Autobiographical Reminiscences with Family Letters and Notes on Music Part 17

Let us have no more flaunting of these equivocal and noisy t.i.tles, _naturalism, realism_, and so forth! Art is Nature, yes, _in the first place_; but Nature verified and registered, weighed--_judged_, in a word, before the tribunal of a discernment which a.n.a.lyses, and a reason which rectifies and restores her. Art is a reparation of the failures and forgetfulness of Reality. It is the immortalisation of mortal things by a wise process of elimination, not by a blind and servile wors.h.i.+p of their defective and perishable qualities. At all costs and against all comers, then, let us preserve our splendid ecole de Rome, whose archives bear such names as those of David, Ingres, Flandrin, Regnault, Duret, Herold, Halevy, Berlioz, Bizet--none of which, as far as I am aware, warrant the scornful pity under which some people would fain wither a dynasty already over a century old.

Let us put forth all our strength to defend the sacred retreat which shelters our growing artist, frees him from premature anxiety concerning his daily bread, and forewarns and forearms him, not against the temptation to mere money-getting only, but against the vulgar triumphs of a paltry and evanescent popularity.

THE ARTIST AND MODERN

SOCIETY

The immense extension of social relations in modern times has had considerable influence on artistic life and work; an influence which, if I mistake not, has done more harm than good.

Formerly, and not so very long ago either, an artist, like a man of learning, was held, and justly so, to be a member of one of the great corporations of intellectual workers. He was looked on as a sort of recluse, whose retreat was sacred from disturbance. Men would have hesitated to tear him from the silence and meditation without which the conception and production of healthy work which will withstand the onslaught of Time--that merciless judge who "never spares aught he did not help to make"--becomes difficult, if not utterly impossible.

Nowadays, the artist is no longer his own master. He belongs to the world at large. He is worse than its target. He is its prey. His own personal and productive life is almost entirely absorbed, swamped, squandered, in so-called social obligations, which gradually stifle him in that network of sham and barren duties which go to make up many an existence devoid of serious object or high motive. In a word, society eats him up.

Now, what is society? It is an aggregation of individuals who are afraid of being bored, and whose sole idea is to get away from their own selves, because of the terror with which the idea of being left in their own sole company inspires them.

Once we begin to tot up the amount of time levied on the artist's working hours by the constantly increasing number of small calls struggling and fighting for his attention all day long, we wonder how, by what extra activity, what effort of concentration, he contrives to perform his chief duty--that of doing honour to the career he has chosen, and to which his best powers and his highest faculties by right belong. It must surely be admitted that in removing the barrier which its scornful indifference, rather than its intelligent discretion, had placed between itself and artists in general, modern society has done them a mischief in no way atoned for by the attractions it offers.

Moliere, whose searching glance so deeply fathomed human weaknesses, and who portrayed them with such an unerring hand, addressed the following lines, full of the deepest wisdom and the healthiest philosophy, to the great Colbert:--

"L'etude et la visite ont leurs talents a part Qui se donne a la Cour se derobe a son art.

Un esprit partage rarement s'y consomme Et les emplois de feu demandant tout un homme."

Let any one try to realise what can in fairness be expected from the mind of a man incessantly torn hither and thither by evening parties, dinners, perpetual invitations to social gatherings of every sort, a ma.s.s of correspondence which leaves him no peace, and the guilty authors of which never dream of saying to themselves, "I am stealing this man's time and thoughts, his very life;" and by all the petty tyrannies, in fine, which go to make up that monster one, called the indiscretion of the public.

And then the visitors, the crowd of idle and curious loungers, who a.s.sail your privacy from dawn till dark! Somebody says, "That's all your own fault--you can say you are not at home." Very fine indeed! But how about those letters of introduction, frequently requesting some service on your part which you cannot well refuse? You make up your mind to do your duty, and the visitor is shown in.

"Excuse me; I fear I disturb you!"

"Well, frankly, yes!"

"I beg your pardon; I will not stay now. I'll call another time."

"Oh, pray don't!"

"But--when can I see you without disturbing you?"

"The fact is, I am always busy when I am at home."

"Are you really always so hard at work?"

"Yes, always, unless I am interrupted."

"Oh, I am so sorry to trouble you! But I will only detain you a very few minutes."

"Well, well, sir, that's long enough to kill a man, not to mention an idea! But as you are here, pray proceed."

This is a sample of what occurs daily; and I speak here of artists as a general cla.s.s. But there is a certain category of artists who have quite special advantages in this line. I can speak out of my own experience, for I refer to musicians. A painter or a sculptor can easily protect his working hours by mercilessly closing his door. He can plead a sitting model, or, if the worst comes to the worst, he can wield the brush or chisel even in the presence of visitors. But the musician? His case is quite different. As his work can be done in daylight, people take his evenings to provide amus.e.m.e.nt for their guests; and as he can work at night, they come and waste and fritter away his days without the slightest scruple. "And besides," they say, "musical composition is such an easy thing! It is not a matter of labour; it comes of itself, an inspiration!"

My readers cannot have any conception of the innumerable and indiscreet requests to which a musician is daily exposed--the crowds of young pianists, violinists, vocalists, composers, poets (lyric or otherwise), teachers and inventors of various methods, systems and theories, editors of periodicals, pestering you to take their publications; not to mention the requests for autographs, photographs--the alb.u.ms and the fans, and what not, sent for your signature. It all amounts to a perfect nightmare, and the musician is turned into a sort of national property to which the public has right of access at any and every hour. To be brief, our houses are not in the street any more; the street is in our houses. Our whole life is devoured by idlers, inquisitive folk, loungers who are bored with themselves, and even by _reporters_ of all sorts, who force their way into our homes, to inform the public not only as to our private conversation, but as to the colour of our dressing-gowns and the cut of our working-jackets!

