April 17, 1933
(The following are Sri Aurobindo’s comments on Art.)
Art for Art’s sake? But what, after all, is meant by this slogan and what is the real issue behind it? Is it meant, as I think it was when the slogan first came into use, that the technique, the artistry is all in all? The contention would then be that it does not matter what you write or paint or sculpt or what music you make or about what you make it so long as it is beautiful writing, competent painting, good sculpture, fine music. It is very evidently true in a certain sense, — in this sense that whatever is perfectly expressed or represented or interpreted under the conditions of a given art proves itself by that very fact to be legitimate material for the artist’s labour. But that free admission cannot be confined only to all objects, however common or deemed to be vulgar, — an apple, a kitchen pail, a donkey, a dish of carrots, — it can give a right of citizenship in the domain of art to a moral theme or thesis, a philosophic conclusion, a social experiment; even the Five Years’ Plan or the proceedings of a District Board or the success of a drainage scheme, an electric factory or a big hotel can be brought, after the most modern or the still more robustious Bolshevik mode, into the artist’s province. For, technique being all, the sole question would be whether he as poet, novelist, dramatist, painter or sculptor has been able to triumph over the difficulties and bring out creatively the possibilities of his subject. There is no logical basis here for accepting an apple and rejecting the Apple-Cart. But still you may say that at least the object of the artist must be art only, — even if he treats ethical, social or political questions, he must not make it his main object to wing with the enthusiasm of aesthetic creation a moral, social or political aim. But if in doing it he satisfies the conditions of his art, shows a perfect technique and in I t beauty, power, perfection, why not? The moralist, preacher, philosopher, social or political enthusiast is often doubled with an artist — as shining proofs and examples there are Plato and Shelley, to go no farther. Only, you can say of him on the basis of this theory that as a work of art his creation should be judged by its success of craftsmanship and not by its contents; it is not made greater by the value of his ethical ideas, his enthusiasms or his metaphysical seekings.
But then, the theory itself is true only up to a certain point. For technique is a means of expression; one does not write merely to use beautiful words or paint for the sole sake of line and colour; there is something that one is trying through these means to express or to discover. What is that something? The first answer would be — it is the creation, it is the discovery of Beauty. Art is for that alone and can be judged only by its revelation or discovery of Beauty. Whatever is capable of being manifested as Beauty is the material of the artist. But there is not only physical beauty in the world — there is moral, intellectual, spiritual beauty also. Still, one might say that “Art for Art’s sake” means that only what is aesthetically beautiful must be expressed and all that contradicts the aesthetic sense of beauty must be avoided. Art has nothing to do with Life in itself, things in themselves, Good, Truth or the Divine for their own sake, but only in so far as they appeal to some aesthetic sense of beauty, — and that would seem to be a sound basis for excluding the Five Years’ Plan, a moral sermon or a philosophical treatise. But here, again, what after all is Beauty? How much is it in the thing itself and how much in the consciousness that perceives it? Is not the eye of the artist constantly catching some element of aesthetic value in the plain, the ugly, the sordid, the repellent and triumphantly conveying it through his material, — through the word, through line and colour, through the sculptured shape?
