What Is Art?, Leo Tolstoy [to read list TXT] 📗

singer sings, “Home I bring the bri-i-ide.” But here the pairs get too close together. More raps with the stick, more scolding, and a recommencement. Again, “Home I bring the bri-i-ide,” again the same gesticulation with the bare arm from under the mantle, and again the couples, treading softly with halberds on their shoulders, some with sad and serious faces, some talking and smiling, arrange themselves in a circle and begin to sing. All seems to be going well, but again the stick raps, and the director, in a distressed and angry voice, begins to scold the men and women of the chorus. It appears that when singing they had omitted to raise their hands from time to time in sign of animation. “Are you all dead, or what? Cows that you are! Are you corpses, that you can’t move?” Again they recommence, “Home I bring the bri-i-ide,” and again, with sorrowful faces, the chorus women sing, first one and then another of them raising their hands. But two chorus-girls speak to each other⁠—again a more vehement rapping with the stick. “Have you come here to talk? Can’t you gossip at home? You there in red breeches, come nearer. Look towards me! Recommence!” Again, “Home I bring the bri-i-ide.” And so it goes on for one, two, three hours. The whole of such a rehearsal lasts six hours on end. Raps with the stick, repetitions, placings, corrections of the singers, of the orchestra, of the procession, of the dancers⁠—all seasoned with angry scolding. I heard the words, “asses,” “fools,” “idiots,” “swine,” addressed to the musicians and singers at least forty times in the course of one hour. And the unhappy individual to whom the abuse is addressed⁠—flautist, horn-blower, or singer⁠—physically and mentally demoralised, does not reply, and does what is demanded of him. Twenty times is repeated the one phrase, “Home I bring the bri-i-ide,” and twenty times the striding about in yellow shoes with a halberd over the shoulder. The conductor knows that these people are so demoralised that they are no longer fit for anything but to blow trumpets and walk about with halberds and in yellow shoes, and that they are also accustomed to dainty, easy living, so that they will put up with anything rather than lose their luxurious life. He therefore gives free vent to his churlishness, especially as he has seen the same thing done in Paris and Vienna, and knows that this is the way the best conductors behave, and that it is a musical tradition of great artists to be so carried away by the great business of their art that they cannot pause to consider the feelings of other artists.

It would be difficult to find a more repulsive sight. I have seen one workman abuse another for not supporting the weight piled upon him when goods were being unloaded, or, at hay-stacking, the village elder scold a peasant for not making the rick right, and the man submitted in silence. And, however unpleasant it was to witness the scene, the unpleasantness was lessened by the consciousness that the business in hand was needful and important, and that the fault for which the headman scolded the labourer was one which might spoil a needful undertaking.

But what was being done here? For what, and for whom? Very likely the conductor was tired out, like the workman I passed in the vaults; it was even evident that he was; but who made him tire himself? And for what was he tiring himself? The opera he was rehearsing was one of the most ordinary of operas for people who are accustomed to them, but also one of the most gigantic absurdities that could possibly be devised. An Indian king wants to marry; they bring him a bride; he disguises himself as a minstrel; the bride falls in love with the minstrel and is in despair, but afterwards discovers that the minstrel is the king, and everyone is highly delighted.

That there never were, or could be, such Indians, and that they were not only unlike Indians, but that what they were doing was unlike anything on earth except other operas, was beyond all manner of doubt; that people do not converse in such a way as recitative, and do not place themselves at fixed distances, in a quartet, waving their arms to express their emotions; that nowhere, except in theatres, do people walk about in such a manner, in pairs, with tinfoil halberds and in slippers; that no one ever gets angry in such a way, or is affected in such a way, or laughs in such a way, or cries in such a way; and that no one on earth can be moved by such performances; all this is beyond the possibility of doubt.

Instinctively the question presents itself⁠—For whom is this being done? Whom can it please? If there are, occasionally, good melodies in the opera, to which it is pleasant to listen, they could have been sung simply, without these stupid costumes and all the processions and recitatives and hand-wavings.

The ballet, in which half-naked women make voluptuous movements, twisting themselves into various sensual wreathings, is simply a lewd performance.

So one is quite at a loss as to whom these things are done for. The man of culture is heartily sick of them, while to a real working man they are utterly incomprehensible. If anyone can be pleased by these things (which is doubtful), it can only be some young footman or depraved artisan, who has contracted the spirit of the upper classes but is not yet satiated with their amusements, and wishes to show his breeding.

And all this nasty folly is prepared, not simply, nor with kindly merriment, but with anger and brutal cruelty.

It is said that it is all done for the sake of art, and that art is a very important thing. But is it true that art is so important that such sacrifices should be made for its sake? This question