Essays on Art Part 3

Labour, we believed, when all the labour of the poor had been made joyless by the industrial revolution, was the result of the curse laid upon man by G.o.d. Therefore, man must labour without joy and never dream of happy work. And so now the very wors.h.i.+ppers of war believe that it is a curse laid upon man by the nature of things. They may not believe in the fall of man, but they do believe that he can never rise, since he is himself part of a process which is always war; and, if he tries to escape from it, he will become extinct. So they exhort us to consent to that process even with our conscience; the more completely we consent to it, the more we shall succeed in it. But all the while they are doing violence to our natures and to their own. They try to think like machines, like the slaves of a process; but thought itself is inconsistent with their effort; their very praises of the heroism of their victims are inconsistent with it. There is a gaping incongruity between the obsolete German romanticism and the new German atheism which exploited it, between their talk about Siegfried and their talk about the struggle for life. And there is the same incongruity between the cubist effort to see the visible world as a mechanical process and art itself. The cubist seems to force himself with a savage irony into this caricature of nature; we have emptied reality of its content in our thought and he will empty it of its content to our eyes; that is not how we really see things, but it is how we ought to see them if what we believe about the nature of things is true. This irony we find in Mr.

Nevinson's pictures of the war, whether it be a despairing irony or the rebellion of an unshaken faith. He has emptied man of his content, just as the Prussian drill sergeant would empty him of his content for the purposes of war; and only a Prussian drill sergeant could consent to this version of man with any joy.

That, perhaps, is how we shall all come to see everything if we continue for some centuries to believe that process and not person is the ultimate reality. Emptying ourselves of all our content in thought, we shall at last empty ourselves of all content in reality; we shall become what now we fear we are, and our very senses will be obedient to our unfaith. For unfaith is the belief in process; and faith is the belief in person. It is the belief in process that makes men sacrifice other men in thousands to some idol; it is the belief in person that makes them refuse to sacrifice anyone but themselves; and they are afraid when they sacrifice others, but confident when they sacrifice themselves.

Ultimately process has no value and can have no value for us. It is merely what exists or what we believe to exist, and our effort to value it is only the obsequiousness of the slave to the power that he fears.

All our values come from the sense of person as more real than process.

We will not do wrong to a man because he is a man; if he is to us only part of a process, we cannot value him and we can do what we will to him without any sense of wrong. All the old cruelties and iniquities of the world arose out of a belief in process and a fear of it. It is not a modern scientific discovery, but the oldest and darkest superst.i.tion that has oppressed the mind of man. To all religious persecutors salvation was a process, like that struggle for life which is the modern form of the struggle for salvation to the superst.i.tious. And because salvation was a process human beings were sacrificed to it. It did not matter how they were tortured, provided this abstract process was maintained. So it does not matter now how they are slaughtered, provided the abstract process of the struggle for life is maintained. To the German this war was part of a process, the historical process of the triumph of Germany, and it did not matter how many Germans were killed in furthering it. If they were all killed Germany would still have a.s.serted her faithless faith in process and would have reduced it to a glorious absurdity.

So, if we fought for anything beyond ourselves, we fought for the belief in person as against the belief in process. Indeed, it is the chief glory of England, among her many follies and crimes, that she has always believed in person rather than in process; and that is what we mean when we say that we refuse to sacrifice facts to theories. Men themselves are to us facts, and we distrust theories that empty them of content. If we act like brutes, we would rather do so because the brute has mastered us for the moment than because we believe that humanity is inconsistent with the process that dominates the world. We ourselves had rather be inconsistent than empty ourselves of all reality for the sake of a theory. And there is an intellectual as well as a moral basis to this inconsistency of ours. For if you believe that person, not process, is the ultimate reality, you must offer some defiance to the material facts of life. There is evidently a conflict between person and process; and in that conflict the process, which you perceive with your intelligence, will be less real to you than the person of whom you are aware with all your faculties. So you will trust in this union of all the faculties rather than in the exercise of the pure intelligence; for to you the pure intelligence will be part of the person and will share in the person's universal imperfection. In fact it will not be pure intelligence at all, but rather a faculty that may be obsequious to all the lower pa.s.sions. Nothing will free you from them, except the respect for persons, except, in fact, loving your neighbour as yourself. There is no way to consistency but through that, and no way to the exercise of the pure intelligence. Never sacrifice a person to a process and you will never sacrifice a person to your own lower pa.s.sions. But, if you believe in process rather than in person, you will see your pa.s.sions as part of the process and glorify them when you think you are glorifying the nature of the universe.