Well! That is all wrong, and unhealthy. The precious delicacy, the modesty of feeling, which only lives by quiet contemplation, grows paler and more wilted, day by day, in that unceasing rout, from which the artist brings back nought but a superficial, breathless, feverish activity, tossing convulsively among the ruins of the intellectual balance he has lost for ever.

Farewell to those hours of calm and luminous peace, wherein alone a man can see and hear the workings of his own soul! The n.o.ble sanctuary of thought and of emotion, gradually forsaken for the excitements of the outer world, will soon be nothing but a dark and gloomy dungeon, wherein the spirit that knows not how to live in silence must die of weariness.

If the hours thus spent were even not spent in vain! If they were only bestowed on people of some capacity! If they served to cheer none but truly courageous souls!

But think of the waste of time!--the empty conversations. Think of the amount of valueless stuff in that ocean of intercourse, which neither adds nor bestows one t.i.ttle of value to the total!

To sum it up, the real plague spot is _the people who are bored,_ and who must needs kill other men's time, lest their own should kill them by its weight.

To be bored! To bore one's own self. To try every imaginable dodge to get away from oneself! Is there any poverty in all the world so pitiful as this? And what compensation for that which is bestowed on them can be expected from such a cla.s.s?

There are certain current opinions, the substance of which people seldom trouble themselves to verify, and which form the huge patrimony of the accepted absurdities. One of these is the belief, the self-persuasion, that the sympathy and protection of the social world are indispensable to an artist's success.

Truly, those who accept such an illusion, and cling to it, must have very little experience of the vivifying atmosphere of a profound artistic conviction.

Social support! It is not uncertain merely; it is the most inconstant, changeable thing on G.o.d's earth. And further, it is only given, as a rule, to those who no longer need it, just as the courtiers in a certain famous opera overwhelm a young gentleman, who has just become the recipient of royal favour, with their offers of service. But now that material existence takes the first rank in most men's lives, can we wonder that _seeming_ is taken for _being_, and _skilful management_ for _talent_? Once the hidden G.o.d, the G.o.d whose kingdom is within us, is gone from us, we must have idols. Therefore it is that we see so many artists troubled about going here and there and everywhere, leaning on that broken reed of popular advertis.e.m.e.nt, the fragments of which lie scattered on the weary path of many an uninspired mind and commonplace ambition.

One protection alone is worth the artist's pains, and should be sought by him. His work must be the perfectly sincere expression of his inner feeling. His artistic production must be the outcome of his personal life, the faithful enunciation of his thought. Once that is done, conflicting opinions matter but little to him or it. A work of art can only shed the amount of warmth which has brought it into being, and which it never loses. But the artist must have time to kindle his fire and feed it. Hence a famous composer placed the significant inscription on his door:--

"Those who come to see me do me honour. Those who stay away do me a kindness." In other words, "I am never at home to anybody."

Here, again, is another commonplace, equally popular, and in very frequent use:--

"You'll kill yourself! You work too hard! You really must have some rest! Do come and see us! It will do you good! It will distract your thoughts!"

Distract one's thoughts indeed! Why, that's just what I complain of--what people are much too fond of doing! It's all very well to distract one's thoughts at a set time chosen by oneself. But to have one's thoughts distracted for one, at the wrong time, means to thoroughly confuse them and throw them out of gear.

Work a weariness, an actual danger, forsooth! Those who say so can know very little about it Labour is neither cruel nor ungrateful. It restores the strength we give it a hundredfold, and, unlike your financial operations, the revenue is what brings in the capital.

If there is one incessant worker on the face of G.o.d's earth (and He alone knows how various is its toil), it is the heart in man's body. On its regular beat depend not only the continuance of our respiration, but the circulation of our blood, which carries and distributes the different elements necessary to the working of each organ of our frame with such unerring discrimination. This splendid organisation works on incessantly, without a moment's pause, even while we sleep.

Supposing the heart were bidden not to work so hard, to take a little rest--to amuse itself, in short? Now work, to the intellectual life, is what the heart is in our physical life. It is the nourishment, the circulation, the respiration of our intelligence. Like every other sort of gymnastic, it wearies those, and those only, who are not accustomed to it. Work has been described as a punishment, a hards.h.i.+p. It is a healthy and blessed state. Look first at a fertile, well-tilled field, and then at a strip of fallow land? Is not the balance of happiness and charm on the side of cultivation and abundant growth?

It is not labour that kills. It is sterility. To be fruitful is to be young and full of life.

Yet I would not be thought so crotchety, so surly, such a hater of my kind, as to look on an artist as a sort of solitary. It is undoubtedly true, and I willingly acknowledge it, that modern society, in enlarging its borders, has multiplied the artist's opportunities of sharing in various social phases, and meeting many charming and some very useful people.

But what, again, is all that worth, if it costs us those hours of delicious calm--I had almost said of divine hope--when we await (with a longing less frequently disappointed than some would think) the advent of a real emotion, or of some deeply touching truth?

What is all the glare of outside show beside the inner light, serene and glowing, of the beloved Ideal each artist follows without ever wholly reaching it, but which yet draws us on until we feel it loves us more even than we love it?

What then must be the suffering inflicted on the unhappy being torn from a sacred temple and forced into a palace, even were it a thousand times more dazzling than any in the Arabian Nights?

Every one will remember that famous line from one of our greatest poets: