In sculpture and painting it is love in all its shades which furnishes the inexhaustible theme; but it is in the domain of literature that love celebrates its triumphs, and often also its orgies. The novels and dramas in which it plays no part could be easily counted. I am not referring only to common novelettes, nor to those pot-house dramas which, in spite of repeating continually the same sentimental motives, always succeed in arousing the uncultivated sentiments of the masses. The greatest art aims at representing tragic, refined and complex conflicts of the human sexual sentiments and their irradiations, so as to awaken emotion by causing vibrations in the deepest chords of the human mind. Among poets and authors I may mention Shakespere, Schiller, Goethe, de Musset, Heine, Gotthelf, and de Maupassant; among musicians, Mozart, Beethoven, Wagner, Schumann, Loewe; among painters, Titian, Murillo, Boecklin; and sculptors such as those of the ancient Greeks or the modern French school.
Art and pure intellect do not form an antinomy; they are associated together in the human mind as thought and sentiment, each preserving its own, though relative, independence. Every artistic representation requires an intellectual foundation, in the same way as every sentiment is connected with ideas. The artist takes his subjects from the external world, from life, and from the events of all ages. He also utilizes the progress of science for the mechanism of his art. But, to transform the material into a complete picture, with a unity of action, where the different sentiments harmonize; to transform the work of art into a symbol of something human; to make the whole work speak to every mind capable of comprehending it, all this can only be the work of a great artist with creative genius.
Art and Morality.—True art is in itself neither moral nor immoral. Here we can well say—to the pure everything is pure. In the mirror of an impure mind, every work of art may appear as a pornographic caricature, while to the high-minded it is the incarnation of the noblest ideal. The fault is not with art and its products, but with nature and the peculiarities of many human brains, which deform everything they perceive, so that the most beautiful works of art only awaken in their pornographic minds cynical sexual images.
Art and Pornography.—After having enunciated the preceding fundamental principles, we must examine the following facts, which have a special importance for the question with which we are dealing. Under the banner of art are grouped a number of human enterprises which are far from deserving this honor. There are few great artists, but thousands of charlatans and plagiarists. Many of those who have never had the least idea of the dignity of art, pander to the lower instincts of the masses and not to their best sentiments. In this connection, erotic subjects play a sad and powerful part. Nothing is too filthy to be used to stimulate the base sensuality of the public. Frivolous songs, licentious novels and plays, obscene dances, pornographic pictures, all without any trace of artistic merit, speculate on the erotic instinct of the masses in order to obtain their money.
In these brothels of art, the most obscene vice is glorified, even pathological. Unfortunately, this obscenity spoils the taste of the public and destroys all sense of true and noble art. At the bottom of all this degeneration of the sentiment of art and its products in the sexual domain, we always find on close examination, corruption by money and brutalism by alcohol. I say advisedly, the sentiment of art and the products of art, for it is not sufficient for true artists to create their masterpieces, it is also necessary for them to find an echo in the public, and be understood by them. The two phenomena go hand in hand, as supply and demand. When the sentiment of art is low among the public, the quality of the artistic production is also low, and inversely. Professor Behrens, director of the Industrial School of Art at Dusseldorf, is in complete accord with me in the debasing effect of alcohol on the artistic sentiment. (Alkohol und Kunst.)
After establishing these facts, we return to the fundamental but delicate question: How is true erotic art to be distinguished from the pornographic? While certain ascetic and fanatical preachers of morality would burn and destroy all the erotic creations of art under the pretext that they are pornographic, other disciples of decadence defend the most ignoble pornography under the shield of art.
I will cite two examples which have already been mentioned previously (Chapter XIII). In a very primitive and bigoted region of the Tyrol, certain undraped, but very innocent, statues of women were erected in the streets. Feeling their modesty deeply wounded, and regarding the representation of the natural human body as a great inducement to misconduct, the peasants of the district broke up these statues. The same with the captain of police at Zurich, who made himself notorious by ordering the removal of the picture by Boecklin, entitled "The Sport of the Waves," regarding the two mermaids in the picture as a danger to the morality and virtue of the citizens of Zurich!
I designate by the term charlatanism, everything which consists in decorating or covering by the term art, all possible perversions of pornography, often pathological. Persons of artistic nature, dominated by emotional sentiments, will no doubt be excused for being often overexcited to a more or less pathological degree, for executing all kinds of fantastic vagaries in their sexual life, and for being capricious and excessive in love. These things are almost inseparable from the artistic temperament. But the systematic education of pornography, and the sexual orgies which are cynically made public, go decidedly beyond what is licit, and cannot be included in the scope of art without degrading it. The individual and pathological failings of artists and the eccentricities to which they often become victims, must not be confounded with art and its products.
On the other hand, we often find eroticism hidden where we should least expect it, for instance in certain books for the edification of the pious. Here also it does not fail to produce its effect, although old maids and pious families place these books in their libraries and recommend them as proper reading. It has been said with reason, that "what is improper in the nudity of a statue is the fig-leaf and not what is underneath." It is, in fact, these fig-leaves—sculptured, painted, written or spoken—which awaken lewdness rather than deaden it. By drawing attention to what they conceal, they excite sensuality much more than simple nudity. In short, the eroticism which plays at hide and seek is that which acts with greatest intensity. The directors of ballets and other similar spectacles know this only too well, and arrange accordingly.
I have seen at the Paris Exposition an Arab woman perform the erotic dance called the "danse du ventre," in which the various movements of coitus are imitated by movements of the hips and loins. I do not think, however, that this pantomime, as cynical as it is coarse, produces on the spectators such an erotic effect as the décolleté costumes of society ladies, or even certain amorous scenes of religious ecstasy in words or pictures (vide Chapter XII). As the "danse du ventre" was produced under the head of ethnology, it was witnessed by society ladies without their being in the least degree wounded in their sentiments of modesty! It is extremely difficult, if not impossible, to define the limit between art and pornography. I will attempt to give an example.