_ CHAPTER XXX
What, after all, is the essence of the artistic life, the artist's ideal? I think the reason why it is so often misconceived and misunderstood is because of the fact that it is a narrow path and is followed whole-heartedly by few. Moreover, in England at the present time, when we are all so tolerant and imagine ourselves to be permeated by intelligent sympathy with ideas, there seem to me to be hardly any people who comprehend this point of view at all. There is a good deal of interest in England in moral ideals, though even much of that is of a Puritan and commercial type. The God that we ignorantly worship is Success, and our interest in moral ideas is mainly confined to our interest in what is successful. We are not in love with beautiful, impracticable visions at all; we measure a man's moral intensity by the extent to which he makes people respectable and prosperous. We believe in an educator when he makes his boys do their work and play their games; in a priest, when he makes people join clubs, find regular employment, give up alcohol. We believe in a statesman when he makes a nation wealthy and contented. We have no intellectual ideals, no ideals of beauty. Our idea of poetry is that people should fall in love, and our idea of art is the depicting of rather obvious allegories. These things are good in their way, but they are very elementary. Our men of intellect become scientific researchers, historians, erudite persons. How few living writers there are who unite intellect with emotion! The truth is that we do not believe in emotion; we think it a thing to play with, a thing to grow out of, not a thing to live by. If a person discourses or writes of his feelings we think him a sentimentalist, and have an uneasy suspicion that he is violating the canons of good taste. The result is that we are a sensible, a good-humoured, and a vulgar nation. When we are dealing with art, we have no respect for any but successful artists. If the practice of art results in fame and money, we praise the artist in a patronising way; when the artist prophesies, we think him slightly absurd until he commands a hearing, and then we worship him, because his prophecies have a wide circulation. If the artist is unsuccessful, we consider him a mere dilettante. Then, too, art suffers grievously from having been annexed by moralists, who talk about art as the handmaid of religion, and praise the artist if he provides incentives for conduct of a commercial type. It would be better for art if it were frankly snubbed rather than thus unctuously encouraged. We look upon it all as a matter of influence, for the one thing that we desire is to be felt, to affect other people, to inspire action. The one thing that we cannot tolerate is that a man should despise and withdraw from the busy conventional world. If he ends by impressing the world we admire him, and people his solitude with ugly motives. The fact is that there was never a more unpromising soil for artists than this commonplace, active, strenuous century in which we live. The temptations we put in the artist's way are terribly strong; when we have done our work, we like to be amused by books and plays and pictures, and we are ready to pay high prices to the people who can give our heavy souls small sensations of joy and terror and sorrow. And wealth is a fierce temptation to the artist, because it gives him liberty, freedom of motion, comfort, things of beauty and consideration. The result is that too many of the artists who appear among us fall victims to the temptations of the world, and become a kind of superior parasite and prostitute, believing in their dignity because they are not openly humiliated.
But the true artist, like the true priest, cares only for the beautiful quality of the thought that he pursues. The true priest is the man who loves virtue, disinterestedness, truth, and purity with a kind of passion, and only desires to feed the same love in faithful hearts. He seeks the Kingdom of God first; and if the good things of the world are strewn, as they are apt to be strewn, in the path of the virtuous person, he is never for a moment seduced into believing that they are the object of his search. His desire is that souls should glow and thrill with high, sacred, and tender emotions, which are their own surpassing reward.
So, too, the artist is concerned solely with the beautiful thing--whether it is the beauty of the eager relationships of men and women, or the ever-changing exquisite forms and colours of nature, or the effect of all these things upon the desirous soul of man. And it is here that his danger lies, that he may grow to be preoccupied with the changing and blended texture of his own soul, into which flow so many sweet influences and gracious visions--if, like the Lady of Shalott, he grows to think of the live things that move on the river-side only as objects that may minister to the richness of the web that he weaves. He must keep his eye intent upon the power, whatever it may be, that is behind all these gracious manifestations; they must all be symbols to him of some unrevealed mystery, or he will grow to love the gem for its colour, the flower for its form, the cloud for its whiteness or empurpled gloom, the far-off hill for its azure tints, and so forget to discern the spirit that thus gleams and flashes from its shrouding vapours.
