The Moral Economy

by Ralph Barton Perry

If art is to serve a moral end in fixing and embellishing ideas, it must be true. What I mean by this most important qualification I must now endeavor to make plain. Art, in so far as it is a means of representation, deals either with physical nature, as in landscape and figure painting, or with types and incidents of human life, as in dramatic painting and in the greater part of poetry. In either case it may, like thought, either reflect or distort the structure of reality. Now the real structure of human life is moral; consisting only in a variety of instances of the one law that the wages of sin is death. To represent life otherwise is to falsify it, precisely as to represent bodies without solidity and gravity is to falsify physical nature. But in representing physical nature art does not, as science does, {206} formulate merely its geometrical or dynamical skeleton; to do so would be contrary to the intent of art to represent things in their perceptual concreteness. Similarly art does not represent abstract virtues. Nevertheless, if it is not to depart from the truth art must, at the same time that it conveys the color and vividness of life, also conform to its proper laws, and demonstrate the consequences of action as they are. And the same standard of clearness and fidelity, which requires that great art shall reveal nature as it is, not to the superficial or imitative observer but to the thoughtful and penetrating mind, requires also that it shall throw into relief the profounder and more universal forces of life.

Great art, therefore, is of necessity enlightening. But it is possible that untruth should parade in the dress and under the auspices of art, and so work to the confusion of the moral consciousness. If art were only realistic in the full sense, an unequivocal representation of the laws of life, it would invariably justify and support the moral will; it would be idealistic. It is the art of desultory and irresponsible fancy that is a source of danger. There is a species of romantic art that is guarded by its very excess of fantasy; it being impossible to mistake it for a representation of life. But where romantic art is not thus clear in its motive, it becomes what is called "sensational" {207} art, in which the wages of sin are not paid; in which imprudence, infidelity, and a mean ambition are made to yield success, freedom, and glorious achievement. The realities are violated, with the consequence that resolve is weakened and the intelligence bewildered.

Since art may be true or untrue, it may also be universal or particular, profound or superficial, in its apprehension of reality. This difference has operated to define a scale of importance in art, so far as the interest of society is concerned. There is at least a measure of truth in Taine's graduated scale by which he estimates the greatness of art according as it represents the fashion of the day, the type of the generation, the type of the age, the type of the race, or man himself in his immutable nature.[18] That art will be the most effective instrument of moral enlightenment which reflects the experience of mankind in the basal and constant virtues, giving quality and distinction to truths which might otherwise suffer from their very homeliness and familiarity.

There is a kindred consideration to which Tolstóy, undiscerning as he is in most of his criticism of art, has very justly called attention. In the broad sense, art is liable to untruth from reflecting exclusively the bias of a certain temperament. The following description {208} of a class of contemporary dramas is not wholly inapt:

They either represent an architect, who for some reason has not fulfilled his former high resolves and in consequence of this climbs on the roof of a house built by him and from there flies down headlong; or some incomprehensible old woman, who raises rats and for some unknown reason takes a poetic child to the sea and there drowns it; or some blind people, who, sitting at the sea-shore, for some reason all the time repeat one and the same thing; or a bell which flies into a lake and there keeps ringing.[19]

That a tendency to cultivate acquaintance with the curious and rare, and communicate it to a narrow group of initiated persons, is characteristic of modern times, and that on the whole it is a symptom of decadence, Tolstóy has, I believe, proved. At any rate, the effect of such a tendency in art can not fail to be morally injurious, since life is not represented proportionately. Art has much to do with the vogue and prestige of ideas. Thus, for example, though the problem-play may be faithful to life where it deals with life, if the stage be given over wholly to this form of drama, there will almost inevitably result a false conception of the degree to which the incidents selected are representative of social conditions on the whole.

There is one further source of moral error in connection with this function of art. Because art can not only fix ideas but also make them {209} alluring, it may invest them with a fictitious value. I refer to what is only a different aspect of that sentimentalism or chronic emotionalism to which I have already called attention. Not only is it possible that men should be brought through the aesthetic interest to replace action with emotion; they may also persuade themselves that the higher principles of life owe their validity to some quality that is discerned immediately in the apprehension of them. But purpose, justice, and good-will are essentially principles of organization; their virtue is their provident working. To regard them only as images with a value inhering in their bare essence, is to forfeit their benefits. Verbalism, formalism, mysticism, are given a certain false charm and semblance of self-sufficiency by the cultivation and exercise of the aesthetic interest. Hence morality and religion must here resist its enticements, and never cease to remind themselves that theirs is the task of acknowledging all interests according to their real inwardness, and of banishing cruelty and blindness in their behalf.

VIII

Finally, art serves to liberalize life, to make it expansive and generous in spirit. This is possible because, in the first place, art is unworldly. I mean simply that the enjoyment of beauty is not {210} a part of ambition; that it does not call into play those habits of calculation and forms of skill that conduce to success in livelihood or the gaining of any of the proximate ends of organized social life. It frees the mind from its harness and turns it out to pasture. I suppose that every one has had that experience of spiritual refreshment which occasionally comes when one has gone body and soul out of doors, or when one is delivered over to the enchantment of sober and elevating music, and suddenly made aware of the better things that have been long forgotten. Such experiences are a moral inspiration. It is as though, the clamor of the world being for the moment shut out, one hears at last the voices that speak with authority. For an instant the broad sweep of truth flashes upon eyes that have been too intently watchful of affairs near at hand. The good-will can be sustained only by a mind that now and then withdraws itself from its engagements, and expands its view to the full measure of life. For the momentary inhibiting of the narrower practical impulses, and the evoking of this quiet and contemplative mood, the love of nature and the love of art are the most reliable means.

But art promotes liberality of spirit in an even more definitely moral sense. For art, like all forms of culture, and like the service of humanity, {211} provides for the highest type of social intercourse. The aesthetic interest is one of those rare interests which are common to all men without being competitive. All men require bread, but since this interest requires exclusive possession of its objects, its very commonness is a source of suspicion and enmity. Similarly all men require truth and beauty and civilization, but these objects are enhanced by the fact that all may rejoice in them without their being divided or becoming the property of any man. They bring men together without rivalry and intrigue, in a spirit of good-fellowship. "Culture," says Matthew Arnold, "is not satisfied till we all come to a perfect man; it knows that the sweetness and light of the few must be imperfect until the raw and unkindled masses of humanity are touched with sweetness and light."