because it extends than because it reflects that life. People decry art for art's sake, but in vain.

The development of the relation of religion to life has been parallel to the development of art. Originally, religion penetrated every activity; now, by contrast, it has been removed from one after another of the major human pursuits. Agriculture, formerly undertaken under the guidance of religion; science, once the prerogative of the priesthood; art, at one time inseparable from wors.h.i.+p; politics, once governed by the church and pretending a divine sanction; war, until yesterday waged with the fancied cooperation of the G.o.ds--even these are now under complete secular control. To be sure, there is some music, sculpture, painting, and poetry still in the service of religion, but its relative proportion is small; kings and congresses still appeal for divine aid in times of crisis, but that is perfunctory; men still pray for rain during drought, but without faith. No one would pretend that our commerce and manufacturing have any direct relation to religion. People still invoke divine authority for moral prescriptions, but the sanctions actually operating are social instincts and fear of public opinion and the law. Religion retains a direct and potent influence only in the inst.i.tution of marriage, the experience of death, philosophy, and the social life and charities conducted by the churches.

Yet even in these spheres the influence is declining, and, so far as it persists, is becoming indirect. Civil and contractual marriage are slowly supplanting religious marriage; there are thousands living in our large cities who do not feel the need of the church to establish and cement their social life; most philosophers disclaim any religious motive or authority for their investigations or beliefs. Only over death does religion still hold undisputed sway.

However, despite the separation of religion and art from life, they may continue to exert influence upon it. But, barring some new integration of the sundered elements of our culture, which we may deeply desire but cannot predict, this influence must be indirect and subtle, and must occur independent of any inst.i.tutional control. In the case of both it consists in imparting to life a new meaning and perfection, thus making possible a more complete affirmation of life and a freer and more genial att.i.tude and conduct.

For unless the spirit of art or of religion is infused into life, we never find it quite satisfactory. To be sure, men sometimes think they find perfection in certain things--in practical or moral endeavor, in love or in pleasure; but unless art or religion is mixed into them, they always prove to be, in the end, disappointing. No practical purpose is ever quite successful; there is always some part of the plan left unaccomplished; and the success itself is only momentary, for time eventually engulfs it and forgets it. Practical life does not produce any permanent and complete work; its task is done only to be done over again; every house has to be repaired or torn down, every road rebuilt; every invention is displaced by a new one. This is true even on the higher planes of practical life, in political and social reconstruction.

Certain evils may be removed, certain abuses remedied, but new ones always arise to take their places; and even when the entire system is remodeled and men think that the day of freedom and justice has dawned at last, they find, after a generation, a new tyranny and a new injustice. The movement of life makes it impossible for any plan to long endure. Hence the disillusion, the feeling of futility that so often poisons the triumphs of practical men. And without the spirit of art or of religion even love does not satisfy. For imagination creates the perfection of its object and, aside from inst.i.tutional bonds fast loosening, a faith in the continued growth with one another and with a child, which is essentially religious, creates the permanence and meaning of its bond. Love's raptures, in so far as they are instinctive, are, of course, independent of any view of life; but apart from imagination and faith in one another, love does not keep its quality or renew itself in memory, nor can it survive death which always impends to destroy. Men often seek escape from the feeling of imperfection in frivolity, but ennui is the inevitable consequence, and reflection with its doubts cannot be stilled.

By contrast, in the religious experience and in beauty men feel that they find perfection; hence the att.i.tude of self-surrender and joyousness characterizing both. The abandon of the spectator who decrees that for the moment his life shall be that of the work of art, is matched in the mystical experience by the emotion expressed in Dante's line, ”In his will is our peace.” And in both the self-surrender is based on a felt harmony between the individual and the object--the beautiful thing appeals to the senses, its form is adapted to the structure of the mind, its content is such as to win interest and sympathy; the divine is believed to realize and quiet all of our desires. But while in beauty we feel ourselves at home with the single object, in religion we feel at rest in the universe.

When religion and art are separated from the other parts of life, as they are fast becoming now, the peculiar quality of the experiences which they offer can be rendered universal only by freely infusing it everywhere, through faith, in the case of the one, through imaginative re-creation, in the case of the other. The religious experience is a seeming revelation of a perfect meaning in life as a whole; this meaning must now be imparted to the details of life. By a free act of faith the scattered and imperfect fragments must be built into a purposive unity. The poisonous feeling of futility, will then be lost; each task, no matter how petty or ineffectual, will become momentous as contributing something toward the realization of a good beyond our little existence; and we, however lowly, will find ourselves sublime as instruments of destiny. There is nothing vain to him who believes.

And if the believer cannot build a meaning into history and social life as he knows them empirically, he may extend them by faith in a future life, through which his purposes will be given the promise of eternity and the tie between parents and children, friends and lovers and co-workers, an invincible seriousness and worth. Being at peace with the universe, he may be reconciled to the accidents of his life as expressions of its Will.

The method of reconciliation through religion can well be understood by its effect on the att.i.tude towards evil. To one who has faith in the world as perfect, evil becomes an illusion that would disappear to an adequate vision of the Divine. The supposedly evil thing becomes really a good thing--a necessary means to the fulfillment of the divine plan, either in the earthly progress of humanity or in the future life; or if the more mystical types of religion provide the starting point, where individuality itself is felt to be an illusion, a factor in the self-realization of the Absolute. The evil thing remains, of course, what it was, but the interpretation, and therefore the att.i.tude towards it, is transformed. Pain, sorrow, and misfortune become agents for the quickening of the spirit, death a door opening to unending vistas.

The att.i.tude of faith is not embodied in dogmatic and speculative religious doctrines alone; for it finds expression in other beliefs--in progress, in the possibility of a sunny social order, in the perpetuity of human culture, in the peculiar mission of one's race or country.

Such beliefs are expressions primarily of faith, not of knowledge; like religion, they are interpretations of life based on aspiration, not on evidence; and through them men secure the same sort of re-enforcement of motive, courage, and consolation that they derive from the doctrines called religious. But the sphere of faith is wider even than this; the almost instinctive belief that each man has in his own longevity and success, the trust in the permanence of friends.h.i.+p and love, the confidence in the unique value of one's work or genius--these are also convictions founded more on desire than on knowledge, and may function in the same way as religion in a man's life.

The re-affirmation of life which art may inspire is independent of any belief or faith about the world. It occurs rather through the application to the objects and incidents of life of a spirit and att.i.tude borrowed from artistic creation and appreciation. It is a generalization of the aesthetic point of view to cover life as well as art; an attempt to bring beauty from art into the whole of life.

Although to-day works of art themselves are severed from direct contact with the rest of life, something of the intention and method of the artist may linger and be carried over into it. Art, the image of life, may now serve as a model, after which the latter, in its turn, will be patterned.

The spirit of art has two forms, one constructive, the other contemplative, and both may be infused into life. When the former is put there, each act and task is performed as if it were a work of art.