Cubism and all those new methods of art which subject facts to the tyranny of a process may be good satire, but they will never, I think, produce an independent beauty of their own. Like all satire, they are parasitic upon past art, negative and rebellious. They tell us what the universe may look like to us if we lose all faith in ourselves and each other; and, when they are the result of a desperate effort to see the universe so, they are unconscious satire. The complete, convinced cubist reduces his own method, his own beliefs, his own state of mind, to an absurdity. The more sincere he is, the more complete is the reduction.

For he, rejecting all that has been the subject-matter of painting in the past, all the human values and the complexes of a.s.sociation which have invested the visible world with beauty for men, proves to us in his tortured diagrams that he has found nothing to take their place, He gives us a _Chimaera bombinans in vacuo_, that vacuum which the universe is to the human spirit when it denies itself. He tries to make art, having cut himself off from all the experience and belief that produce art. For art springs always out of a supreme value for the personal and is an expression of that value. It is an effort, no matter in what medium, to find the personal in all things, to see trees as men walking; and the new abstract methods in painting reverse this process, they empty all things, even men, of personality and subject them to a process invented by the artist, which expresses, if it expresses anything, his own loss of personal values and nothing else. The result may be ingenious, it may still have a kind of beauty remembered from the great design of past art; but it will lead nowhere, since it is cut off from the very experience, the pa.s.sionate personal interest in people and things, which gave design to the great art of the past. It is at best satirical, at worst parasitic, using up all devices of design and turning from one to another in a restless ennui which of itself can give no enrichment. It may have its uses, since it insists upon the supreme importance of design and provides a new method for the expression of three dimensions; but this method will be barren unless those who practise it enrich it with their own observation and delight. Already some of them seem to be weary of the barrenness of pure abstraction; they see that any fool can hide his own commonplace in cubism as an ostrich hides its head in the sand; but we would rather have honest chocolate-box ladies than the kaleidoscopic but betraying chocolate-box fragments of the futurist.

The Artist and the Tradesman

The Exhibition of the Arts and Crafts at Burlington House was an acknowledgment of the fact that there are other arts besides those of painting, sculpture, and architecture, or rather perhaps that the arts subsidiary to architecture are arts and not merely commercial activities. Burlington House would protest, of course, that it is not a shop; but now at last objects are to be shown in it which the great ma.s.s of the public expects to see only in shops and expects to be produced merely to sell. We remember how Lord Grimthorpe called Morris a poetic upholsterer. He meant there was something incongruous in the combination of an upholsterer and a poet; he would have seen nothing incongruous in the combination of a poet and a painter, because he would have called a painter an artist; but an upholsterer was to him merely a tradesman, and tradesmen are not expected to write poetry. Their business is to sell things and to make objects for sale.

In that respect he thought like the ma.s.s of the public now. For them the painter has some prestige, because he is supposed not to be a tradesman, not to paint his pictures merely so that he may sell them. He has to live by his art, of course, but he practises it also because he enjoys it; and, if he is an artist, he will not paint bad pictures merely because they are what the public wants. But it is the business of those who make furniture and such things to produce what the public wants. No one would blame them for producing what they do not like themselves, any more than one would blame a pill-maker for producing pills that he would not swallow himself. The pill-maker and the furniture-maker are both tradesmen producing objects in answer to a demand. They have no prestige and no conscience is expected of them.