There is a certain state of Yogic consciousness in which all things become beautiful to the eye of the seer, simply because they spiritually are — because they are a rendering in line and form of the quality and force of existence, of the consciousness, of the Ananda that rules the worlds, — of the hidden Divine. What a thing is to the exterior sense may not be, often is not beautiful for the ordinary aesthetic vision, but the Yogin sees in it the something more which the external eye does not see, he sees the soul behind, the self and spirit, he sees too lines, hues, harmonies and expressive dispositions which are not to the first surface sight visible or seizable. It may be said that he brings into the object something that is in himself, transmutes it by adding out of his own being to it — as the artist too does something of the same kind but in another way. It is not quite that, however; what the Yogin sees, what the artist sees, is there, his is a transmuting vision because it is a revealing vision; he discovers behind what the object appears to be, the something More that it is. And so from this point of view of a realised supreme harmony all is or can be subject-matter for the artist, because in all he can discover and reveal the Beauty that is everywhere. Again, we land ourselves in a devastating catholicity; for here too one cannot pull up short at any given line. It may be a hard saying that one must or may discover and reveal beauty in a pig or its poke or in a parish pump or an advertisement of somebody’s pills, and yet something like that seems to be what modern Art and Literature are trying with vigour and conscientious labour to do. By extension one ought to be able to extract beauty equally well out of morality or social reform or a political caucus or allow at least that all these things can, if he wills, become legitimate subjects for the artist. Here, too, one cannot say that it is on condition he thinks of beauty only and does not make moralising or social reform or a political idea his main object. For if with that idea foremost in his mind he still produces a great work of art, discovering Beauty as he moves to his aim, proving himself in spite of his unaesthetic preoccupations a great artist, it is all we can justly ask from him, whatever his starting-point, to be a creator of Beauty. Art is discovery and revelation of Beauty, and we can say nothing more by way of prohibitive or limiting rule.
But there is one thing more that can be said, and that makes a big difference. In the Yogin’s vision of universal beauty, all becomes beautiful, but all is not reduced to a single level. There are gradations, there is a hierarchy in this All-Beauty and we see that it depends on the ascending power (Vibhūti) of Consciousness and Ananda that expresses itself in the object. All is the Divine, but some things are more divine than others. In the artist’s vision too there are or can be gradations, a hierarchy of values. Shakespeare can get dramatic and therefore aesthetic values out of Dogberry and Malvolio and he is as thorough a creative artist in his treatment of them as in his handling of Macbeth or Lear. But if we had only Dogberry or Malvolio to testify to Shakespeare’s genius, no Macbeth, no Lear, would he be so great a dramatic artist and creator as he now is? It is in the varying possibilities of one subject or another that there lies an immense difference. Apelles’[1] grapes deceived the birds that came to peck at them, but there was more aesthetic content in the Zeus of Pheidias,[2] a greater content of Consciousness and therefore of Ananda to express and with it to fill in and intensify the essential principle of Beauty, even though the essence of beauty may be realised perhaps with equal aesthetic perfection by either artist and in either theme.
And that is because just as technique is not all, so even Beauty is not all in Art. Art is not only technique or form of Beauty, not only the discovery or the expression of Beauty — it is a self-expression of Consciousness under the conditions of aesthetic vision and a perfect execution. Or, to put it otherwise, there are not only aesthetic values, but life-values, mind-values, soul-values that enter into Art. The artist puts out into form not only the powers of his own consciousness, but the powers of the Consciousness that has made the worlds and their objects. And if that Consciousness according to the Vedantic view is fundamentally equal everywhere, it is still in manifestation not an equal power in all things. There is more of the Divine expression in the Vibhūti than in the common man, prākrito janah; in some forms of life there are less potentialities for the self-expression of the Spirit than in others. And there are also gradations of consciousness which make a difference, if not in the aesthetic value or greatness of a work of art, yet in its contents-value. Homer makes beauty out of man’s outward life and action and stops there. Shakespeare rises one step further and reveals to us a life-soul and life-forces and life-values to which Homer had no access. In Valmiki and Vyas there is the constant presence of great Idea-Forces and Ideals supporting life and its movements which were beyond the scope of Homer and Shakespeare. And beyond the Ideals and Idea-Forces even there are other presences, more inner or inmost realities, a soul behind things and beings, the spirit and its powers, which could be the subject-matter of an art still more rich and deep and abundant in its interest than any of these could be. A poet finding these and giving them a voice with a genius equal to that of the poets of the past might not be greater than they in a purely aesthetic valuation, but his art’s contents-value, its consciousness-values could be deeper and higher and much fuller than in any achievement before him. There is something here that goes beyond any consideration of Art for Art’s sake or Art for Beauty’s sake; for while these stress usefully sometimes the indispensable first elements of artistic creation, they would limit too much the creation itself if they stood for the exclusion of the something More that compels Art to change always in its constant seeking for more and more that must be expressed of the concealed or the revealed Divine, of the individual and the universal or the transcendent Spirit.
If we take these three elements as making the whole of Art, perfection of expressive form, discovery of beauty, revelation of the soul and essence of things and the powers of creative consciousness and Ananda of which they are the vehicles, then we shall get perhaps a solution which includes the two sides of the controversy and reconciles their difference. Art for Art’s sake certainly; Art as a perfect form and discovery of Beauty; but also Art for the soul’s sake, the spirit’s sake and the expression of all that the soul, the spirit wants to seize through the medium of beauty. In that self-expression there are grades and hierarchies, widenings and steps that lead to the summits. And not only to enlarge Art towards the widest wideness but to ascend with it to the heights that climb towards the Highest is and must be part both of our aesthetic and our spiritual endeavour.
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April 26, 1933
I simply cannot resist the temptation of sending you first of the pages I wrote this afternoon appertaining to my novelette (it will be a long story rather of about 200 pages in print) in which I have put in the form of a dialogue what I have felt about music versus poetry. Probably I am wrong — yet there may be some core of truth in what I intuited. Apart from the style of the dialogue I draw your attention to the matter. I wonder if you could throw, say, half a dozen lines at me regarding this aspect? It will be so valuable for me to know how you feel about music. Harin was telling me the other day: “Dilip, music is greater than poetry when all is said.” But I wonder if all has been said of either or even can be? Anyway I am finding [great?] joy in my novel particularly [because?] my novels too are much in demand — I enclose just a sentimental note of a young man whom I do not know; just glance through it in three minutes if you can find time. It is this [way?] he speaks about Ranger Parash.
I saw you this afternoon when I meditated for nearly two hours. I am trying to offer my writing work. But I can’t do so always. I pray to you to send force to enable me to.
I do not know what to say on the subject you propose to me — my appreciation of music is bodiless and inexpressible, while about poetry I can write at ease with an expert knowledge. But is it necessary to fix a scale of greatness where each has its own greatnesses and can touch in its own way the extremes of aesthetic Ananda? Music, no doubt, goes nearest to the infinite and to the essence of things because it relies wholly on the ethereal vehicle, śabda [sound], (architecture by the by can do something of the same kind at the other extreme even in its imprisonment in mass); but painting and sculpture have their revenge by liberating visible form into ecstasy, while poetry though it cannot do with sound what music does, yet can instead make a harmony of sound revelation, creation by the word, suggestion of form and colour that gives it in a very subtle kind the combined power of all the arts. Who shall decide between such claims or be a judge between these gods?
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April 29, 1933
It is very good news. The peace settling into the system and with it a happy activity — that is the basis for your Yoga which I always wanted you to have — a sunny condition in which what has to come in will come in and expand like a bud into flower and what has to fall off will fall off in its time like a slough discarded.
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April 30, 1933
Emotion alone is not enough for producing anything that can be called creation, at best it can give form to something lyrical and passionate or to something charming or appealing. For any considerable creation there must be a background of life, a vital rich and stored or a mind and an imagination that has seen much and observed much or a soul that has striven and been conscious of its strivings. These are needed, or one or other of them, but the purdah is not likely to produce them, though there may be a lucky accident in the worst circumstances, but one can’t count on accidents. A George Eliot, a George Sand, a Virginia Woolf, a Sappho, or even a Comtesse de Noailles grew up in other circumstances.
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[1] Greek painter (fourth century BC).
[2] Pheidias or Phidias (fifth century BC): Greek sculptor, famous in antiquity for colossal statues of gold and ivory which have not survived.
About Savitri | B1C3-10 The New Sense (pp.29-31)