Delphi Complete Works of Oscar Wilde (Illustrated) (179 page)

ERNEST.  I wonder do you really believe what you say?

GILBERT.  Why should you wonder?  It is not merely in art that the body is the soul.  In every sphere of life Form is the beginning of things.  The rhythmic harmonious gestures of dancing convey, Plato tells us, both rhythm and harmony into the mind.  Forms are the food of faith, cried Newman in one of those great moments of sincerity that make us admire and know the man.  He was right, though he may not have known how terribly right he was.  The Creeds are believed, not because they are rational, but because they are repeated.  Yes: Form is everything.  It is the secret of life.  Find expression for a sorrow, and it will become dear to you.  Find expression for a joy, and you intensify its ecstasy.  Do you wish to love?  Use Love’s Litany, and the words will create the yearning from which the world fancies that they spring.  Have you a grief that corrodes your heart?  Steep yourself in the Language of grief, learn its utterance from Prince Hamlet and Queen Constance, and you will find that mere expression is a mode of consolation, and that Form, which is the birth of passion, is also the death of pain.  And so, to return to the sphere of Art, it is Form that creates not merely the critical temperament, but also the aesthetic instinct, that unerring instinct that reveals to one all things under their conditions of beauty.  Start with the worship of form, and there is no secret in art that will not be revealed to you, and remember that in criticism, as in creation, temperament is everything, and that it is, not by the time of their production, but by the temperaments to which they appeal, that the schools of art should be historically grouped.

ERNEST.  Your theory of education is delightful.  But what influence will your critic, brought up in these exquisite surroundings, possess?  Do you really think that any artist is ever affected by criticism?

GILBERT.  The influence of the critic will be the mere fact of his own existence.  He will represent the flawless type.  In him the culture of the century will see itself realised.  You must not ask of him to have any aim other than the perfecting of himself.  The demand of the intellect, as has been well said, is simply to feel itself alive.  The critic may, indeed, desire to exercise influence; but, if so, he will concern himself not with the individual, but with the age, which he will seek to wake into consciousness, and to make responsive, creating in it new desires and appetites, and lending it his larger vision and his nobler moods.  The actual art of to-day will occupy him less than the art of to-morrow, far less than the art of yesterday, and as for this or that person at present toiling away, what do the industrious matter?  They do their best, no doubt, and consequently we get the worst from them.  It is always with the best intentions that the worst work is done.  And besides, my dear Ernest, when a man reaches the age of forty, or becomes a Royal Academician, or is elected a member of the Athenaeum Club, or is recognised as a popular novelist, whose books are in great demand at suburban railway stations, one may have the amusement of exposing him, but one cannot have the pleasure of reforming him.  And this is, I dare say, very fortunate for him; for I have no doubt that reformation is a much more painful process than punishment, is indeed punishment in its most aggravated and moral form — a fact which accounts for our entire failure as a community to reclaim that interesting phenomenon who is called the confirmed criminal.

ERNEST.  But may it not be that the poet is the best judge of poetry, and the painter of painting?  Each art must appeal primarily to the artist who works in it.  His judgment will surely be the most valuable?

GILBERT.  The appeal of all art is simply to the artistic temperament.  Art does not address herself to the specialist.  Her claim is that she is universal, and that in all her manifestations she is one.  Indeed, so far from its being true that the artist is the best judge of art, a really great artist can never judge of other people’s work at all, and can hardly, in fact, judge of his own.  That very concentration of vision that makes a man an artist, limits by its sheer intensity his faculty of fine appreciation.  The energy of creation hurries him blindly on to his own goal.  The wheels of his chariot raise the dust as a cloud around him.  The gods are hidden from each other.  They can recognise their worshippers.  That is all.

ERNEST.  You say that a great artist cannot recognise the beauty of work different from his own.

GILBERT.  It is impossible for him to do so.  Wordsworth saw in
Endymion
merely a pretty piece of Paganism, and Shelley, with his dislike of actuality, was deaf to Wordsworth’s message, being repelled by its form, and Byron, that great passionate human incomplete creature, could appreciate neither the poet of the cloud nor the poet of the lake, and the wonder of Keats was hidden from him.  The realism of Euripides was hateful to Sophokles.  Those droppings of warm tears had no music for him.  Milton, with his sense of the grand style, could not understand the method of Shakespeare, any more than could Sir Joshua the method of Gainsborough.  Bad artists always admire each other’s work.  They call it being large-minded and free from prejudice.  But a truly great artist cannot conceive of life being shown, or beauty fashioned, under any conditions other than those that he has selected.  Creation employs all its critical faculty within its own sphere.  It may not use it in the sphere that belongs to others.  It is exactly because a man cannot do a thing that he is the proper judge of it.

