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

Neither does the third method of imitating art⁠—by the use of what is striking or effectful⁠—coincide with real art any better than the two former methods, for in effectfulness⁠—the effects of novelty, of the unexpected, of contrasts, of the horrible⁠—there is no transmission of feeling, but only an action on the nerves. If an artist were to paint a bloody wound admirably, the sight of the wound would strike me, but it would not be art. One prolonged note on a powerful organ will produce a striking impression, will often even cause tears, but there is no music in it, because no feeling is transmitted. Yet such physiological effects are constantly mistaken for art by people of our circle, and this not only in music, but also in poetry, painting, and the drama. It is said that art has become refined. On the contrary, thanks to the pursuit of effectfulness, it has become very coarse. A new piece is brought out and accepted all over Europe, such, for instance, as Hannele, in which play the author wishes to transmit to the spectators pity for a persecuted girl. To evoke this feeling in the audience by means of art, the author should either make one of the characters express this pity in such a way as to infect everyone, or he should describe the girl’s feelings correctly. But he cannot, or will not, do this, and chooses another way, more complicated in stage management but easier for the author. He makes the girl die on the stage; and, still further to increase the physiological effect on the spectators, he extinguishes the lights in the theatre, leaving the audience in the dark, and to the sound of dismal music he shows how the girl is pursued and beaten by her drunken father. The girl shrinks⁠—screams⁠—groans⁠—and falls. Angels appear and carry her away. And the audience, experiencing some excitement while this is going on, are fully convinced that this is true aesthetic feeling. But there is nothing aesthetic in such excitement, for there is no infecting of man by man, but only a mingled feeling of pity for another, and of self-congratulation that it is not I who am suffering: it is like what we feel at the sight of an execution, or what the Romans felt in their circuses.

The substitution of effectfulness for aesthetic feeling is particularly noticeable in musical art⁠—that art which by its nature has an immediate physiological action on the nerves. Instead of transmitting by means of a melody the feelings he has experienced, a composer of the new school accumulates and complicates sounds, and by now strengthening, now weakening them, he produces on the audience a physiological effect of a kind that can be measured by an apparatus invented for the purpose.83 And the public mistake this physiological effect for the effect of art.

As to the fourth method⁠—that of interesting⁠—it also is frequently confounded with art. One often hears it said, not only of a poem, a novel, or a picture, but even of a musical work, that it is interesting. What does this mean? To speak of an interesting work of art means either that we receive from a work of art information new to us, or that the work is not fully intelligible, and that little by little, and with effort, we arrive at its meaning, and experience a certain pleasure in this process of guessing it. In neither case has the interest anything in common with artistic impression. Art aims at infecting people with feeling experienced by the artist. But the mental effort necessary to enable the spectator, listener, or reader to assimilate the new information contained in the work, or to guess the puzzles propounded, by distracting him, hinders the infection. And therefore the interestingness of a work not only has nothing to do with its excellence as a work of art, but rather hinders than assists artistic impression.

We may, in a work of art, meet with what is poetic, and realistic, and striking, and interesting, but these things cannot replace the essential of art⁠—feeling experienced by the artist. Latterly, in upper-class art, most of the objects given out as being works of art are of the kind which only resemble art, and are devoid of its essential quality⁠—feeling experienced by the artist. And, for the diversion of the rich, such objects are continually being produced in enormous quantities by the artisans of art.

Many conditions must be fulfilled to enable a man to produce a real work of art. It is necessary that he should stand on the level of the highest life-conception of his time, that he should experience feeling and have the desire and capacity to transmit it, and that he should, moreover, have a talent for some one of the forms of art. It is very seldom that all these conditions necessary to the production of true art are combined. But in order⁠—aided by the customary methods of borrowing, imitating, introducing effects, and interesting⁠—unceasingly to produce counterfeits of art which pass for art in our society and are well paid for, it is only necessary to have a talent for some branch of art; and this is very often to be met with. By talent I mean ability: in literary art, the ability to express one’s thoughts and impressions easily and to notice and remember characteristic details; in the depictive arts, to distinguish and remember lines, forms, and colours; in music, to distinguish the intervals, and to remember and transmit the sequence of sounds. And a man, in our times, if only he possesses such a talent and selects some specialty, may, after learning the methods of counterfeiting used in his branch of art⁠—if he has patience and if his aesthetic feeling (which would render such productions revolting to him) be atrophied⁠—unceasingly, till the end of his life, turn out works which will pass for art in our