Signs of Change [44]
all it can do lies between stark utilitarianism and idiotic sham.
Or indeed is that merely sentimental? Rather, I think, we who have learned to see the connection between industrial slavery and the degradation of the arts have learned also to hope for a future for those arts; since the day will certainly come when men will shake off the yoke, and refuse to accept the mere artificial compulsion of the gambling market to waste their lives in ceaseless and hopeless toil; and when it does come, their instincts for beauty and imagination set free along with them, will produce such art as they need; and who can say that it will not as far surpass the art of past ages as that does the poor relics of it left us by the age of commerce?
A word or two on an objection which has often been made to me when I have been talking on this subject. It may be said, and is often, You regret the art of the Middle Ages (as indeed I do), but those who produced it were not free; they were serfs, or gild-craftsmen surrounded by brazen walls of trade restrictions; they had no political rights, and were exploited by their masters, the noble caste, most grievously. Well, I quite admit that the oppression and violence of the Middle Ages had its effect on the art of those days, its shortcomings are traceable to them; they repressed art in certain directions, I do not doubt that; and for that reason I say, that when we shake off the present oppression as we shook off the old, we may expect the art of the days of real freedom to rise above that of those old violent days. But I do say that it was possible then to have social, organic, hopeful progressive art; whereas now such poor scraps of it as are left are the result of individual and wasteful struggle, are retrospective and pessimistic. And this hopeful art was possible amidst all the oppression of those days, because the instruments of that oppression were grossly obvious, and were external to the work of the craftsman. They were laws and customs obviously intended to rob him, and open violence of the highway- robbery kind. In short, industrial production was not the instrument used for robbing the "lower classes;" it is now the main instrument used in that honourable profession. The mediaeval craftsman was free in his work, therefore he made it as amusing to himself as he could; and it was his pleasure and not his pain that made all things beautiful that were made, and lavished treasures of human hope and thought on everything that man made, from a cathedral to a porridge- pot. Come, let us put it in the way least respectful to the mediaeval craftsman, most polite to the modern "hand:" the poor devil of the fourteenth century, his work was of so little value that he was allowed to waste it by the hour in pleasing himself--and others; but our highly-strung mechanic, his minutes are too rich with the burden of perpetual profit for him to be allowed to waste one of them on art; the present system will not allow him--cannot allow him--to produce works of art.
So that there has arisen this strange phenomenon, that there is now a class of ladies and gentlemen, very refined indeed, though not perhaps as well informed as is generally supposed, and of this refined class there are many who do really love beauty and incident-- i.e., art, and would make sacrifices to get it; and these are led by artists of great manual skill and high intellect, forming altogether a large body of demand for the article. And yet the supply does not come. Yes, and moreover, this great body of enthusiastic demanders are no mere poor and helpless people, ignorant fisher-peasants, half- mad monks, scatter-brained sansculottes--none of those, in short, the expression of whose needs has shaken the world so often before, and will do yet again. No, they are of the ruling classes, the masters of men, who can live without labour, and have abundant leisure to scheme out the fulfilment of their desires; and yet I say they cannot have the art which they so much long for, though they hunt it about the world so hard, sentimentalizing
Or indeed is that merely sentimental? Rather, I think, we who have learned to see the connection between industrial slavery and the degradation of the arts have learned also to hope for a future for those arts; since the day will certainly come when men will shake off the yoke, and refuse to accept the mere artificial compulsion of the gambling market to waste their lives in ceaseless and hopeless toil; and when it does come, their instincts for beauty and imagination set free along with them, will produce such art as they need; and who can say that it will not as far surpass the art of past ages as that does the poor relics of it left us by the age of commerce?
A word or two on an objection which has often been made to me when I have been talking on this subject. It may be said, and is often, You regret the art of the Middle Ages (as indeed I do), but those who produced it were not free; they were serfs, or gild-craftsmen surrounded by brazen walls of trade restrictions; they had no political rights, and were exploited by their masters, the noble caste, most grievously. Well, I quite admit that the oppression and violence of the Middle Ages had its effect on the art of those days, its shortcomings are traceable to them; they repressed art in certain directions, I do not doubt that; and for that reason I say, that when we shake off the present oppression as we shook off the old, we may expect the art of the days of real freedom to rise above that of those old violent days. But I do say that it was possible then to have social, organic, hopeful progressive art; whereas now such poor scraps of it as are left are the result of individual and wasteful struggle, are retrospective and pessimistic. And this hopeful art was possible amidst all the oppression of those days, because the instruments of that oppression were grossly obvious, and were external to the work of the craftsman. They were laws and customs obviously intended to rob him, and open violence of the highway- robbery kind. In short, industrial production was not the instrument used for robbing the "lower classes;" it is now the main instrument used in that honourable profession. The mediaeval craftsman was free in his work, therefore he made it as amusing to himself as he could; and it was his pleasure and not his pain that made all things beautiful that were made, and lavished treasures of human hope and thought on everything that man made, from a cathedral to a porridge- pot. Come, let us put it in the way least respectful to the mediaeval craftsman, most polite to the modern "hand:" the poor devil of the fourteenth century, his work was of so little value that he was allowed to waste it by the hour in pleasing himself--and others; but our highly-strung mechanic, his minutes are too rich with the burden of perpetual profit for him to be allowed to waste one of them on art; the present system will not allow him--cannot allow him--to produce works of art.
So that there has arisen this strange phenomenon, that there is now a class of ladies and gentlemen, very refined indeed, though not perhaps as well informed as is generally supposed, and of this refined class there are many who do really love beauty and incident-- i.e., art, and would make sacrifices to get it; and these are led by artists of great manual skill and high intellect, forming altogether a large body of demand for the article. And yet the supply does not come. Yes, and moreover, this great body of enthusiastic demanders are no mere poor and helpless people, ignorant fisher-peasants, half- mad monks, scatter-brained sansculottes--none of those, in short, the expression of whose needs has shaken the world so often before, and will do yet again. No, they are of the ruling classes, the masters of men, who can live without labour, and have abundant leisure to scheme out the fulfilment of their desires; and yet I say they cannot have the art which they so much long for, though they hunt it about the world so hard, sentimentalizing