tolstoy’s aesthetics

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Tolstoy’s Tolstoy’s AestheticsAesthetics

““The business of art The business of art consists precisely in consists precisely in

making making understandable and understandable and

accessible that accessible that which might be which might be

incomprehensible incomprehensible and inaccessible in and inaccessible in the form of reason” the form of reason”

[10:81].[10:81].Lev Nikolaevich Tolstoy, 1828-1910

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Overview of Tolstoy’s Aesthetics:Overview of Tolstoy’s Aesthetics:

A.A. What is Art?What is Art?

B.B. Aesthetic Experience.Aesthetic Experience.

C.C. Aesthetic Value.Aesthetic Value.

D.D. Aesthetic Judgment.Aesthetic Judgment.

E.E. What is True and Great Art.What is True and Great Art.

F.F. Questions for Reflection.Questions for Reflection.

G.G. Bibliography.Bibliography.

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His work, His work, What is Art?What is Art? developed over 15 years. It developed over 15 years. It was published in 1897.was published in 1897.

His thoughts on art is very His thoughts on art is very thoughtful, critical, and at thoughtful, critical, and at times both novel and times both novel and paradoxical.paradoxical.

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A. What is Art? A. What is Art?

In chapter 5 of In chapter 5 of What is Art?What is Art? Tolstoy writes: Tolstoy writes:

““To call up in oneself a feeling once experienced and, To call up in oneself a feeling once experienced and, having, called it up in oneself, to transmit it by means of having, called it up in oneself, to transmit it by means of movements, lines, colors, sounds, images expressed in movements, lines, colors, sounds, images expressed in words, so that others experience the same feeling-in this words, so that others experience the same feeling-in this consists the activity of art. Art is that human activity consists the activity of art. Art is that human activity which consists in one’s person consciously transmitting which consists in one’s person consciously transmitting to others, by certain external signs, the feelings he has to others, by certain external signs, the feelings he has experienced, and in others being infected by those experienced, and in others being infected by those feelings and experiencing them [5:39-40].” feelings and experiencing them [5:39-40].”

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B. Aesthetic ExperienceB. Aesthetic Experience

Tolstoy contends that aesthetic experience is the Tolstoy contends that aesthetic experience is the experiential union between the artist and the experiential union between the artist and the recipient; it is a common bond of feeling.recipient; it is a common bond of feeling.

When in this state, the recipient feels as if the When in this state, the recipient feels as if the work is one’s own and that what it expresses is work is one’s own and that what it expresses is what one longs to express; it is a replication of what one longs to express; it is a replication of emotion.emotion.

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B. Aesthetic ExperienceB. Aesthetic Experience

This “quality of infectiousness” is what distinguishes true This “quality of infectiousness” is what distinguishes true art from its counterfeit.art from its counterfeit.

This sharing is almost “involuntary, like radiation or an This sharing is almost “involuntary, like radiation or an “electrical spark” [16:131].“electrical spark” [16:131].

The stronger the “infection” (the replication of emotion), The stronger the “infection” (the replication of emotion), the more successful the art work is.the more successful the art work is.

““For its instantaneous effects on the receiving end, then, For its instantaneous effects on the receiving end, then, every successful work of art must be painstakingly fine-every successful work of art must be painstakingly fine-tuned, bit by bit. Infection is a craft.” Emerson, tuned, bit by bit. Infection is a craft.” Emerson, “Tolstoy’s Aesthetics,” 239.“Tolstoy’s Aesthetics,” 239.

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Art begins with a personal experience

so strong that we FEEL the need to confirm it, call it up, and fix it “IN

SIGNS.”

This existential need creates the

material grounds for sharing the

experience with another person

“A Sign” or “Filament”

1st Psychological Event

Notes:

The desire to share is “almost

involuntary”; you can’t help

it. Even though it begins with an “electrical

spark” the “sign created” is “consciously

structured.”

2nd Psychological Event

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Aesthetic Experience occurs when there is a common bond of feeling. The stronger the infection, the more successful

the art work is.

“A Sign”

The Replication of Emotion

3rd Psychological Event

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Does the unity between people brought about by the Does the unity between people brought about by the spark of infection result in loss of identity?spark of infection result in loss of identity?

Caryl Emerson notes:Caryl Emerson notes:

““The unity between people brought about by the The unity between people brought about by the spark of infection does not result in our spark of infection does not result in our amalgamation, loss of identity, or even necessarily in amalgamation, loss of identity, or even necessarily in our casual agreement; such unity is measured, above our casual agreement; such unity is measured, above all, by an increase in mutual tolerance and love. Art all, by an increase in mutual tolerance and love. Art destroys separation-but emphasizes individuality. destroys separation-but emphasizes individuality. What is more, infection by art is not some irreversible What is more, infection by art is not some irreversible chemical fusion that takes place between two bodies chemical fusion that takes place between two bodies once and for all. People are unified (and love is once and for all. People are unified (and love is released) in exceptional moments” [pg. 245].released) in exceptional moments” [pg. 245].

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Does the unity between people brought about by the Does the unity between people brought about by the spark of infection result in loss of identity?spark of infection result in loss of identity?

Caryl Emerson continues:Caryl Emerson continues:

““Although our organisms must be susceptible and Although our organisms must be susceptible and receptive in a general way, of course, as with any receptive in a general way, of course, as with any infection we are not susceptible in the same away infection we are not susceptible in the same away each time, nor for the same length of time. ‘Since each time, nor for the same length of time. ‘Since each person is unlike all others,’ Tolstoy writes, ‘one each person is unlike all others,’ Tolstoy writes, ‘one person’s feeling will be [felt as] particular for every person’s feeling will be [felt as] particular for every other person, and the more particular the feeling is-other person, and the more particular the feeling is-the more deeply the artist has dipped into his own the more deeply the artist has dipped into his own nature-the more heartfelt and sincere it will be” nature-the more heartfelt and sincere it will be” (15:122) [pg. 245].(15:122) [pg. 245].

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C. Aesthetic Value: 3 Conditions:C. Aesthetic Value: 3 Conditions:

The extent of the infectiousness of the artwork The extent of the infectiousness of the artwork reveals the extent of value:reveals the extent of value:

1.1. Primary value “caught” by recipient is Primary value “caught” by recipient is sincerity. sincerity.

2.2. The degree of individuality of the feeling The degree of individuality of the feeling transmitted.transmitted.

3.3. The beauty (i.e., clarity) of expression. The beauty (i.e., clarity) of expression.

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11stst and Primary value is sincerity. It is a and Primary value is sincerity. It is a sincerity that is “caught” by recipient is sincerity that is “caught” by recipient is sincerity. sincerity.

This value contradicts modern art’s emphasis on This value contradicts modern art’s emphasis on ““art for art sake onlyart for art sake only.”.”

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22ndnd Condition: The degree of individuality of the Condition: The degree of individuality of the feeling transmitted:feeling transmitted:

This value makes it improbable that exactly the This value makes it improbable that exactly the same effects could be produced in some other same effects could be produced in some other way-something that instrumentalist theories are way-something that instrumentalist theories are often accused of making possible.often accused of making possible.

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C. Aesthetic Value: 3. Conditions:C. Aesthetic Value: 3. Conditions:

33rdrd Condition: Condition:

The beauty (i.e., clarity) of expression. How does the The beauty (i.e., clarity) of expression. How does the internal organization assist to this end? Tolstoy does internal organization assist to this end? Tolstoy does not say.not say.

Remember, Tolstoy argues that ideas and feelings Remember, Tolstoy argues that ideas and feelings are separable, if not in their substance then at least in are separable, if not in their substance then at least in the treatment a person accords them-for ideas can be the treatment a person accords them-for ideas can be disputed and manipulated. In contrast, by the time we disputed and manipulated. In contrast, by the time we register a feeling, it has already occurred.register a feeling, it has already occurred.

