On the Significance of Science and Art by Leo Nikoleyevich Tolstoy (the reading list .TXT) 📕

The same is the case with the activity of the teachers of science,—

pedagogical teachers. Exactly in the same manner science has so arranged this matter, that only wealthy people are able to study science, and teachers, like technologists and physicians, cling to money.

And this cannot be otherwise, because a school built on a model plan (as a general rule, the more scientifically built the school, the more costly it is), with pivot chains, and globes, and maps, and library, and petty text-books for teachers and scholars and pedagogues, is a sort of thing for which it would be necessary to double the taxes in every village. This science demands. The people need money for their work; and the more there is needed, the poorer they are.

Defenders of science say: “Pedagogy is even now proving of advantage to the people, but give it a chance to develop, and then it will do still better.” Yes, if it does develop, and instead of twenty schools in a district there are a hundred, and all scientific, and if the people support these schools, they will grow poorer than ever, and they will more than ever need work for their children’s sake. “What is to be done?” they say to this. The government will build the schools, and will make education obligatory, as it is in Europe; but again, surely, the money is taken from the people just the same, and it will be harder to work, and they will have less leisure for work, and there will be no education even by compulsion. Again the sole salvation is this: that the teacher should live under the conditions of the working-men, and should teach for that compensation which they give him freely and voluntarily.

Such is the false course of science, which deprives it of the power of fulfilling its obligation, which is, to serve the people.

But in nothing is this false course of science so obviously apparent, as in the vocation of art, which, from its very significance, ought to be accessible to the people. Science may fall back on its stupid excuse, that science acts for science, and that when it turns out learned men it is laboring for the people; but art, if it is art, should be accessible to all the people, and in particular to those in whose name it is executed. And our definition of art, in a striking manner, convicts those who busy themselves with art, of their lack of desire, lack of knowledge, and lack of power, to be useful to the people.

The painter, for the production of his great works, must have a studio of at least such dimensions that a whole association of carpenters (forty in number) or shoemakers, now sickening or stifling in lairs, would be able to work in it. But this is not all; he must have a model, costumes, travels. Millions are expended on the encouragement of art, and the products of this art are both incomprehensible and useless to the people. Musicians, in order to express their grand ideas, must assemble two hundred men in white neckties, or in costumes, and spend hundreds of thousands of rubles for the equipment of an opera. And the products of this art cannot evoke from the people—even if the latter could at any time enjoy it—any thing except amazement and ennui.

Writers—authors—it appears, do not require surroundings, studios, models, orchestras, and actors; but it then appears that the author needs (not to mention comfort in his quarters) all the dainties of life for the preparation of his great works, travels, palaces, cabinets, libraries, the pleasures of art, visits to theatres, concerts, the baths, and so on. If he does not earn a fortune for himself, he is granted a pension, in order that he may compose the better. And again, these compositions, so prized by us, remain useless lumber for the people, and utterly unserviceable to them.

And if still more of these dealers in spiritual nourishment are developed further, as men of science desire, and a studio is erected in every village; if an orchestra is set up, and authors are supported in those conditions which artistic people regard as indispensable for themselves,—I imagine that the working-classes will sooner take an oath never to look at any pictures, never to listen to a symphony, never to read poetry or novels, than to feed all these persons.

And why, apparently, should art not be of service to the people? In every cottage there are images and pictures; every peasant man and woman sings; many own harmonicas; and all recite stories and verses, and many read. It is as if those two things which are made for each other—the lock and the key—had parted company; they have sprung so far apart, that not even the possibility of uniting them presents itself. Tell the artist that he should paint without a studio, model, or costumes, and that he should paint five-kopek pictures, and he will say that that is tantamount to abandoning his art, as he understands it. Tell the musician that he should play on the harmonica, and teach the women to sing songs; say to the poet, to the author, that he ought to cast aside his poems and romances, and compose song-books, tales, and stories, comprehensible to the uneducated people,—they will say that you are mad.

The service of the people by science and art will only be performed when people, dwelling in the midst of the common folk, and, like the common folk, putting forward no demands, claiming no rights, shall offer to the common folk their scientific and artistic services; the acceptance or rejection of which shall depend wholly on the will of the common folk.

