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

was erected the science of aesthetics, invented by men of the eighteenth century, and especially shaped and mounted in Baumgarten’s theory. The Greeks (as anyone may see who will read Benard’s admirable book on Aristotle and his successors, and Walter’s work on Plato) never had a science of aesthetics.

Aesthetic theories arose about 150 years ago among the wealthy classes of the Christian European world, and arose simultaneously among different nations⁠—German, Italian, Dutch, French, and English. The founder and organiser of it, who gave it a scientific, theoretic form, was Baumgarten.

With a characteristically German, external exactitude, pedantry and symmetry, he devised and expounded this extraordinary theory. And, notwithstanding its obvious insolidity, nobody else’s theory so pleased the cultured crowd, or was accepted so readily and with such an absence of criticism. It so suited the people of the upper classes, that to this day, notwithstanding its entirely fantastic character and the arbitrary nature of its assertions, it is repeated by learned and unlearned as though it were something indubitable and self-evident.

Habent sua fata libelli pro capite lectoris, and so, or even more so, theories habent sua fata according to the condition of error in which that society is living, among whom and for whom the theories are invented. If a theory justifies the false position in which a certain part of a society is living, then, however unfounded or even obviously false the theory may be, it is accepted, and becomes an article of faith to that section of society. Such, for instance, was the celebrated and unfounded theory expounded by Malthus, of the tendency of the population of the world to increase in geometrical progression, but of the means of sustenance to increase only in arithmetical progression, and of the consequent overpopulation of the world; such, also, was the theory (an outgrowth of the Malthusian) of selection and struggle for existence as the basis of human progress. Such, again, is Marx’s theory, which regards the gradual destruction of small private production by large capitalistic production now going on around us, as an inevitable decree of fate. However unfounded such theories are, however contrary to all that is known and confessed by humanity, and however obviously immoral they may be, they are accepted with credulity, pass uncriticised, and are preached, perchance for centuries, until the conditions are destroyed which they served to justify, or until their absurdity has become too evident. To this class belongs this astonishing theory of the Baumgartenian Trinity⁠—Goodness, Beauty, and Truth, according to which it appears that the very best that can be done by the art of nations after 1,900 years of Christian teaching, is to choose as the ideal of their life the ideal that was held by a small, semi-savage, slave-holding people who lived 2,000 years ago, who imitated the nude human body extremely well, and erected buildings pleasant to look at. All these incompatibilities pass completely unnoticed. Learned people write long, cloudy treatises on beauty as a member of the aesthetic trinity of Beauty, Truth, and Goodness; das Schöne, das Wahre, das Gute; le Beau, le Vrai, le Bon, are repeated, with capital letters, by philosophers, aestheticians and artists, by private individuals, by novelists and by feuilletonistes, and they all think, when pronouncing these sacrosanct words, that they speak of something quite definite and solid⁠—something on which they can base their opinions. In reality, these words not only have no definite meaning, but they hinder us in attaching any definite meaning to existing art; they are wanted only for the purpose of justifying the false importance we attribute to an art that transmits every kind of feeling if only those feelings afford us pleasure.

VIII

But if art is a human activity having for its purpose the transmission to others of the highest and best feelings to which men have risen, how could it be that humanity for a certain rather considerable period of its existence (from the time people ceased to believe in Church doctrine down to the present day) should exist without this important activity, and, instead of it, should put up with an insignificant artistic activity only affording pleasure?

In order to answer this question, it is necessary, first of all, to correct the current error people make in attributing to our art the significance of true, universal art. We are so accustomed, not only naively to consider the Circassian family the best stock of people, but also the Anglo-Saxon race the best race if we are Englishmen or Americans, or the Teutonic if we are Germans, or the Gallo-Latin if we are French, or the Slavonic if we are Russians, that when speaking of our own art we feel fully convinced, not only that our art is true art, but even that it is the best and only true art. But in reality our art is not only not the only art (as the Bible once was held to be the only book), but it is not even the art of the whole of Christendom⁠—only of a small section of that part of humanity. It was correct to speak of a national Jewish, Grecian, or Egyptian art, and one may speak of a now-existing Chinese, Japanese, or Indian art shared in by a whole people. Such art, common to a whole nation, existed in Russia till Peter the First’s time, and existed in the rest of Europe until the thirteenth or fourteenth century; but since the upper classes of European society, having lost faith in the Church teaching, did not accept real Christianity but remained without any faith, one can no longer speak of an art of the Christian nations in the sense of the whole of art. Since the upper classes of the Christian nations lost faith in Church Christianity, the art of those upper classes has separated itself from the art of the rest of the people, and there have been two arts⁠—the art