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D. 4-Fold Aesthetic Judgment:D. 4-Fold Aesthetic Judgment:

True Counterfeit

Good

Counterfeit

Bad

True/Counterfeit Axis: Standard of success is simply communicative; if it is true it infects. The true artist is a conduit and enabler.

Good/Bad Axis: Religious, reflecting an ethical ideal endorsed by a certain people in a given historical time or place, or universal, accessible at all times to everyone in all cultures, without exception [16:131-32]. There are no institutional associations.

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Aesthetic Judgment:Aesthetic Judgment:

True Counterfeit

1. The standard of success is simply communicative; if it is true, it infects (replicates).

1st device: Mimesis or borrowing when they do not have emotional experiences of their own. To copy prior works in a passive mechanical way is always bad.

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““The Russian word ‘The Russian word ‘iskrennostiskrennost’ (sincerity), ’ (sincerity), Tolstoy’s central requirement for authentic art, Tolstoy’s central requirement for authentic art, is built off of is built off of iskraiskra, ‘a spark’: That which , ‘a spark’: That which flashes momentarily and either catches fire or flashes momentarily and either catches fire or dies. The artistic effect either takes, or fails to dies. The artistic effect either takes, or fails to take.” take.”

““Tolstoy’s Aesthetics,” 244.Tolstoy’s Aesthetics,” 244.

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True Counterfeit

2. The replication of emotion in the recipient must be immediate & unmediated.

2nd device: To describe in photographic art without concern for their spiritual or transfiguring experience is also a counterfeit (e.g., realistic art).

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True Counterfeit

3. The result of true art is to make us experience an event of life more deeply, without having to analyze it or struggle with it.

3rd device: Do not convey feelings but strive for a certain effect (e.g., horror stories, erotica) “crisis ethics” (i.e., focus on murder, crime which dull the cultivation of the practical virtues of everyday living and downplay what is more valuable.

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True Counterfeit

Summary (3-fold):

The standard of success is simply communicative; if it is true, it infects:

The replication of emotion in the recipient must be immediate & unmediated.

Its happy result is to make us experience an event of life more deeply, without having to analyze it or struggle with it.

4th Device: No ideas should be in art for ratiocination interferes with infection for three reasons:

a. Mental effort has to be applied to determine “message” this diminishes infection or replication of emotion.

b. We have to guess about the meaning of an artwork; this divides rather than unites the audience;

c. Those educated fosters discrimination for those who don’t have a discerning learning ability/background.

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Consider the following:Consider the following:

““The business of art,” Tolstoy insists, “consists The business of art,” Tolstoy insists, “consists precisely in making understandable and precisely in making understandable and accessible that which might be accessible that which might be incomprehensible and inaccessible in the form of incomprehensible and inaccessible in the form of reasoning” (10:81).reasoning” (10:81).

““The stronger the infection, the better the art is The stronger the infection, the better the art is as art, regardless of its content-that is, as art, regardless of its content-that is, independently of the worth of the feelings it independently of the worth of the feelings it conveys” (15:121).conveys” (15:121).

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Consider the following:Consider the following:


““True/counterfeit and good/bad: these two axes of True/counterfeit and good/bad: these two axes of judgment must be applied to every human product that judgment must be applied to every human product that claims to be art. Tolstoy was aware of the difficulties claims to be art. Tolstoy was aware of the difficulties involved in making aesthetic discriminations, especially involved in making aesthetic discriminations, especially for social classes whose tastes had been perverted. for social classes whose tastes had been perverted. ‘false works’ can superficially appear to be better ‘false works’ can superficially appear to be better constructed, more interesting and worthy than true ones constructed, more interesting and worthy than true ones [14:114]… While authentic (that is, contagious) bad art [14:114]… While authentic (that is, contagious) bad art will always be around and inevitably will infect us, we will always be around and inevitably will infect us, we should strive wherever possible to create conditions for should strive wherever possible to create conditions for the right sorts of infection to occur.the right sorts of infection to occur.

