Exclusion of the practical

from the æsthetic.

and that activity developed, which it afterwards takes as its object.

These distinctions established, we must condemn as erroneous every theory which confuses æsthetic with practical activity, or introduces the laws of the second into the first. That science is theory and art practice has been many times affirmed. Those who make this statement, and look upon the æsthetic fact as a practical fact, do not do so capriciously or because they are groping in the void; but because they have their eye on something which is really practical. But the practical which they are looking at is not Esthetic, nor within Esthetic; it is outside and beside it; and although they are often found united, they are not necessarily united, that is to say, by the bond of identity of nature.

The aesthetic fact is altogether completed in the expressive elaboration of the impressions. When we have conquered the word within us, conceived definitely and vividly a figure or a statue, or found a musical motive, expression is born and is complete; there is no need for anything else. If after this we should open our mouths and will to open them, to speak, or our throats to sing, and declare in a loud voice

and with extended throat what we have completely said or sung to ourselves; or if we should stretch out and will to stretch out our hands to touch the notes of the piano, or to take up the brushes and the chisel, making thus in detail those movements which we have already done rapidly, and doing so in such a way as to leave more or less durable traces; this is all an addition, a fact which obeys quite different laws to the first, and with these laws we have not to occupy ourselves for the moment. Let us, however, here recognize that this second movement is a production of things, a practical fact, or a fact of will. It is customary to distinguish the internal from the external work of art the terminology seems here to be infelicitous, for the work of art (the aesthetic work) is always internal; and that which is called external is no longer a work of art. Others distinguish between asthetic fact and artistic fact, meaning by the second the external or practical stage, which may and generally does follow the first. But in this case, it is simply a case of linguistic usage, doubtless permissible, although perhaps not opportune.

For the same reasons the search for the end of art is ridiculous, when it is understood

Critique of the of art as art. And since to fix an end is theory of the

of the choice of the content.

end of art and to choose, the theory that the content of art must be selected is another form of the same error. A selection from among impressions and sensations implies that these are already expressions, otherwise, how can a selection be made among what is continuous and indistinct? To choose is to will: to will this and not to will that and this and that must be before us, they must be expressed. Practice follows, it does not precede theory; expression is free inspiration.

Practical innocence of

art.

The true artist, in fact, finds himself big with his theme, he knows not how; he feels the moment of birth drawing near, but he cannot will it or not will it. If he were to wish to act in opposition to his inspiration, to make an arbitrary choice, if, born Anacreon, he were to wish to sing of Atreus and of Alcides, his lyre would warn him of his mistake, echoing only of Venus and of Love, notwithstanding his efforts to the contrary.

The theme or content cannot, therefore, be practically or morally charged with epithets of praise or of blame. When critics of art remark that a theme is badly selected, in cases where that observation has a just foundation, it is a question of blaming, not the selection of the theme (which

would be absurd), but the manner in which the artist has treated it. The expression has failed, owing to the contradictions which it contains. And when the same critics rebel against the theme or the content as being unworthy of art and blameworthy, in respect to works which they proclaim to be artistically perfect; if these expressions really are perfect, there is nothing to be done but to advise the critics to leave the artists in peace, for they cannot get inspiration, save from what has made an impression upon them. The critics should think rather of how they can effect changes in nature and in society, in order that those impressions may not exist. If ugliness were to vanish from the world, if universal virtue and felicity were established there, perhaps artists would no longer represent perverse or pessimistic sentiments, but sentiments that are calm, innocent, and joyous, like Arcadians of a real Arcady. But so long as ugliness and turpitude exist in nature and impose themselves on the artist, it is not possible to prevent the expression of these things also; and when it has arisen, factum infectum fieri nequit. We speak thus entirely from the æsthetic point of view, and from that of pure æsthetic criticism.

We do not delay to pass here in review the

The independ ence of art.

damage which the criticism of choice does to artistic production, with the prejudices which it produces or maintains among the artists themselves, and with the contrast which it occasions between artistic impulse and critical exigencies. It is true that sometimes it seems to do some good also, by assisting the artists to discover themselves, that is, their own impressions and their own inspiration, and to acquire consciousness of the task which is, as it were, imposed upon them by the historical moment in which they live, and by their individual temperament. In these cases, criticism of choice merely recognizes and aids the expressions which are already being formed. It believes itself to be the mother, where, at most, it is only the midwife.

The impossibility of choice of content completes the theorem of the independence of art, and is also the only legitimate meaning of the expression art for art's sake. Art is thus independent of science, as it is of the useful and the moral. Let it not be feared that thus may be justified art that is frivolous or cold, since that which is truly frivolous or cold is so because it has not been raised to expression; or in other words, frivolity and frigidity come always from the form of the aesthetic elaboration, from the