What is Art?

Appendix 4
BAUDELAIRE’S “FLOWERS OF EVIL.” No. XXIV. I adore thee as much as the vaults of night, O vase full of grief, taciturnity great, And I love thee the more because of thy flight. It seemeth, my night’s beautifier, that you Still heap up those leagues—yes! ironically heap!— That divide from my arms the immensity blue. I advance to attack, I climb to assault, Like a choir of young worms at a corpse in the vault; Thy coldness, oh cruel, implacable beast! Yet heightens thy beauty, on which my eyes feast! BA... (From : Gutenberg.org.)

Appendix 3
These are the contents of The Nibelung’s Ring:— The first part tells that the nymphs, the daughters of the Rhine, for some reason guard gold in the Rhine, and sing: Weia, Waga, Woge du Welle, Walle zur Wiege, Wagalaweia, Wallala, Weiala, Weia, and so forth. These singing nymphs are pursued by a gnome (a nibelung) who desires to seize them. The gnome cannot catch any of them. Then the nymphs guarding the gold tell the gnome just what they ought to keep secret, namely, that whoever renounces love will be able to steal the gold they are guarding. And the gnome renounces love, and steals the gold. This ends the first scene. In the second scene a god and a goddess lie in a field in sight of a castle which giants have built for them. Presently they wake up and are pleased with the castle, and they relate that in payment for this work they must give the goddess Freia to the giants. The giants come for their pay. But the god W... (From : Gutenberg.org.)

Appendix 2
No. 1. The following verses are by Vielé-Griffin, from page 28 of a volume of his Poems:— OISEAU BLEU COULEUR DU TEMPS. 1. Sait-tu l’oubli D’un vain doux rêve, Oiseau moqueur De la forêt? Le jor pâlit, La nuit se lève, Et dans mon cœur L’omber a pleuré; 2. O chante-moi Ta folle gamme, Car j’ai dormi... (From : Gutenberg.org.)

Appendix 1
This is the first page of Mallarmé’s book Divagations:— LE PHÉNOMÈNE FUTUR. Un ciel pâle, sur le monde qui finit de décrépitude, va peut-être partir avec les nuages: les lambeaux de la pourpre usée des couchants déteignent dans une rivière dormant à l’horizon submergé de rayons et d’eau. Les arbres s’ennuient, et, sous leur feuillage blanchi (de la poussière du temps plutôt que celle des chemins) monte la maison en toile de Montreur de choses Passées: maint réverbère attend le crépuscule et ravive les visages d’une malheureuse foule, vaincue par la maladie immortelle et le péché des siècles, d’hommes près de leurs chétives complices enceintes des fruits misérables avec lesquels périra la terre. Dans le silence inquiet de tous les yeux... (From : Gutenberg.org.)

Chapter 20
I have accomplished, to the best of my ability, this work which has occupied me for 15 years, on a subject near to me—that of art. By saying that this subject has occupied me for 15 years, I do not mean that I have been writing this book 15 years, but only that I began to write on art 15 years ago, thinking that when once I undertook the task I should be able to accomplish it without a break. It proved, however, that my views on the matter then were so far from clear that I could not arrange them in a way that satisfied me. From that time I have never ceased to think on the subject, and I have recommenced to write on it 6 or 7 times; but each time, after writing a considerable part of it, I have found myself unable to bring the work to a satisfactory conclusion, and have had to put it aside. Now I have finished it; and however badly I may have performed the task, my hope is that my fundamental thought as to the false direction the art of our society has taken... (From : Gutenberg.org.)

To what an extent people of our circle and time have lost the capacity to receive real art, and have become accustomed to accept as art things that have nothing in common with it, is best seen from the works of Richard Wagner, which have latterly come to be more and more esteemed, not only by the Germans but also by the French and the English, as the very highest art, revealing new horizons to us. The peculiarity of Wagner’s music, as is known, consists in this, that he considered that music should serve poetry, expressing all the shades of a poetical work. The union of the drama with music, devised in the fifteenth century in Italy for the revival of what they imagined to have been the ancient Greek drama with music, is an artificial... (From : Gutenberg.org.)

Take up any one of our ordinary newspapers, and you will find a part devoted to the theater and music. In almost every number you will find a description of some art exhibition, or of some particular picture, and you will always find reviews of new works of art that have appeared, of volumes of poems, of short stories, or of novels. Promptly, and in detail, as soon as it has occurred, an account is published of how such and such an actress or actor played this or that rôle in such and such a drama, comedy, or opera; and of the merits of the performance, as well as of the contents of the new drama, comedy, or opera, with its defects and merits. With as much care and detail, or even more, we are told how such and such an artist has sung... (From : Gutenberg.org.)

People talk of the art of the future, meaning by “art of the future” some especially refined, new art, which, as they imagine, will be developed out of that exclusive art of one class which is now considered the highest art. But no such new art of the future can or will be found. Our exclusive art, that of the upper classes of Christendom, has found its way into a blind alley. The direction in which it has been going leads nowhere. Having once let go of that which is most essential for art (namely, the guidance given by religious perception), that art has become ever more and more exclusive, and therefore ever more and more perverted, until, finally, it has come to nothing. The art of the future, that which is really coming, wil... (From : Gutenberg.org.)

How in art are we to decide what is good and what is bad in subject-matter? Art, like speech, is a means of communication, and therefore of progress, i.e. of the movement of humanity forward towards perfection. Speech renders accessible to men of the latest generations all the knowledge discovered by the experience and reflection, both of preceding generations and of the best and foremost men of their own times; art renders accessible to men of the latest generations all the feelings experienced by their predecessors, and those also which are being felt by their best and foremost contemporaries. And as the evolution of knowledge proceeds by truer and more necessary knowledge dislodging and replacing what is mistaken and unnecessary, so the ... (From : Gutenberg.org.)

For the production of every ballet, circus, opera, operetta, exhibition, picture, concert, or printed book, the intense and unwilling labor of thousands and thousands of people is needed at what is often harmful and humiliating work. It were well if artists made all they require for themselves, but, as it is, they all need the help of workmen, not only to produce art, but also for their own usually luxurious maintenance. And, one way or other, they get it; either through payments from rich people, or through subsidies given by Government (in Russia, for instance, in grants of millions of rubles to theaters, conservatoires and academies). This money is collected from the people, some of whom have to sell their only cow to pay the tax, and wh... (From : Gutenberg.org.)