In response to all the internet discussion surrounding Crude Awakening...
"Art begins when one person, with the object of joining another or others to himself in one and the same feeling, expresses that feeling by certain external indications. To take the simplest example: a boy, having experienced, let us say, fear on encountering a wolf, relates that encounter; and, in order to evoke in others the feeling he has experienced, describes himself, his condition before the encounter, the surroundings, the woods, his own lightheartedness, and then the wolf's appearance, its movements, the distance between himself and the wolf, etc. All this, if only the boy, when telling the story, again experiences the feelings he had lived through and infects the hearers and compels them to feel what the narrator had experienced is art. If even the boy had not seen a wolf but had frequently been afraid of one, and if, wishing to evoke in others the fear he had felt, he invented an encounter with a wolf and recounted it so as to make his hearers share the feelings he experienced when he feared the world, that also would be art. And just in the same way it is art if a man, having experienced either the fear of suffering or the attraction of enjoyment (whether in reality or in imagination) expresses these feelings on canvas or in marble so that others are infected by them. And it is also art if a man feels or imagines to himself feelings of delight, gladness, sorrow, despair, courage, or despondency and the transition from one to another of these feelings, and expresses these feelings by sounds so that the hearers are infected by them and experience them as they were experienced by the composer.
And it is upon this capacity of man to receive another man's expression of feeling and experience those feelings himself, that the activity of art is based.
The stronger the infection, the better is the art as art, speaking now apart from its subject matter, i.e., not considering the quality of the feelings it transmits.
I have mentioned three conditions of contagiousness in art, but they may be all summed up into one, the last, sincerity, i.e., that the artist should be impelled by an inner need to express his feeling. That condition includes the first; for if the artist is sincere he will express the feeling as he experienced it. And as each man is different from everyone else, his feeling will be individual for everyone else; and the more individual it is - the more the artist has drawn it from the depths of his nature - the more sympathetic and sincere will it be. And this same sincerity will impel the artist to find a clear expression of the feeling which he wishes to transmit."
Thank you, Dick, for sharing this essay so many years ago...
(This essay (originally published in 1896) and the translation by Alymer Maude (first published in 1899) are in the public domain and may be freely reproduced.)
"Art begins when one person, with the object of joining another or others to himself in one and the same feeling, expresses that feeling by certain external indications. To take the simplest example: a boy, having experienced, let us say, fear on encountering a wolf, relates that encounter; and, in order to evoke in others the feeling he has experienced, describes himself, his condition before the encounter, the surroundings, the woods, his own lightheartedness, and then the wolf's appearance, its movements, the distance between himself and the wolf, etc. All this, if only the boy, when telling the story, again experiences the feelings he had lived through and infects the hearers and compels them to feel what the narrator had experienced is art. If even the boy had not seen a wolf but had frequently been afraid of one, and if, wishing to evoke in others the fear he had felt, he invented an encounter with a wolf and recounted it so as to make his hearers share the feelings he experienced when he feared the world, that also would be art. And just in the same way it is art if a man, having experienced either the fear of suffering or the attraction of enjoyment (whether in reality or in imagination) expresses these feelings on canvas or in marble so that others are infected by them. And it is also art if a man feels or imagines to himself feelings of delight, gladness, sorrow, despair, courage, or despondency and the transition from one to another of these feelings, and expresses these feelings by sounds so that the hearers are infected by them and experience them as they were experienced by the composer.
And it is upon this capacity of man to receive another man's expression of feeling and experience those feelings himself, that the activity of art is based.
The stronger the infection, the better is the art as art, speaking now apart from its subject matter, i.e., not considering the quality of the feelings it transmits.
I have mentioned three conditions of contagiousness in art, but they may be all summed up into one, the last, sincerity, i.e., that the artist should be impelled by an inner need to express his feeling. That condition includes the first; for if the artist is sincere he will express the feeling as he experienced it. And as each man is different from everyone else, his feeling will be individual for everyone else; and the more individual it is - the more the artist has drawn it from the depths of his nature - the more sympathetic and sincere will it be. And this same sincerity will impel the artist to find a clear expression of the feeling which he wishes to transmit."
Thank you, Dick, for sharing this essay so many years ago...
(This essay (originally published in 1896) and the translation by Alymer Maude (first published in 1899) are in the public domain and may be freely reproduced.)