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.)

But if art is a human activity having for its purpose the transmission to others of the highest and best feelings to which men have risen, how could it be that humanity for a certain rather considerable period of its existence (from the time people ceased to believe in Church doctrine down to the present day) should exist without this important activity, and, instead of it, should put up with an insignificant artistic activity only affording pleasure? In order to answer this question, it is necessary, first of all, to correct the current error people make in attributing to our art the significance of true, universal art. We are so accustomed, not only naïvely to consider the Circassian family the best stock of people, but also the Angl... (From : Gutenberg.org.)

From the time that people of the upper classes lost faith in Church Christianity, beauty (i.e. the pleasure received from art) became their standard of good and bad art. And, in accordance with that view, an æsthetic theory naturally sprang up among those upper classes justifying such a conception,—a theory according to which the aim of art is to exhibit beauty. The partisans of this æsthetic theory, in confirmation of its truth, affirmed that it was no invention of their own, but that it existed in the nature of things, and was recognized even by the ancient Greeks. But this assertion was quite arbitrary, and has no foundation other than the fact that among the ancient Greeks, in consequence of the low grade of their mora... (From : Gutenberg.org.)

The unbelief of the upper classes of the European world had this effect, that instead of an artistic activity aiming at transmitting the highest feelings to which humanity has attained,—those flowing from religious perception,—we have an activity which aims at affording the greatest enjoyment to a certain class of society. And of all the immense domain of art, that part has been fenced off, and is alone called art, which affords enjoyment to the people of this particular circle. Apart from the moral effects on European society of such a selection from the whole sphere of art of what did not deserve such a valuation, and the acknowledgment of it as important art, this perversion of art has weakened art itself, and well-nigh destr... (From : Gutenberg.org.)

In consequence of their unbelief the art of the upper classes became poor in subject-matter. But besides that, becoming continually more and more exclusive, it became at the same time continually more and more involved, affected, and obscure. When a universal artist (such as were some of the Grecian artists or the Jewish prophets) composed his work, he naturally strove to say what he had to say in such a manner that his production should be intelligible to all men. But when an artist composed for a small circle of people placed in exceptional conditions, or even for a single individual and his courtiers,—for popes, cardinals, kings, dukes, queens, or for a king’s mistress,—he naturally only aimed at influencing these peopl... (From : Gutenberg.org.)

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 attemp... (From : Gutenberg.org.)