Now in Italy in the fifteenth century this distinction between the artist and the tradesman did not exist. The painter was a tradesman; he kept a shop and he had none of that peculiar prestige which he possesses now. But of the tradesman more was expected than is expected now; for instance, good workmans.h.i.+p and material were expected of him and also good design. He did not produce articles merely to sell, whether they were pictures or wedding-chests or jewelry or pots and pans. He made all these other things just as he made pictures, with some pleasure and conscience in his own work; and it was the best craftsman who became a painter or sculptor, merely because those were the most difficult crafts. Now it is the gentleman with artistic faculty who becomes a painter; the poor man, however much of that faculty he possesses, remains a workman without any artistic prestige and without any temptation to consider the quality of his work or to take any pleasure in it. This is a commonplace, no doubt; but it remains a fact, however often it may have been repeated, and a social fact with a constant evil effect upon all the arts. Because the painter is supposed to be an artist and nothing else and the craftsman a tradesman and nothing else, we do not expect the virtues of the craftsman from the painter nor the virtues of the artist from the craftsman. For us there is nothing but mystery in the work of the artist and no mystery at all in the work of the craftsman. The painter can be as silly as he likes, and we do not laugh at him, if we are persons of culture, because his art is a sacred mystery. But, as for the craftsman, there is nothing sacred about his work. It is sold in a shop and made to be sold; and all we expect of it is that it shall be in the fas.h.i.+on, which means that it shall be what the commercial traveller thinks he can sell. There are, of course, a few craftsman who are thought of as artists, and their work at once becomes a sacred mystery, like pictures. They too have a right to be as silly as they like; and some people will buy their work, however silly it may be, as they would buy pictures--that is to say, for the good of their souls and not because they like it.

How are we to get rid of this distinction we have made between the artist and the tradesman? How are we to recover for the artist the virtues of the craftsman and for the craftsman the virtues of the artist? At present we get from neither what we really like. Art remains to us a painful mystery; most of us would define it, if we were honest, as that which human beings buy because they do not like it. While, as for objects of use, they are bought mainly because they are sold; they are forced upon us as a conjurer forces a card. We think we like them while they remain the fas.h.i.+on; but soon they are like women's clothes of two years ago, if they last long enough to be outmoded. It is vain for us to reproach either the artist or the tradesman. The fault is in ourselves; we have as a whole society yielded to the most subtle temptation of Satan. We have lost the power of knowing what we like--that is to say, the power of loving. We value nothing for itself, but everything for its a.s.sociations. The man of culture buys a picture, not because he likes it, but because he thinks it is art; at most what he enjoys is not the picture itself but the thought that he is cultured enough to enjoy it. That thought comes between him and the picture, and makes it impossible for him to experience the picture at all. And so he is ready to accept anything that the painter chooses to give him, if only he believes the painter to be a real artist. This is bad for the painter, who has every temptation to become a charlatan, and to think of his art as a sacred mystery which no one can understand but himself and a few other painters of his own sect. But in this matter the man of culture is just like the vulgar herd, as he would call them. Their att.i.tude to the arts of use is the same as his att.i.tude to pictures.

They do not buy furniture or china because they like them, but because the shopman persuades them that what they buy is the fas.h.i.+on. Or perhaps they recognize it themselves as the fas.h.i.+on and therefore instantly believe that they like it. In both cases the buyer is hypnotized; he has lost the faculty of finding out for himself what he really likes, and his mind, being empty of real affection, is open to the seven devils of suggestion. He cannot enjoy directly any beautiful thing, all he can enjoy is the belief that he is enjoying it; and he can harbour this belief about any nonsense or trash.

It is a very curious disease that has become endemic in the whole of Europe. People impute it to machinery, but unjustly. There are objects made by machinery, such as motor-cars, which have real beauty of design; and people do genuinely and unconsciously enjoy this beauty, just because they never think of it as beauty. They like the look of a car because they can see that it is well made for its purpose. If only they would like the look of any object of use for the same reason, the arts of use would once again begin to flourish among us. But when once we ask ourselves whether any thing is beautiful, we become incapable of knowing our real feelings about it. Any tradesman or artist can persuade us that we think it beautiful when we do nothing of the kind. We are all like the crowd who admired the Emperor's clothes; and there is no child to tell us that the Emperor has no clothes on at all. We are not so with human beings; we cannot be persuaded that we like a man when really we dislike him; if we could, our whole society would soon dissolve in a moral anarchy. But with regard to the works of man, or that part of them which is supposed to aim at beauty, we are in a state of aesthetic anarchy, because there is a whole vast conspiracy, itself unconscious for the most part, to persuade us that we like what no human being out of a madhouse could like.

