ART AND THE WAR

(From the Atlantic Monthly and Fortnightly Review, 1915.)

Monsieur Rodin—perhaps the greatest living artist—has lately defined art as the pursuit of beauty, and beauty as “the expression of what there is best in man.” “Man,” he says, “needs to express in a perfect form of art all his intuitive longings towards the Unknowable.” His words may serve as warning to those who imagine that the war will loosen one root of the tree of art—a tree which has been growing slowly since first soul came into men’s eyes.

This world (as all will admit) is one of the innumerable expressions of an Unknowable Creative Purpose, which colloquially we call God; that which not every one will admit is that this Creative Purpose works in its fashioning not only of matter but of what we call spirit, through friction, through the rubbing together of the noses, the thoughts, and the hearts of men. While the material condition of our planet—the heat or friction within it—remains favourable to human life, there will, there must needs be, a continual crescendo in the stature of Humanity, through the ever-increasing friction of human spirits one with the other; friction supplied by life itself, and, next after life, by those transcripts of life, those expressions of human longing, which we know as art. Art for art’s sake—if it meant what it said, which is doubtful—was always a vain and silly cry. As well contend that an artist is not a man. Art was ever the servant as well as the mistress of men, and ever will be. Civilization, which after all is but the gradual conversion of animal man into human man, has come about through art even more than through religion, law, and science. For the achieved “expression of man’s intuitive longing towards the Unknowable, in more or less perfect forms of art” has ever—after life itself—been the chief influence in broadening men’s hearts.

The aim of human life no doubt is happiness. But, after all, what is happiness? Efficiency, wealth, material comfort? Many by their lives do so affirm; few are cynical enough to say so; and on their death-beds none will feel that they are. Not even freedom in itself brings happiness. Happiness lies in breadth of heart. And breadth of heart is that inward freedom, which has the power to understand, feel with, and, if need be, help others. In breadth of heart are founded justice, love, sacrifice; without it there would seem no special meaning to any of our efforts, and the tale of all human life would still be no more than that of very gifted animals, many of whom, indeed, are highly efficient, and have unity partly instinctive, partly founded on experiences of the utility thereof; but none of whom have that conscious altruism which is without perception of benefit to self, and works from sheer recognition of its own beauty. In sum, human civilization is the growth of conscious altruism; and the directive moral purpose in the world nothing but our dim perception, ever growing through spiritual friction, that we are all bound more and more towards the understanding of ourselves and each other, and all that this carries with it. To imagine, then, that a conflagration like this war, however vast and hellish, will do aught but momentarily retard the crescendo of that understanding, is to miss perception of the whole slow process by which man has become less and less an animal throughout the ages; and to fear that the war will scorch and wither art, that chief agent of understanding, is either to identify oneself with the petty and eclectic views which merely produce æsthetic excrescences, or to be frankly ignorant of what art means.

Recognition of the relativity of art is constantly neglected by those who talk and write about it. For one school the audience does not exist; for another nothing but the audience. Obviously neither view is right. Art may be very naïve and still be art—still be the expression of a childish vision appealing to childish visions, making childish hearts beat. Thus:

“Mary had a little lamb,

   Its wool was white as snow,

 And everywhere that Mary went

   The lamb was sure to go,”

is art to the child of five, whose heart and fancy it affects. And:

“Tiger, tiger, burning bright

 Through the forests of the night—

 What immortal hand and eye

 Framed thy fearful symmetry?”

is art to the writer and the reader of these words.

On the other hand, Tolstoi, in limiting art to such of it as might be understanded of simple folk, served his purpose of attacking the extravagant dandyisms of æstheticism, but fell lugubriously short of the wide truth. The essence of art is the power of communication between heart and heart. Yes! But since no one shall say to human nature: “Be of this or that pattern,” or to the waves of human understanding: “Thus far and no further,” so no man shall say these things to art.