ERNEST.  Do you really mean that?

GILBERT.  Yes, for creation limits, while contemplation widens, the vision.

ERNEST.  But what about technique?  Surely each art has its separate technique?

GILBERT.  Certainly: each art has its grammar and its materials.  There is no mystery about either, and the incompetent can always be correct.  But, while the laws upon which Art rests may be fixed and certain, to find their true realisation they must be touched by the imagination into such beauty that they will seem an exception, each one of them.  Technique is really personality.  That is the reason why the artist cannot teach it, why the pupil cannot learn it, and why the aesthetic critic can understand it.  To the great poet, there is only one method of music — his own.  To the great painter, there is only one manner of painting — that which he himself employs.  The aesthetic critic, and the aesthetic critic alone, can appreciate all forms and modes.  It is to him that Art makes her appeal.

ERNEST.  Well, I think I have put all my questions to you.  And now I must admit -

GILBERT.  Ah! don’t say that you agree with me.  When people agree with me I always feel that I must be wrong.

ERNEST.  In that case I certainly won’t tell you whether I agree with you or not.  But I will put another question.  You have explained to me that criticism is a creative art.  What future has it?

GILBERT.  It is to criticism that the future belongs.  The subject-matter at the disposal of creation becomes every day more limited in extent and variety.  Providence and Mr. Walter Besant have exhausted the obvious.  If creation is to last at all, it can only do so on the condition of becoming far more critical than it is at present.  The old roads and dusty highways have been traversed too often.  Their charm has been worn away by plodding feet, and they have lost that element of novelty or surprise which is so essential for romance.  He who would stir us now by fiction must either give us an entirely new background, or reveal to us the soul of man in its innermost workings.  The first is for the moment being done for us by Mr. Rudyard Kipling.  As one turns over the pages of his
Plain Tales from the Hills
, one feels as if one were seated under a palm-tree reading life by superb flashes of vulgarity.  The bright colours of the bazaars dazzle one’s eyes.  The jaded, second-rate Anglo-Indians are in exquisite incongruity with their surroundings.  The mere lack of style in the story-teller gives an odd journalistic realism to what he tells us.  From the point of view of literature Mr. Kipling is a genius who drops his aspirates.  From the point of view of life, he is a reporter who knows vulgarity better than any one has ever known it.  Dickens knew its clothes and its comedy.  Mr. Kipling knows its essence and its seriousness.  He is our first authority on the second-rate, and has seen marvellous things through keyholes, and his backgrounds are real works of art.  As for the second condition, we have had Browning, and Meredith is with us.  But there is still much to be done in the sphere of introspection.  People sometimes say that fiction is getting too morbid.  As far as psychology is concerned, it has never been morbid enough.  We have merely touched the surface of the soul, that is all.  In one single ivory cell of the brain there are stored away things more marvellous and more terrible than even they have dreamed of, who, like the author of
Le Rouge et le Noir
, have sought to track the soul into its most secret places, and to make life confess its dearest sins.  Still, there is a limit even to the number of untried backgrounds, and it is possible that a further development of the habit of introspection may prove fatal to that creative faculty to which it seeks to supply fresh material.  I myself am inclined to think that creation is doomed.  It springs from too primitive, too natural an impulse.  However this may be, it is certain that the subject-matter at the disposal of creation is always diminishing, while the subject-matter of criticism increases daily.  There are always new attitudes for the mind, and new points of view.  The duty of imposing form upon chaos does not grow less as the world advances.  There was never a time when Criticism was more needed than it is now.  It is only by its means that Humanity can become conscious of the point at which it has arrived.

