No More Learning

What does it mean? What is a healthy, or an unhealthy work of art? All
terms that one applies to a work of art, provided that one applies them
rationally, have reference to either its style or its subject, or to
both together. From the point of view of style, a healthy work of art is
one whose style recognises the beauty of the material it employs, be
that material one of words or of bronze, of colour or of ivory, and uses
that beauty as a factor in producing the aesthetic effect. From the point
of view of subject, a healthy work of art is one the choice of whose
subject is conditioned by the temperament of the artist, and comes
directly out of it. In fine, a healthy work of art is one that has both
perfection and personality. Of course, form and substance cannot be
separated in a work of art; they are always one. But for purposes of
analysis, and setting the wholeness of aesthetic impression aside for a
moment, we can intellectually so separate them. An unhealthy work of
art, on the other hand, is a work whose style is obvious, old-fashioned,
and common, and whose subject is deliberately chosen, not because the
artist has any pleasure in it, but because he thinks that the public
will pay him for it. In fact, the popular novel that the public calls
healthy is always a thoroughly unhealthy production; and what the public
call an unhealthy novel is always a beautiful and healthy work of art.

I need hardly say that I am not, for a single moment, complaining that
the public and the public press misuse these words. I do not see how,
with their lack of comprehension of what Art is, they could possibly use
them in the proper sense. I am merely pointing out the misuse; and as
for the origin of the misuse and the meaning that lies behind it all,
the explanation is very simple. It comes from the barbarous conception
of authority. It comes from the natural inability of a community
corrupted by authority to understand or appreciate Individualism.
In a
word, it comes from that monstrous and ignorant thing that is called
Public Opinion, which, bad and well-meaning as it is when it tries to
control action, is infamous and of evil meaning when it tries to control
Thought or Art.

Indeed, there is much more to be said in favour of the physical force of
the public than there is in favour of the public's opinion. The former
may be fine. The latter must be foolish. It is often said that force is
no argument. That, however, entirely depends on what one wants to prove.
Many of the most important problems of the last few centuries, such as
the continuance of personal government in England, or of feudalism in
France, have been solved entirely by means of physical force. The very
violence of a revolution may make the public grand and splendid for a
moment. It was a fatal day when the public discovered that the pen is
mightier than the paving-stone, and can be made as offensive as the
brickbat. They at once sought for the journalist, found him, developed
him, and made him their industrious and well-paid servant. It is greatly
to be regretted, for both their sakes. Behind the barricade there may be
much that is noble and heroic. But what is there behind the
leading-article but prejudice, stupidity, cant, and twaddle? And when
these four are joined together they make a terrible force, and
constitute the new authority.

In old days men had the rack. Now they have the press.