So the real problem for us is to discover, not merely in pictures, but in all things that are supposed to have beauty, what we really do like.

And we can best do that, perhaps, if we dismiss the notions of art and beauty for a time from our minds; not because art and beauty do not exist, but because our notions of them are wrong and misleading. The very words intimidate us, as people used to be intimidated by the jargon of pietistic religion, so that they would believe that a very unpleasant person was a saint. When once we look for beauty in anything, we look no longer for good design, good workmans.h.i.+p, or good material. It is because we do not look for beauty in motor-cars that we enjoy the excellence of their design, workmans.h.i.+p, and material, which is beauty, if only we knew it. Beauty, in fact, is a symptom of success in things made by man, not of success in selling, but of success in making. If an object made by man gives us pleasure in itself, then it has beauty; if we got pleasure only from the belief that in it we are enjoying what we ought to enjoy, then very likely it is as naked of beauty as the Emperor was of clothes. The great ma.s.s of people now have a belief that ornament is necessarily beauty, that, without it, nothing can be beautiful. But ornament is often only added ugliness, like a wen on a man's face. It is always added ugliness when it is machine-made, and when it is put on to hide cheapness of material and faults of design and workmans.h.i.+p.

Unfortunately, it does hide these things from us; we accept ornament as a subst.i.tute for that beauty which can only come of good design, material, and workmans.h.i.+p; and we do not recognize these things when we see them, except in objects like motor-cars, which we prefer plain because we do unconsciously enjoy their real beauty.

So, in the matter of ornament, we need to make a self-denying ordinance; not because ornament is necessarily bad--it is the natural expression of the artist's superfluous energy and delight--but because we ourselves cannot be trusted with ornament, as a drunkard cannot be trusted with strong drink. We must learn to see things plain before we can see them at all, or enjoy them for their own real qualities and not for what we think we see in them. A man whose taste is for bad poetry can only improve it by reading good, plain prose. He must become rational before he can enjoy the real beauties of literature. And so we need to become rational before we can enjoy art, whether in pictures or in objects of use. The unreason of our painting has the same cause as the unreason of our objects of use; and the cause is in us, not in the artist. We think of taste as something in its nature irrational. It is no more so than conscience is. Indeed, there is conscience in all good taste as in all the good workmans.h.i.+p that pleases it. But where the public has not this conscience, the artist will not possess it either.

At best he will have only what he calls his artistic conscience--that is to say, a determination to follow his own whims rather than the taste of the public. But where the public knows what it likes, and the artist makes what he likes, there is more than a chance that both will like the same thing, as they have in the great ages of art. For a real liking must be a liking for something good. It is Satan who persuades us that we like what is bad by filling our mind with sham likings, which are always really the expression of our egotism disguised.

Professionalism in Art

Professionalism is a dull, ugly word; but it means dull, ugly things, a perversion of the higher activities of man, of art, literature, religion, philosophy; and a perversion to which we are all apt to be blind. We know that in these activities specialization is a condition of excellence. As Keats said to Sh.e.l.ley, in art it is necessary to serve both G.o.d and Mammon; and as Samuel Butler said, "That is not easy, but then nothing that is really worth doing ever is easy." The poet may be born, not made; but no man can start writing poetry as if it had never been written before. In every art there is a medium, and the poet, like all other artists, learns from the poets of the past how to use his medium. Often he does this unconsciously by reading them for delight. He first becomes a poet because he loves the poetry of others. And the painter becomes a painter because he loves the pictures of others. Each of them is apt to begin--

As if his whole vocation Were endless imitation.