Anybody can draw a tree, but few can draw a tree that others can see is like a tree, and not one in a million can convey the essential spirit of Tree. The power of getting over the footlights to some audience or other is clearly necessary before a man can be called an artist by any but himself. But so soon as he has established genuine connection between his creation and the gratified perception of others, he is making art, though it may be, and usually is, very childish art. The point to grasp is this, and again this: Art is rooted in life for its inspiration, and dependent for its existence as art on affecting other human beings, sooner or later. The statue, the picture, or the book which, having been given a proper chance, has failed to move any but its creator, is certainly not art. It does not follow that the artist should consider his public, or try to please others than his own best self; but if, in pleasing his best self, he does not succeed in pleasing others, in the past, the present, or the future, he will certainly not have produced art. Not, of course, that the size of his public is proof of an artist’s merit. The public of all time is generally but a small public at any given moment. Tolstoi seems to have forgotten that, and to have neglected the significance attaching to the quality of a public. For, if the essence of art be its power of bridging between heart and heart (as he admitted), its value may well be greater if at first it only reaches and fertilizes the hearts of other artists rather than those of the public, for through these other artists it sweeps out again in further circles and ripples of expression. Art is the universal traveller, essentially international in influence. Revealing the spirit of things lying behind parochial surfaces and circumstance, delving down into the common stuff of nature and human nature, and recreating therefrom, it passes ten thousand miles of space, ten thousand years of time, and yet appeals to the men it finds on those far shores. It is the one possession of a country which that country’s enemies usually still respect and take delight in. War—destructive outcome of the side of man’s nature which is hostile to all breadth of heart—can for the moment paralyse the outward activities of art, but can it ever chain its spirit, or arrest the inner ferment of the creative instinct? For thousands of generations war has been the normal state of man’s existence, yet alongside war has flourished art, reflecting man’s myriad aspirations and longings, and, by innumerable expressions of individual vision and sentiment, ever unifying human life, through the common factor of impersonal emotion passing from heart to heart by ways more invisible than the winds travel, carrying the seeds and pollen of herb life. If one could only see those countless tenuous bridges spun by art, a dewy web over the whole lawn of life! If for a moment we could see them, discouragement would cease its uneasy buzzing. What can this war do that a million wars have not? It is bigger, and more bloody—the reaction from it will but be the greater. If every work of art existing in the Western world were obliterated, and every artist killed, would human nature return to the animalism from which art has in a measure raised it? Not so. Art makes good in the human soul all the positions that it conquers.

When the war is over, the world will find that the thing which has changed least is art. There will be less money to spend on it; some artists will have been killed; certain withered leaves, warts, and dead branches will have sloughed off from the tree; and that is all. The wind of war reeking with death will neither have warped nor poisoned it. The utility of art, which in these days of blood and agony is mocked at, will be rising again into the view even of the mockers, almost before the thunder of the last shell has died away. “Beauty is useful,” says Monsieur Rodin. Aye! it is useful!

Who knows whether, even in the full whirlwind of this most gigantic struggle, art work may not be produced which, in sum of its ultimate effect on mankind, will outlive and outweigh the total net result of that struggle, just as the work of Euripides, Shakespeare, Leonardo, Beethoven, and Tolstoi outweighed the net result of the Peloponnesian, sixteenth century, Napoleonic, and Crimean wars? War is so unutterably tragic, because—without it—Nature, given time, would have attained the same ends in other ways. A war is the spasmodic uprising of old savage instincts against the slow and gradual humanizing of the animal called man. It emanates from restless and so-called virile natures fundamentally intolerant of men’s progress towards the understanding of each other—natures that often profess a blasphemous belief in art, a blasphemous alliance with God. It still apparently suffices for a knot of such natures to get together, and play on mass fears and loyalties, to set a continent on fire. And at the end? Those of us who are able to look back from thirty years hence on this tornado of death will conclude with a dreadful laugh that if it had never come the state of the world would be very much the same.

It is not the intention of these words to deny the desperate importance of this conflict now that it has been joined. Humanism and Democracy have been forced into a sudden and spasmodic death-grapple with their arch-enemies; and the end of that struggle must be brought into conformity with the slow, sure, general progress of mankind. But if, by better fortune, this fearful conflict had not been forced upon civilization, the same victory would have made good, in course of time, by other processes. That is the irony. For, of a surety, wars or no wars—the future is to Humanism.

