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

love of God and man (both of the higher, positive, and of the lower, negative kind), in literature I should name The Robbers by Schiller: Victor Hugo’s Les Pauvres Gens and Les Misérables: the novels and stories of Dickens⁠—The Tale of Two Cities, The Christmas Carol, The Chimes, and others: Uncle Tom’s Cabin: Dostoevsky’s works⁠—especially his Memoirs from the House of Death: and Adam Bede by George Eliot.

In modern painting, strange to say, works of this kind, directly transmitting the Christian feeling of love of God and of one’s neighbour, are hardly to be found, especially among the works of the celebrated painters. There are plenty of pictures treating of the Gospel stories; they, however, depict historical events with great wealth of detail, but do not, and cannot, transmit religious feeling not possessed by their painters. There are many pictures treating of the personal feelings of various people, but of pictures representing great deeds of self-sacrifice and of Christian love there are very few, and what there are are principally by artists who are not celebrated, and are, for the most part, not pictures but merely sketches. Such, for instance, is the drawing by Kramskoy (worth many of his finished pictures), showing a drawing-room with a balcony, past which troops are marching in triumph on their return from the war. On the balcony stands a wet-nurse holding a baby and a boy. They are admiring the procession of the troops, but the mother, covering her face with a handkerchief, has fallen back on the sofa, sobbing. Such also is the picture by Walter Langley, to which I have already referred, and such again is a picture by the French artist Morion, depicting a lifeboat hastening, in a heavy storm, to the relief of a steamer that is being wrecked. Approaching these in kind are pictures which represent the hardworking peasant with respect and love. Such are the pictures by Millet, and, particularly, his drawing, The Man with the Hoe, also pictures in this style by Jules Breton, L’Hermitte, Defregger, and others. As examples of pictures evoking indignation and horror at the violation of love to God and man, Gay’s picture, Judgment, may serve, and also Leizen-Mayer’s, Signing the Death Warrant. But there are also very few of this kind. Anxiety about the technique and the beauty of the picture for the most part obscures the feeling. For instance, Gérôme’s Pollice Verso expresses, not so much horror at what is being perpetrated as attraction by the beauty of the spectacle.86

To give examples, from the modern art of our upper classes, of art of the second kind, good universal art or even of the art of a whole people, is yet more difficult, especially in literary art and music. If there are some works which by their inner contents might be assigned to this class (such as Don Quixote, Molière’s comedies, David Copperfield and The Pickwick Papers by Dickens, Gogol’s and Pushkin’s tales, and some things of Maupassant’s), these works are for the most part⁠—from the exceptional nature of the feelings they transmit, and the superfluity of special details of time and locality, and, above all, on account of the poverty of their subject-matter in comparison with examples of universal ancient art (such, for instance, as the story of Joseph)⁠—comprehensible only to people of their own circle. That Joseph’s brethren, being jealous of his father’s affection, sell him to the merchants; that Potiphar’s wife wishes to tempt the youth; that having attained the highest station, he takes pity on his brothers, including Benjamin the favourite⁠—these and all the rest are feelings accessible alike to a Russian peasant, a Chinese, an African, a child, or an old man, educated or uneducated; and it is all written with such restraint, is so free from any superfluous detail, that the story may be told to any circle and will be equally comprehensible and touching to everyone. But not such are the feelings of Don Quixote or of Molière’s heroes (though Molière is perhaps the most universal, and therefore the most excellent, artist of modern times), nor of Pickwick and his friends. These feelings are not common to all men but very exceptional, and therefore, to make them infectious, the authors have surrounded them with abundant details of time and place. And this abundance of detail makes the stories difficult of comprehension to all people not living within reach of the conditions described by the author.

The author of the novel of Joseph did not need to describe in detail, as would be done nowadays, the bloodstained coat of Joseph, the dwelling and dress of Jacob, the pose and attire of Potiphar’s wife, and how, adjusting the bracelet on her left arm, she said, “Come to me,” and so on, because the subject-matter of feelings in this novel is so strong that all details, except the most essential⁠—such as that Joseph went out into another room to weep⁠—are superfluous, and would only hinder the transmission of feelings. And therefore this novel is accessible to all men, touches people of all nations and classes, young and old, and has lasted to our times, and will yet last for thousands of years to come. But strip the best novels of our times of their details, and what will remain?

It is therefore impossible in modern literature to indicate works fully satisfying the demands of universality. Such works as exist are, to a great extent, spoilt by what is usually called “realism,” but would be better termed “provincialism,” in art.

In music the same occurs as in verbal art, and for similar reasons. In consequence of the poorness of the feeling they contain, the melodies of the modern composers are amazingly empty and insignificant. And to strengthen the impression produced by these empty melodies, the new musicians pile complex modulations on to each trivial melody, not only