So the artist insists to himself upon the value of hard work. He is impatient of all the talk about inspiration; for he knows that, though nothing can be done without it, it comes only with command of the medium. And this command, like all craftsmans.h.i.+p, is traditional, handed down from one generation to another. Any kind of expression in this imperfect world is as difficult as virtue itself. For expression, like virtue, is a kind of transcendence. In it the natural man rises above his animal functions, above living so that he may continue to live; he triumphs over those animal functions which hold him down to the earth as incessantly as the attraction of gravity itself. But, like the airman, he can triumph only by material means, and by means gradually perfected in the practice of others. Yet there is always this difference, that in mechanics anyone can learn to make use of an invention; but in the higher activities, invention, if it becomes mechanical, destroys the activity itself, even in the original inventor. The medium is always a medium, not merely a material; and if it becomes merely a material to be manipulated, it ceases to be a medium.

Now professionalism is the result of a false a.n.a.logy between mechanical invention and the higher activities. It happens whenever the medium is regarded merely as material to be manipulated, when the artist thinks that he can learn to fly by mastering some other artist's machine, when his art is to him a matter of invention gradually perfected and necessarily progressing through the advance of knowledge and skill. One often finds this false a.n.a.logy in books about the history of the arts, especially of painting and music. It is a.s.sumed, for instance, that Italian painting progressed mechanically from Giotto to t.i.tian, that t.i.tian had a greater power of expression than Giotto because he had command of a number of inventions in anatomy and perspective and the like that were unknown to Giotto. So we have histories of the development of the symphony, in which Haydn, Mozart, Beethoven are treated as if they were mechanical inventors each profiting by the discoveries of his predecessors. Beethoven was the greatest of the three because he had the luck to be born last, and Beethoven's earliest symphonies are necessarily better than Mozart's latest because they were composed later. But in such histories there always comes a point at which artists cease to profit by the inventions of their predecessors.

After Michelangelo, perhaps after Beethoven, is the decadence. Then suddenly there is talk of inspiration, or the lack of it. Mere imitators appear, and the historian who reviles them does not see that they have only practised, and refuted, his theory of art. They also have had the luck to be born later; but it has been bad luck, not good, for them, because to them their art has been all a matter of mechanical invention, of professionalism.

The worst of it is that the greatest artists are apt themselves to fall in love with their own inventions, not to see that they are mechanical inventions because they themselves have discovered them. Michelangelo in his "Last Judgment" is very professional; t.i.tian was professional through all his middle age; Tintoret was professional whenever he was bored with his work, which happened often; Shakespeare, whenever he was lazy, which was not seldom. Beethoven, we now begin to see, could be very earnestly professional; and as for Milton--consider this end of the last speech of Manoah, in _Samson Agonistes_, where we expect a simple cadence:--

The virgins also shall on feastful days Visit his tomb with flowers, only bewailing His lot unfortunate in nuptial choice, From whence captivity and loss of eyes

Milton was tempted into the jargon of these last two lines, which are like a bad translation of a Greek play, by professionalism. He was trying to make his poetry as much unlike ordinary speech as he could; he was for the moment a slave to a tradition, and none the less a slave because it was the tradition of his own past.

Professionalism is a device for making expression easy; and it is one used by the greatest artists sometimes because their business is to be always expressing themselves, and even they have not always something to express. But expression is so difficult, even for those who have something to express, that they must be always practising it if they are ever to succeed in it. Wordsworth, for instance, was a professed enemy of professionalism in poetry; yet he, too, was for ever writing verses.

It was a hobby with him as well as an art; and his professionalism was merely less accomplished than that of Milton or Spenser:--

Fair Ellen Irwin, when she sate Upon the Braes of Kirtle, Was lovely as a Grecian maid Adorned with wreaths of myrtle.