But art has no cause to droop its head, nor artists to be discouraged. They are the servants of the future every bit as much as, and more than, they have been the servants of the past; they are even the faithful servants of the present, for they must keep their powers in training, and their vision keen against the time when they are once more accounted of. A true picture is a joy that will move hearts some day, though it may not sell now, nor even for some years after the war; beauty none the less “the expression of what there is best in man” because the earth is being soaked with blood.

Monsieur Sologub, the Russian poet, speaking recently on the future of art, seems to have indicated his view that after the war art will move away from the paths of naturalism; and he defines the naturalists as “people who describe life from the standpoint of material satisfaction.” With that definition I do not at all agree, but it is never good to argue about words. Confusion in regard to the meaning of terms describing art activity is so profound that it is well to sweep them out of our minds, and, in considering what forms art ought to take, go deep down to the criterion of communication between heart and heart. The only essential is, that vision, fancy, feeling should be given the concrete clothing that shall best make them perceptible by the hearts of others; the simpler, the more direct and clear and elemental the form, the better; and that is all you can say about it. To seek remote, intricate, and “precious” clothings for the imagination is but to handicap vision and imperil communication and appeal; the artists who seek them are not usually of much account. The greatness of Blake is the greatness of his simpler work. Though, in this connection, it is as much affectation to pretend that men are more childish than they are, as to pretend that they all have the subtlety of a Robert Browning. If the range of an artist’s vision, the essential truth of his fancy, and the heat of his feeling be great, then, obviously, the simpler, the more accessible the form he takes, the wider will be his reach, the deeper the emotion he stirs, the greater the value of his art.

“What is wanted,” says Monsieur Sologub, “is true art.” Quite so! What is wanted in a work of art is an unforced natural and adequate correspondence between fancy and form, matter and spirit, so that one shall not be distracted by its naturalism, mysticism, cubism, whatnotism, but shall simply be moved in a deep impersonal way by perception of another’s vision. Two instances come into the mind: A picture of Spring, by Jean François Millet, in the Louvre. Therein, by simple selection, without any departure whatever from the normal representation of life, the very essence of Spring, the brooding and the white flash of it, the suspense and stir, the sense of gathered torrents, all the special emotion, which, every Spring of the year, is sooner or later felt by every heart, has been stored by the painter’s vision and feeling, and projected from his eyes and heart to other eyes and hearts.

And: Those chapters in a novel of Monsieur Sologub’s compatriot, Turgenev—“Fathers and Children”—which describe with the simplest naturalism the death of Bazarov. There, too, is the heart-beat of emotion as universal as it well can be, rendered so vividly that one is not conscious at all of how it is rendered.

These are two cases of that complete welding of form and spirit which is all one need or should demand of art; the rest is a mere question of the artist’s emotional quality and stature. Art, in fact, will take all paths after the war just as before; and now and then the artist will fashion that true blend of form and fancy which is the achievement of beauty.

For Monsieur Rodin, beauty is the adoration of all that man perceives with his spiritual senses. Yes. And the task of artists is to kneel before life till they rive the heart from it and with that heart twine their own; out of such marriages come precious offspring, winged messengers.

There is a picture of Francesca’s in the Louvre, too much restored—some say it is not a Francesca, but if not, then neither are they Francescas in the English National Gallery, and those, so far as I know, are not disputed—a picture of the Virgin, with hands pressed together, before her naked Babe, in a landscape of hills and waters. Her kneeling figure has in it I cannot tell what of devotion and beauty, which makes the heart turn over within one. With his spiritual senses the painter has perceived, and in adoration set down what he has seen, mingling with it the longings of his own heart. And they who look on that picture know for evermore what devotion and beauty are. And if they be artists, they go away fortified again to the taking up of a long quest.

This is the utility of art. It plays between men like light, showing the heights and depths of nature, beckoning on, or warning of destruction, and ever through emotion revealing heart to heart. It is the priestess of Humanism, confirming to us our future, reassuring our faltering faith in our own approach to the Unknowable, till the tides of the Creative Purpose turn, and our world gets cold; and Man, having lived his day to the uttermost, finds gradual sleep.