But, objects a friend, the moral of Romeo and Juliet is excellent. See what disasters followed from the physical “love at first sight.” But that is quite another matter. It is the feelings with which you are infected when reading, and not any moral you can deduce, that is subject-matter of art. Pondering upon the consequences that flow from Romeo and Juliet’s behaviour may belong to the domain of moral science, but not to that of art.
I have hesitated to use an illustration Tolstoy had struck out, but I think it serves its purpose. No doubt there are other, subordinate, feelings (e.g. humour) to be found in Romeo and Juliet; but many quaint conceits that are ingenious, and have been much admired, are not, I think, infectious.
Tried by such tests, the enormous majority of the things we have been taught to consider great works of art are found wanting. Either they fail to infect (and attract merely by being interesting, realistic, effectful, or by borrowing from others), and are therefore not works of art at all; or they are works of “exclusive art,” bad in form and capable of infecting only a select audience trained and habituated to such inferior art; or they are bad in subject-matter, transmitting feelings harmful to mankind.
Tolstoy does not shrink from condemning his own artistic productions; with the exception of two short stories, he tells us they are works of bad art. Take, for instance, the novel Resurrection, which is now appearing, and of which he has, somewhere, spoken disparagingly, as being “written in my former style,” and being therefore bad art. What does this mean? The book is a masterpiece in its own line; it is eagerly read in many languages; it undoubtedly infects its readers, and the feelings transmitted are, in the main, such as Tolstoy approves of—in fact, they are the feelings to which his religious perception has brought him. If lust is felt in one chapter, the reaction follows as inevitably as in real life, and is transmitted with great artistic power. Why a work of such rare merit does not satisfy Tolstoy, is because it is a work of “exclusive art,” laden with details of time and place. It has not the “simplicity and compression” necessary in works of “universal” art. Things are mentioned which might apparently be quite well omitted. The style, also, is not one of great simplicity; the sentences are often long and involved, as is commonly the case in Tolstoy’s writings. It is a novel appealing mainly to the class that has leisure for novel reading because it neglects to produce its own food, make its own clothes, or build its own houses. If Tolstoy is stringent in his judgment of other artists, he is more stringent still in his judgment of his own artistic works. Had Resurrection been written by Dickens, or by Hugo, Tolstoy would, I think, have found a place for it (with whatever reservations) among the examples of religious art. For indeed, strive as we may to be clear and explicit, our approval and disapproval is a matter of degree. The thought which underlay the remark: “Why callest thou me good? none is good, save one, even God,” applies not to man only, but to all things human.
What Is Art? itself is a work of science—though many passages, and even some whole chapters, appeal to us as works of art, and we feel the contagion of the author’s hope, his anxiety to serve the cause of truth and love, his indignation (sometimes rather sharply expressed) with what blocks the path of advance, and his contempt for much that the “cultured crowd,” in our erudite, perverted society, have persuaded themselves, and would fain persuade others, is the highest art.
One result which follows inevitably from Tolstoy’s view (and which illustrates how widely his views differ from the fashionable aesthetic mysticism), is that art is not stationary but progressive. It is true that our highest religious perception found expression eighteen hundred years ago, and then served as the basis of an art which is still unmatched; and similar cases can be instanced from the East. But allowing for such great exceptions—to which, not inaptly, the term of “inspiration” has been specially applied—the subject-matter of art improves, though long periods of time may have to be considered in order to make this obvious. Our power of verbal expression, for instance, may now be no better than it was in the days of David, but we must no longer esteem as good in subject-matter poems which appeal to the Eternal to destroy a man’s private or national foes; for we have reached a “religious perception” which bids us have no foes, and the ultimate source (undefinable by us) from which this consciousness has come, is what we mean when we speak of God.
The Author’s Preface
This book of mine, What Is Art? appears now for the first time in its true form. More than one edition has already been issued in Russia, but in each case it has been so mutilated by the “Censor,” that I request all who are interested in my views on art only to judge of them by the work in its present shape. The causes which led to the publication of the book—with my name attached to it—in a mutilated form, were the following:—In accordance with a decision I arrived at long ago—not to submit my writings to the “Censorship” (which I consider to be an immoral and irrational institution), but to print them only in the shape in which they were written—I intended not to attempt to print this work in Russia. However, my good acquaintance Professor Grote, editor of a Moscow psychological magazine, having heard of the contents of my work, asked me to print it in his