Why adorned with wreaths of myrtle? Wordsworth himself tells us. His subject had already been treated in Scotch poems "in simple ballad strain," so, he says, "at the outset I threw out a cla.s.sical image to prepare the reader for the style in which I meant to treat the story, and so to preclude all comparison." No one, whose object was just to tell the story, would compare Ellen with a Grecian maid and her wreaths of myrtle; but Wordsworth must do so to show us how he means to tell it, and, as he forgets to mention, so that he may rhyme with Kirtle. That is all professionalism, all a device for making expression easy, practised by a great poet because at the moment he had nothing to express. But art is always difficult and cannot be made easy by this means. We need not take a malicious pleasure in such lapses of the great poet; but it is well to know when Homer nods, even though he uses all his craft to pretend that he is wide awake. Criticism may have a negative as well as a positive value. It may set us on our guard against professionalism even in the greatest artists, and most of all in them. For it is they who begin professionalism and, with the mere momentum of their vitality, make it attractive. Because they are great men and really accomplished, they can say nothing with a grand air; and these grand nothings of theirs allure us just because they are nothings and make no demands upon our intelligence. That is art indeed, we cry: and we intoxicate ourselves with it because it is merely art. "The quality of mercy is not strained" is far more popular than Lear's speech, "No, no, no! Come, let's away to prison," because it is professional rhetoric; it is what Shakespeare could write at any moment, whereas the speech of Lear is what Lear said at one particular moment. The contrast between the two is the contrast well put in the epigram about Barry and Garrick in their renderings of King Lear:--

A king, aye, every inch a king, such Barry doth appear.

But Garrick's quite another thing; he's every inch King Lear.

We admire the great artist when he is every inch a king more than when he has lost his kings.h.i.+p in his pa.s.sion.

He no doubt knows the difference well enough. But he wishes to do everything well, he has a natural human delight in his own accomplishment; and a job to finish. Shakespeare, Michelangelo, Beethoven were not slaves to their own professionalism; no doubt they could laugh at it themselves. But there is always a danger that we shall be enslaved by it; and it is the business of criticism to free us from that slavery, to make us aware of this last infirmity of great artists.

We are on our guard easily enough against a professionalism that is out of fas.h.i.+on. The Wagnerian of a generation ago could sneer at the professionalism of Mozart; but the professionalism of Wagner seemed to him to be inspiration made constant and certain by a new musical invention. We know now only too well, from Wagner's imitators, that he did not invent a new method of tapping inspiration; we ought to know that no one can do that. The more complete the method the more tiresome it becomes, even as practised by the inventor.

Decadence in art is always caused by professionalism, which makes the technique of art too difficult, and so destroys the artist's energy and joy in his practice of it. Teachers of the arts are always inclined to insist on their difficulty and to set hard tasks to their pupils for the sake of their hardness; and often the pupil stays too long learning until he thinks that anything which is difficult to do must therefore be worth doing. This notion also overawes the general public so that they value what looks to them difficult; but in art that which seems difficult to us fails with us, we are aware of the difficulty, not of the art. The greater the work of art the easier it seems to us. We feel that we could have done it ourselves if only we had had the luck to hit upon that way of doing it; indeed, where our aesthetic experience of it is complete, we feel as if we were doing it ourselves; our minds jump with the artist's mind; we are for the moment the artist himself in his very act of creation. But we are always apt to undervalue this true and complete aesthetic experience, because it seems so easy and simple, and we mistake for it a painful sense of the artist's skill, of his professional accomplishment. So we demand of artists, that they shall impress us with their accomplishment; we have not had our money's worth unless we feel that we could not possibly do ourselves what they have done. No doubt, when the _Songs of Innocence_ were first published, anyone who did happen to read them thought them doggerel. Blake in a moment had freed himself from all the professionalism of the followers of Pope, and even now they make poetry seem an easy art to us, until we try to write songs of innocence ourselves:--

When the voices of children are heard on the green, And laughing is heard on the hill, My heart is at rest within my breast, And everything else is still.

"Then come home, my children, the sun is gone down, And the dews of night arise; Come, come, leave off play, and let us away, Till the morning appears in the skies."

