Intentions. Оскар Уайльд
makes music the type of all the arts. Of course, nations and individuals, with that healthy natural vanity which is the secret of existence, are always under the impression that it is of them that the Muses are talking, always trying to find in the calm dignity of imaginative art some mirror of their own turbid passions, always forgetting that the singer of life is not Apollo but Marsyas. Remote from reality, and with her eyes turned away from the shadows of the cave, Art reveals her own perfection, and the wondering crowd that watches the opening of the marvellous, many-petalled rose fancies that it is its own history that is being told to it, its own spirit that is finding expression in a new form. But it is not so. The highest art rejects the burden of the human spirit, and gains more from a new medium or a fresh material than she does from any enthusiasm for art, or from any lofty passion, or from any great awakening of the human consciousness. She develops purely on her own lines. She is not symbolic of any age. It is the ages that are her symbols.
Even those who hold that Art is representative of time and place and people cannot help admitting that the more imitative an art is, the less it represents to us the spirit of its age. The evil faces of the Roman emperors look out at us from the foul porphyry and spotted jasper in which the realistic artists of the day delighted to work, and we fancy that in those cruel lips and heavy sensual jaws we can find the secret of the ruin of the Empire. But it was not so. The vices of Tiberius could not destroy that supreme civilisation, any more than the virtues of the Antonines could save it. It fell for other, for less interesting reasons. The sibyls and prophets of the Sistine may indeed serve to interpret for some that new birth of the emancipated spirit that we call the Renaissance; but what do the drunken boors and bawling peasants of Dutch art tell us about the great soul of Holland? The more abstract, the more ideal an art is, the more it reveals to us the temper of its age. If we wish to understand a nation by means of its art, let us look at its architecture or its music.
Cyril. I quite agree with you there. The spirit of an age may be best expressed in the abstract ideal arts, for the spirit itself is abstract and ideal. Upon the other hand, for the visible aspect of an age, for its look, as the phrase goes, we must of course go to the arts of imitation.
Vivian. I don’t think so. After all, what the imitative arts really give us are merely the various styles of particular artists, or of certain schools of artists. Surely you don’t imagine that the people of the Middle Ages bore any resemblance at all to the figures on mediæval stained glass, or in mediæval stone and wood carving, or on mediæval metal-work, or tapestries, or illuminated MSS. They were probably very ordinary-looking people, with nothing grotesque, or remarkable, or fantastic in their appearance. The Middle Ages, as we know them in art, are simply a definite form of style, and there is no reason at all why an artist with this style should not be produced in the nineteenth century. No great artist ever sees things as they really are. If he did, he would cease to be an artist. Take an example from our own day. I know that you are fond of Japanese things. Now, do you really imagine that the Japanese people, as they are presented to us in art, have any existence? If you do, you have never understood Japanese art at all. The Japanese people are the deliberate self-conscious creation of certain individual artists. If you set a picture by Hokusai, or Hokkei, or any of the great native painters, beside a real Japanese gentleman or lady, you will see that there is not the slightest resemblance between them. The actual people who live in Japan are not unlike the general run of English people; that is to say, they are extremely commonplace, and have nothing curious or extraordinary about them. In fact the whole of Japan is a pure invention. There is no such country, there are no such people. One of our most charming painters went recently to the Land of the Chrysanthemum in the foolish hope of seeing the Japanese. All he saw, all he had the chance of painting, were a few lanterns and some fans. He was quite unable to discover the inhabitants, as his delightful exhibition at Messrs. Dowdeswell’s Gallery showed only too well. He did not know that the Japanese people are, as I have said, simply a mode of style, an exquisite fancy of art. And so, if you desire to see a Japanese effect, you will not behave like a tourist and go to Tokio. On the contrary, you will stay at home and steep yourself in the work of certain Japanese artists, and then, when you have absorbed the spirit of their style, and caught their imaginative manner of vision, you will go some afternoon and sit in the Park or stroll down Piccadilly, and if you cannot see an absolutely Japanese effect there, you will not see it anywhere. Or, to return again to the past, take as another instance the ancient Greeks. Do you think that Greek art ever tells us what the Greek people were like? Do you believe that the Athenian women were like the stately dignified figures of the Parthenon frieze, or like those marvellous goddesses who sat in the triangular pediments of the same building? If you judge from the art, they certainly were so. But read an authority, like Aristophanes, for instance. You will find that the Athenian ladies laced tightly, wore high-heeled shoes, dyed their hair yellow, painted and rouged their faces, and were exactly like any silly fashionable or fallen creature of our own day. The fact is that we look back on the ages entirely through the medium of art, and art, very fortunately, has never once told us the truth.
Cyril. But modern portraits by English painters, what of them? Surely they are like the people they pretend to represent?
Vivian. Quite so. They are so like them that a hundred years from now no one will believe in them. The only portraits in which one believes are portraits where there is very little of the sitter, and a very great deal of the artist. Holbein’s drawings of the men and women of his time impress us with a sense of their absolute reality. But this is simply because Holbein compelled life to accept his conditions, to restrain itself within his limitations, to reproduce his type, and to appear as he wished it to appear. It is style that makes us believe in a thing—nothing but style. Most of our modern portrait painters are doomed to absolute oblivion. They never paint what they see. They paint what the public sees, and the public never sees anything.
Cyril. Well, after that I think I should like to hear the end of your article.
Vivian. With pleasure. Whether it will do any good I really cannot say. Ours is certainly the dullest and most prosaic century possible. Why, even Sleep has played us false, and has closed up the gates of ivory, and opened the gates of horn. The dreams of the great middle classes of this country, as recorded in Mr. Myers’s two bulky volumes on the subject, and in the Transactions of the Psychical Society, are the most depressing things that I have ever read. There is not even a fine nightmare among them. They are commonplace, sordid and tedious. As for the Church, I cannot conceive anything better for the culture of a country than the presence in it of a body of men whose duty it is to believe in the supernatural, to perform daily miracles, and to keep alive that mythopoeic faculty which is so essential for the imagination. But in the English Church a man succeeds, not through his capacity for belief, but through his capacity for disbelief. Ours is the only Church where the sceptic stands at the altar, and where St. Thomas is regarded as the ideal apostle. Many a worthy clergyman, who passes his life in admirable works of kindly charity, lives and dies unnoticed and unknown; but it is sufficient for some shallow uneducated passman out of either University to get up in his pulpit and express his doubts about Noah’s ark, or Balaam’s ass, or Jonah and the whale, for half of London to flock to hear him, and to sit open-mouthed in rapt admiration at his superb intellect. The growth of common sense in the English Church is a thing very much to be regretted. It is really a degrading concession to a low form of realism. It is silly, too. It springs from an entire ignorance of psychology. Man can believe the impossible, but man can never believe the improbable. However, I must read the end of my article:—
‘What we have to do, what at any rate it is our duty to do, is to revive this old art of Lying. Much of course may be done, in the way of educating the public, by amateurs in the domestic circle, at literary lunches, and at afternoon teas. But this is merely the light and graceful side of lying, such as was probably heard at Cretan dinner-parties. There are many other forms. Lying for the sake of gaining some immediate personal advantage, for instance—lying with a moral purpose, as it is usually called—though of late it has been rather looked down upon, was extremely popular with the antique world. Athena laughs when Odysseus tells her “his words of sly devising,” as Mr. William Morris phrases it, and the glory of mendacity illumines the pale brow of the stainless hero of Euripidean tragedy, and sets among the noble women of the past the young bride of one of Horace’s most exquisite odes. Later on, what at first had been merely a natural instinct was elevated