It is said that the activity of science and art has aided in the forward march of mankind,—meaning by this activity, that which is now called by that name; which is the same as saying that an unskilled banging of oars on a vessel that is floating with the tide, which merely hinders the progress of the vessel, is assisting the movement of the ship. It only retards it. The so-called division of labor, which has become in our day the condition of activity of men of science and art, was, and has remained, the chief cause of the tardy forward movement of mankind.

The proofs of this lie in that confession of all men of science, that the gains of science and art are inaccessible to the laboring masses, in consequence of the faulty distribution of riches. The irregularity of this distribution does not decrease in proportion to the progress of science and art, but only increases. Men of art and science assume an air of deep pity for this unfortunate circumstance which does not depend upon them. But this unfortunate circumstance is produced by themselves; for this irregular distribution of wealth flows solely from the theory of the division of labor.

Science maintains the division of labor as a unalterable law; it sees that the distribution of wealth, founded on the division of labor, is wrong and ruinous; and it affirms that its activity, which recognizes the division of labor, will lead people to bliss. The result is, that some people make use of the labor of others; but that, if they shall make use of the labor of others for a very long period of time, and in still larger measure, then this wrongful distribution of wealth, i.e., the use of the labor of others, will come to an end.

Men stand beside a constantly swelling spring of water, and are occupied with the problem of diverting it to one side, away from the thirsty people, and they assert that they are producing this water, and that soon enough will be collected for all. But this water which has flowed, and which still flows unceasingly, and nourishes all mankind, not only is not the result of the activity of the men who, standing at its source, turn it aside, but this water flows and gushes out, in spite of the efforts of these men to obstruct its flow.

There have always existed a true science, and a true art; but true science and art are not such because they called themselves by that name. It always seems to those who claim at any given period to be the representatives of science and art, that they have performed, and are performing, and—most of all—that they will presently perform, the most amazing marvels, and that beside them there never has been and there is not any science or any art. Thus it seemed to the sophists, the scholastics, the alchemists, the cabalists, the talmudists; and thus it seems to our own scientific science, and to our art for the sake of art.

CHAPTER V.

“But art,—science! You repudiate art and science; that is, you repudiate that by which mankind lives!” People are constantly making this—it is not a reply—to me, and they employ this mode of reception in order to reject my deductions without examining into them. “He repudiates science and art, he wants to send people back again into a savage state; so what is the use of listening to him and of talking to him?” But this is unjust. I not only do not repudiate art and science, but, in the name of that which is true art and true science, I say that which I do say; merely in order that mankind may emerge from that savage state into which it will speedily fall, thanks to the erroneous teaching of our time,—only for this purpose do I say that which I say.

Art and science are as indispensable as food and drink and clothing,—more indispensable even; but they become so, not because we decide that what we designate as art and science are indispensable, but simply because they really are indispensable to people.

Surely, if hay is prepared for the bodily nourishment of men, the fact that we are convinced that hay is the proper food for man will not make hay the food of man. Surely I cannot say, “Why do not you eat hay, when it is the indispensable food?” Food is indispensable, but it may happen that that which I offer is not food at all. This same thing has occurred with our art and science. It seems to us, that if we add to a Greek word the word “logy,” and call that a science, it will be a science; and, if we call any abominable thing-

-like the dancing of nude females—by a Greek word, choreography, that that is art, and that it will be art. But no matter how much we may say this, the business with which we occupy ourselves when we count beetles, and investigate the chemical constituents of the stars in the Milky Way, when we paint nymphs and compose novels and symphonies,—our business will not become either art or science until such time as it is accepted by those people for whom it is wrought.

If it were decided that only certain people should produce food, and if all the rest were forbidden to do this, or if they were rendered incapable of producing food, I suppose that the quality of food would be lowered. If the people who enjoyed the monopoly of producing food were Russian peasants, there would be no other food than black bread and cabbage-soup, and so on, and kvas,—nothing except what they like, and what is agreeable to them. The same