We call it artless, with still a hint of depreciation in the word, or at least of wonder that we should be so moved by such simple means. It is a kind of cottage-poetry, and has that beauty which in a cottage moves us more than all the art of palaces. But we never learn the lesson of that beauty because it seems to us so easily won; and so our arts are always threatened by the decadence of professionalism. But poetry in England has been a living art so long because it has had the power of freeing itself from professionalism and choosing the better path with Mary and with Ruth. The value of the Romantic movement lay, not in its escape to the wonders of the past, but in its escape from professionalism and all its self-imposed and easy difficulties. For it is much easier to write professional verses in any style than to write songs of innocence; and that is why professionalism in all the arts tempts all kinds of artists.

Anyone can achieve it who has the mind. It is a subst.i.tute for expression, as mere duty is a subst.i.tute for virtue. But, as a forbidding sense of duty makes virtue itself seem unattractive, so professionalism destroys men's natural delight in the arts. Like the artist himself, his public becomes anxious, perverse, exacting; afraid lest it shall admire the wrong thing, because it has lost the immediate sense of the right thing. Just as it expects art to be difficult, so it expects its own pleasure in art to be difficult; and thus we have attained to our present notion about art which is like the Puritan notion about virtue, that it is what no human being could possibly enjoy by nature. And if we do enjoy it, "like a meadow gale in spring," it cannot be good art.

But in painting as in poetry, all the new movements of value are escapes from professionalism; and they begin by shocking the public because they seem to make the art too easy. d.i.c.kens was horrified by an early work of Millais; Ruskin was enraged by a nocturne of Whistler. He said it was c.o.c.kney impudence because it lacked the professionalism he expected.

Artists and critics alike are always binding burdens on the arts; and they are always angry with the artist who cuts the burden off his back.

They think he is merely s.h.i.+rking difficulties. But the difficulty of expression is so much greater than the self-imposed difficulties of mere professionalism that any man who is afraid of difficulties will try to be a professional rather than an artist.

In art there is always humility, in professionalism pride. And it is this pride that makes art more ugly and tiresome than any other work of man. Nothing is stranger in human nature than the tyranny of boredom it will endure in the pursuit of art; and the more bored men are, the more they are convinced of artistic salvation. Our museums are c.u.mbered with monstrous monuments of past professionalism; our bookshelves groan with them. Always we are trying to like things because they seem to us very well done; never do we dare to say to ourselves: It may be well done, but it were better if it were not done at all; and the artist is still to us a dog walking on his hind legs, a performer whose merit lies in the unnatural difficulty of his performance.

Waste or Creation?

The William Morris Celebration was not so irrelevant to these times as it may seem. Morris was always foretelling a catastrophe to our society, and it has come. That commercial system of ours, which seems to so many part of the order of Nature, was to him as evil and unnatural as slavery. His quarrel with it was not political, but human; it was the quarrel not of the oppressed, for he was not the man to be oppressed in any society, but of the workman. He was sure that a society which encouraged bad work and discouraged good must in some way or other come to a bad end; and he would have seen in this war the end that he predicted. Whatever its result, there must be a change in the order of our society, whether it sinks through incessant wars, national and commercial, into barbarism or is shocked into an effort to attain to civilization. There were particular sayings of Morris's to which no one at the time paid much heed. They seemed mere grumblings against what must be. He was, for instance, always crying out against our waste of labour. If only all men did work that was worth doing--

Think what a change that would make in the world! I tell you I feel dazed at the thought of the immensity of the work which is undergone for the making of useless things. It would be an instructive day's work, for any one of us who is strong enough, to walk through two or three of the princ.i.p.al streets of London on a weekday, and take accurate note of everything in the shop windows which is embarra.s.sing or superfluous to the daily life of a serious man. Nay, the most of these things no one, serious or unserious, wants at all; only a foolish habit makes even the lightest-minded of us suppose that he wants them; and to many people, even of those who buy them, they are obvious enc.u.mbrances to real work, thought, and pleasure.

At the time most people said that this waste of labour was all a matter of demand and supply, and thought no more about it; some said that it was good for trade. Very few saw, with Morris, that demand for such things is something willed and something that ought not to be willed.