By irrigation man has learned to make the "wilderness blossom as the rose." By railways, telegraphs, and telephones, he has learned to minimize the obstacles that time and space offer to the fulfillment of his desires. By controlling, by means of education and social organization, his own instincts in the light of the purposes he would attain, by studying "the secret processes of Nature," man has learned to make the world a fit habitation for himself. To dig, to plough, to sow, to reap, are instances of the means whereby man has applied intelligent control to his half-friendly, half-hostile environment.
Man's deliberate control of Nature arises thus under the sharp pressure of practical necessity. Man is inherently active, but, as pointed out in an earlier connection, his activity takes coherent and consecutive form primarily under the compulsion of satisfying his physical wants, of finding food, clothing, and shelter. The greater part of human energy, certainly under primitive conditions, is devoted to maintaining a precarious equilibrium among the mysterious and terrifying forces of a half-understood environment. There is not much time for leisure, play, or art, where food is a continuously urgent problem, where one's shelter is likely to be destroyed by storm or wind, where one is threatened incessantly by beasts of prey, and, as primitive man supposed, by capricious supernatural powers. Under such circumstances, life is largely spent in instrumental or imperative pursuits. Action is fixed by necessity. It is controlled with immediate and urgent reference to the business of keeping alive. There is scarcely time for the activity of art, which is spontaneous and free.
In civilized life, also, the greater part of human energy must be spent in necessary or instrumental business. Men must, as always, be fed, clothed, and housed, and the fulfillment of these primary human demands absorbs the greater part of the waking hours of the majority of mankind. Our civilization is predominantly industrial; it is devoted almost entirely to the transforming of the world of nature into products for the gratification of the physical wants of men. These wants have, of course, become much complicated and refined: men wish not only to live, but to live commodiously and well. They want not merely a roof over their heads, but a pleasant and comfortable house in which to live. They want not merely something to stave off starvation, but palatable foods. In the satisfaction of these increasingly complicated demands a great diversity of industries arises. With every new want to be fulfilled, there is a new occupation, pursued not for its own sake, but for the sake of the good which it produces. There are industrial leaders, of course, who find in the development and control of the productive energies of thousands of men, in the manipulation of immense natural resources, satisfactions analogous to that of the fine artist. But for most men engaged in the routine operations of industry, the work they do is clearly not pursued on its own account. Industry, viewed in the total context of the activities of civilization, is a practical rather than a fine art. Its ideal is efficiency, which means economy of effort. Its interest is primarily in producing many goods cheaply.
The emergence of the fine arts. In the sharp struggle of man with his environment, those instincts survived which were of practical use. The natural impulses with which a human being is at birth endowed, are chiefly those which enable him to cope successfully and efficiently with his environment. But even in primitive life, so exuberant and resilient is human energy that it is not exhausted by necessary labors. The plastic arts, for example, began in the practical business of pottery and weaving. The weaver and the potter who have acquired skill and who have a little more vitality than is required for turning out something that is merely useful, turn out something that is also beautiful. The decorations which are made upon primitive pottery exhibit the excess vitality and skill of the virtuoso. Similarly, religious ritual, which, as we have seen, arises in practical commerce with the gods, comes to be in itself cherished and beautiful. The chants which are prescribed invocations of divinity, become songs intrinsically interesting to singer and listener alike; the dance ceases to be merely a necessary religious form and becomes an occasion of beauty and delight. Jane Harrison has shown in detail how ritual arises out of practical need, and art out of ritual.[1] Thus the Greek drama had its beginnings in Greek religion; the incidental beauty of the choruses of the Greek festivals developed into the eventual tragic art of Æschylus, Sophocles, and Euripides. Ceasing to be a practical invocation to the gods it became an artistic enterprise in and for itself. Repeatedly we find in primitive life that activity is not exhausted in agriculture, hunting, and handicraft, or in a desperate commerce with divinity. Harvest becomes a festival, pottery becomes an opportunity for decoration, and prayer, for poetry. Even in primitive life men find the leisure to let their imaginations loiter over these intrinsically lovely episodes in their experience.