And then, too, in art as in love, the artist must lose himself that he may find himself. If he considers all things in relation to his own sensitive and perceptive temperament, he will become immured in a chilly egotism, a narrow selfishness, from which he will not dare to emerge. He must fling himself whole-heartedly into a passionate worship of what is beautiful, not desiring it only that it may thrill and satisfy him, but longing to draw near to its innermost essence. The artist may know, indeed, that he is following the wrong path when he loves the artistic presentation of a thing better than the thing presented, when he is moved more by a single picture of a perfect scene than by the ten thousand lovely things which he may see in a single country walk. He must, indeed, select emotions and beautiful objects by their quality; he must compare and distinguish; but if he once believes that his concern is with representation rather than with life, he goes downward. He must not be concerned for a single instant with the thought, "How will this that I perceive affect others as I represent it?" but he must rather be so amazed and carried out of himself by the beauty of what he sees, that the representing of it is only a necessary consequence of the vision; as a child may tell an adventure breathlessly and intently to its mother or its nurse, absorbed in the recollection.
And thus the true artist will not weigh and ponder the most effective medium for his expression; the thought must be so overpowering that the choice of a medium will be a matter of pure instinct. The most, indeed, of what he feels and perceives he will recognise to be frankly untranslatable in speech or pigment or musical notes, too high, too sacred, too sublime. His work will be no more selfish than the work of the pilot or the general is selfish. The responsibility, the crisis, the claim of the moment, will outweigh and obliterate all personal, all fruitless considerations. He must have no thought of success; if it comes, he may rejoice that he has been a faithful interpreter, and has shared his joy with others; if it does not come, his joy is not lessened.
Then, too, in ordering his life, he must be humble, sincere, and simple. He must keep his eye and his mind open to all generous admirations. He must let no lust or appetite, no ambition of pride, cloud his vision. He must take delight in the work of other artists, and strive to see the beautiful and perfect rather than the false and feeble. He must rejoice if he can see his own dream more seriously and sweetly depicted than he can himself depict it, for he must care for nothing but the triumph of beauty over ugliness, of light over darkness. And thus the true artist may be most easily told by his lavish appreciation of the work of other artists, rather than by his censure and disapproval.
And, again, he must be able to take delight in the smallest and humblest beauties of life. He must not need to travel far and wide in the search for what is romantic, but he must find it lying richly all about him in the simplest scene. He must not crave for excitement or startling events or triumphs or compliments; he must not desire to know or to be known by famous persons, because his joys must all flow from a purer and clearer fountain-head. He must find no day nor hour dreary, and his only fatigue must be the wholesome fatigue that follows on patient labour, not the jaded fatigue of the strained imagination.
Age, and even infirmity, does not dull the zest of such a nature; it merely substitutes a range of gentler and more tranquil emotions for the heroic and passionate enthusiasms of youth; for the true artist knows that the emotion of which he is in search is something far higher and purer and more vivid than his fiercest imaginations--and yet it has the calm of strength and the dignity of worth; the vehement impulses of youth "do it wrong, being so majestical." And he draws nearer to it when animal heat and the turbulence of youthful spirit has burnt clearer and hotter, throwing off its smoke and lively flame for a keener and purer glow.
And above all things, the artist must most beware of the complacency, the sense of victory, the belief that he has attained, has plumbed the depth, seen into the heart of the mystery. Rather as life draws on he must feel, in awe and hope, that it is infinitely mightier and greater than he thought in the days of potent impulse. His whole soul must be full of a sacred fear as he draws closer to the gate, the opening of which may give him a nearer glimpse of the secret. The humble sense of failure will be a bright and noble thought, because it will show him how much the mystery transcends the most daring hope and dream. _