This is very humiliating, but a tacit snub to one's artist-pride such as one gets from public silence is not a bad thing for one. Not long ago I
was talking about pictures with a painter, a very great painter, to my thinking; one whose pieces give me the same feeling I have from reading poetry; and I was excusing myself to him with respect to art, and perhaps putting on a little more modesty than I felt. I said that I could enjoy pictures only on the literary side, and could get no answer from my soul to those excellences of handling and execution which seem chiefly to interest painters. He replied that it was a confession of weakness in a painter if he appealed merely or mainly to technical knowledge in the spectator; that he narrowed his field and dwarfed his work by it; and that if he painted for painters merely, or for the connoisseurs of painting, he was denying his office, which was to say something clear and appreciable to all sorts of men in the terms of art. He even insisted that a picture ought to tell a story.
The difficulty in humbling one's self to this view of art is in the ease with which one may please the general by art which is no art. Neither the play nor the playing that I saw at the theatre when the actor was hissed for the wickedness of the villain he was personating, was at all fine; and yet I perceived, on reflection, that they had achieved a supreme effect. If I may be so confidential, I will say that I should be very sorry to have written that piece; yet I should be very proud if, on the level I chose and with the quality I cared for, I could invent a villain that the populace would have out and hiss for his surpassing wickedness. In other words, I think it a thousand pities whenever an artist gets so far away from the general, so far within himself or a little circle of amateurs, that his highest and best work awakens no response in the multitude. I am afraid this is rather the danger of the arts among us, and how to escape it is not so very plain. It makes one sick and sorry often to see how cheaply the applause of the common people is won. It is not an infallible test of merit, but if it is wanting to any performance, we may be pretty sure it is not the greatest performance.
III.
The paradox lies in wait here, as in most other human affairs, to confound us, and we try to baffle it, in this way and in that. We talk, for instance, of poetry for poets, and we fondly imagine that this is different from talking of cookery for cooks. Poetry is not made for poets; they have enough poetry of their own, but it is made for people who are not poets. If it does not please these, it may still be poetry, but it is poetry which has failed of its truest office. It is none the less its truest office because some very wretched verse seems often to do it.
The logic of such a fact is not that the poet should try to achieve this truest office of his art by means of doggerel, but that he should study how and where and why the beauty and the truth he has made manifest are wanting in universal interest, in human appeal. Leaving the drama out of the question, and the theatre which seems now to be seeking only the favor of the dull rich, I believe that there never was a time or a race more open to the impressions of beauty and of truth than ours. The artist who feels their divine charm, and longs to impart it, has now and here a chance to impart it more widely than ever artist had in the world before. Of course, the means of reaching the widest range of humanity are the ****** and the elementary, but there is no telling when the complex and the recondite may not universally please. 288
The art is to make them plain to every one, for every one has them in him. Lowell used to say that Shakespeare was subtle, but in letters a foot high.
The painter, sculptor, or author who pleases the polite only has a success to be proud of as far as it goes, and to be ashamed of that it goes no further. He need not shrink from giving pleasure to the vulgar because bad art pleases them. It is part of his reason for being that he should please them, too; and if he does not it is a proof that he is wanting in force, however much he abounds in fineness. Who would not wish his picture to draw a crowd about it? Who would not wish his novel to sell five hundred thousand copies, for reasons besides the sordid love of gain which I am told governs novelists? One should not really wish it any the less because chromos and historical romances are popular.
Sometime, I believe, the artist and his public will draw nearer together in a mutual understanding, though perhaps not in our present conditions.
I put that understanding off till the good time when life shall be more than living, more even than the question of getting a living; but in the mean time I think that the artist might very well study the springs of feeling in others; and if I were a dramatist I think I should quite humbly go to that play where they hiss the villain for his villany, and inquire how his wickedness had been made so appreciable, so vital, so personal. Not being a dramatist, I still cannot indulge the greatest contempt of that play and its public.