Hours ago, Ernest, you asked me the use of Criticism.  You might just as well have asked me the use of thought.  It is Criticism, as Arnold points out, that creates the intellectual atmosphere of the age.  It is Criticism, as I hope to point out myself some day, that makes the mind a fine instrument.  We, in our educational system, have burdened the memory with a load of unconnected facts, and laboriously striven to impart our laboriously-acquired knowledge.  We teach people how to remember, we never teach them how to grow.  It has never occurred to us to try and develop in the mind a more subtle quality of apprehension and discernment.  The Greeks did this, and when we come in contact with the Greek critical intellect, we cannot but be conscious that, while our subject-matter is in every respect larger and more varied than theirs, theirs is the only method by which this subject-matter can be interpreted.  England has done one thing; it has invented and established Public Opinion, which is an attempt to organise the ignorance of the community, and to elevate it to the dignity of physical force.  But Wisdom has always been hidden from it.  Considered as an instrument of thought, the English mind is coarse and undeveloped.  The only thing that can purify it is the growth of the critical instinct.

It is Criticism, again, that, by concentration, makes culture possible.  It takes the cumbersome mass of creative work, and distils it into a finer essence.  Who that desires to retain any sense of form could struggle through the monstrous multitudinous books that the world has produced, books in which thought stammers or ignorance brawls?  The thread that is to guide us across the wearisome labyrinth is in the hands of Criticism.  Nay more, where there is no record, and history is either lost, or was never written, Criticism can re-create the past for us from the very smallest fragment of language or art, just as surely as the man of science can from some tiny bone, or the mere impress of a foot upon a rock, re-create for us the winged dragon or Titan lizard that once made the earth shake beneath its tread, can call Behemoth out of his cave, and make Leviathan swim once more across the startled sea.  Prehistoric history belongs to the philological and archaeological critic.  It is to him that the origins of things are revealed.  The self-conscious deposits of an age are nearly always misleading.  Through philological criticism alone we know more of the centuries of which no actual record has been preserved, than we do of the centuries that have left us their scrolls.  It can do for us what can be done neither by physics nor metaphysics.  It can give us the exact science of mind in the process of becoming.  It can do for us what History cannot do.  It can tell us what man thought before he learned how to write.  You have asked me about the influence of Criticism.  I think I have answered that question already; but there is this also to be said.  It is Criticism that makes us cosmopolitan.  The Manchester school tried to make men realise the brotherhood of humanity, by pointing out the commercial advantages of peace.  It sought to degrade the wonderful world into a common market-place for the buyer and the seller.  It addressed itself to the lowest instincts, and it failed.  War followed upon war, and the tradesman’s creed did not prevent France and Germany from clashing together in blood-stained battle.  There are others of our own day who seek to appeal to mere emotional sympathies, or to the shallow dogmas of some vague system of abstract ethics.  They have their Peace Societies, so dear to the sentimentalists, and their proposals for unarmed International Arbitration, so popular among those who have never read history.  But mere emotional sympathy will not do.  It is too variable, and too closely connected with the passions; and a board of arbitrators who, for the general welfare of the race, are to be deprived of the power of putting their decisions into execution, will not be of much avail.  There is only one thing worse than Injustice, and that is Justice without her sword in her hand.  When Right is not Might, it is Evil.

No: the emotions will not make us cosmopolitan, any more than the greed for gain could do so.  It is only by the cultivation of the habit of intellectual criticism that we shall be able to rise superior to race-prejudices.  Goethe — you will not misunderstand what I say — was a German of the Germans.  He loved his country — no man more so.  Its people were dear to him; and he led them.  Yet, when the iron hoof of Napoleon trampled upon vineyard and cornfield, his lips were silent.  ‘How can one write songs of hatred without hating?’ he said to Eckermann, ‘and how could I, to whom culture and barbarism are alone of importance, hate a nation which is among the most cultivated of the earth and to which I owe so great a part of my own cultivation?’  This note, sounded in the modern world by Goethe first, will become, I think, the starting point for the cosmopolitanism of the future.  Criticism will annihilate race-prejudices, by insisting upon the unity of the human mind in the variety of its forms.  If we are tempted to make war upon another nation, we shall remember that we are seeking to destroy an element of our own culture, and possibly its most important element.  As long as war is regarded as wicked, it will always have its fascination.  When it is looked upon as vulgar, it will cease to be popular.  The change will of course be slow, and people will not be conscious of it.  They will not say ‘We will not war against France because her prose is perfect,’ but because the prose of France is perfect, they will not hate the land.  Intellectual criticism will bind Europe together in bonds far closer than those that can be forged by shopman or sentimentalist.  It will give us the peace that springs from understanding.