The potter may be more interested in making a beautifully moulded and decorated vessel than merely in turning out a thing of use; the maker of baskets may come to "play with his materials," to make baskets not so much for their usefulness as for the possible beauty of their patterns. When this interest in beauty becomes highly developed, and when circumstances permit, the fine arts arise. The crafts come to be practiced as intrinsically interesting employments of the creative imagination. The moulding of miscellaneous materials into beautiful forms becomes a beloved habitual practice.
[Footnote 1: See Jane Harrison: Ancient Art and Ritual, especially chap. I.]
The context in which art appears in primitive life is paralleled in civilized society. The energies of men are still largely consumed in necessary pursuits. Men must, as of old, by the inadequacy of the natural order in which they find themselves, find means by which to live; and, being by nature constituted so that they must live together, they must find ways of living together justly and harmoniously. "Industry," writes Santayana, "merely gives to Nature that form which, if more thoroughly humane, she might already have possessed for our benefit." It is creative in so far as it transforms matter from its crude indifferent state to forms better adapted to human ideals. It makes cotton into cloth, wool into clothing, wheat into flour, leather into shoes, coal into light and power, iron into skyscrapers. It is devoted to annulling the discrepancies between nature and human nature. It turns refractory materials and obdurate forces into commodious goods and useful powers.
But, in the broadest sense, industry is a means to an end. Interesting and attractive it may well become, as when a bookbinder or a printer takes a craftsman's proud delight in the manner in which he performs his work, and in the quality of its product. But the industrial arts, for the most part, serve more ultimate purposes. It is imaginable that Nature might have provided clothing, food, and shelter ready to our hand. It is questionable whether under such circumstances men would out of deliberate choice continue industries which are now made imperative through necessity. The mines and the stockyards are necessary rather than beautiful or intrinsically attractive occupations. But in the world of fact, those things which are necessary to us are not ready to our hand. Our civilization is predominantly industrial, and must be so, if the billion and a half inhabitants of our world are to be maintained by the resources at our command.
Nevertheless despite the absorption of a large proportion of contemporary society in activities pursued not for their own sakes, but for the goods which are their fruits, there is still, as it were, energy left over. This excess vitality may, as it does for most men, take the form of mere unorganized play or recreation. But not so for those born with a singular gift for realizing in color or form or sound the ideal values which they have imagined. For these "play" is creative production. The fine arts are, in a sense, the play of the race. They are the fruits of such energy as is, through some fortunate accident of temperament or circumstance, not caught up in the routine and mechanics of industry or the trivialities of sport or pleasure. They are human activities, freed from the limitations imposed by the exigencies of practical life, and controlled only by the artist's imagined visions. Creative activity is most explicit and most successful in the fine arts, because in these there are fewer obstacles to the material realization of imagined perfections. "The liberal arts bring to spiritual fruition the matter which either nature or industry has prepared and rendered propitious."
The industrial arts are, as already pointed out, man's transformation of natural resources to ideal uses. In the same way political and social organization are human arts, enterprises, at their best, in the moulding of men's natures to their highest possible realization. But in the world of action, whether political or industrial, there are incomparably greater hindrances to the realization in practice of imagined goods than there are, at least to the gifted, in the fine arts. Every ideal for which men attempt to find fulfillment in the world of action is subject to a thousand accidental deflections of circumstance. Every enterprise involves conflicting wills; the larger the enterprise, the more various and probably the more conflicting the interests involved. Social movements have their courses determined by factors altogether beyond the control of their originators. Statesmen can start wars, but cannot define their eventual fruits. A man may found a political party, and live to see it wander far from the ideal which he had framed. But in the fine arts, to the imaginatively and technically endowed, the materials are prepared and controllable. In the hands of a master, action does not wander from intent. Language to the poet, for example, is an immediate and responsive instrument; he can mould it precisely to his ideal intention. The enterprise of poetry is less dependent almost than any other undertaking on the accidents of circumstance, outside the poet's initial imaginative resources. In music, even so simple an instrument as a flute can yield perfection of sound. The composer of a symphony can invent a perpetual uncorroded beauty; the sculptor an immortality of irrefutably persuasive form. This explains in part why so many artists, of a reflective turn of mind, are pessimists in practical affairs. The world of action with its perpetual and pitiful frustrations, failures, and compromises, seems incomparably poor, paltry, and sordid, in comparison with the perfection that is attainable in art.