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E. What is Great and True Art?E. What is Great and True Art?

1.1. Great and true art must “not stumble. It may of Great and true art must “not stumble. It may of course show signs of conflict, grief, course show signs of conflict, grief, disappointment, failure, but it must not endorse disappointment, failure, but it must not endorse a radical multi-directionality-that is, it cannot a radical multi-directionality-that is, it cannot posit as its endpoint an evil or impossible posit as its endpoint an evil or impossible paradox (that would be ‘getting nowhere’), no paradox (that would be ‘getting nowhere’), no matter how swift, interesting, or well-crafted matter how swift, interesting, or well-crafted the journey.”the journey.”

Caryl Emerson states in his Cambridge Caryl Emerson states in his Cambridge Companion article on “Tolstoy’s Aesthetics,” Companion article on “Tolstoy’s Aesthetics,” 238.238.

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Emerson observes:Emerson observes:

““If a work of art portrays struggle, it must show If a work of art portrays struggle, it must show us a way out. The responsibility of art to ‘get us a way out. The responsibility of art to ‘get us there,’ and where in fact that final place is, us there,’ and where in fact that final place is, are among the most ancient concerns of moral are among the most ancient concerns of moral philosophy. Tolstoy belongs with those philosophy. Tolstoy belongs with those philosophers who do not believe that art can philosophers who do not believe that art can be explained by a poetics.”be explained by a poetics.”

Caryl Emerson, “Tolstoy’s Aesthetics,” 238.Caryl Emerson, “Tolstoy’s Aesthetics,” 238.

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Emerson observes: Emerson observes:

It is rather, an indispensable part of organic life, in It is rather, an indispensable part of organic life, in Tolstoy’s literal understanding of that phrase: it has Tolstoy’s literal understanding of that phrase: it has life-bearing functions, whose proper metabolic activity life-bearing functions, whose proper metabolic activity is essential to the health of each individual organism is essential to the health of each individual organism and to the health of the social body as a whole. Art, and to the health of the social body as a whole. Art, Tolstoy writes, is the ‘spiritual organ of human life, and Tolstoy writes, is the ‘spiritual organ of human life, and it cannot be destroyed.’”it cannot be destroyed.’”

Caryl Emerson, “Tolstoy’s Aesthetics,” 238.Caryl Emerson, “Tolstoy’s Aesthetics,” 238.

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2.2. Great and true art are those pieces that Great and true art are those pieces that express/conforms with the highest religious express/conforms with the highest religious perceptions of our age: the Christian ideal of perceptions of our age: the Christian ideal of the union and brotherhood of man as opposed the union and brotherhood of man as opposed to art which is socially divisive or elitist fails in to art which is socially divisive or elitist fails in its true function and so is counterfeit/bad art.its true function and so is counterfeit/bad art.

Art that promotes hedonism does not survive Art that promotes hedonism does not survive this test.this test.

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3.3. Art is justified on moral grounds because moral Art is justified on moral grounds because moral values have supremacy over all others (this is values have supremacy over all others (this is his starting point). In fact, Tolstoy rejects art his starting point). In fact, Tolstoy rejects art that it self-justifying or that its value is in any that it self-justifying or that its value is in any way self-evident. For Tolstoy, beauty has no way self-evident. For Tolstoy, beauty has no objective worth and should never displace the objective worth and should never displace the demands of morality-for morality has a demands of morality-for morality has a universal, common standard whereas beauty universal, common standard whereas beauty does not. Therefore, art that infects in a does not. Therefore, art that infects in a morally correct direction is good art. morally correct direction is good art.

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F. Questions for Reflection:F. Questions for Reflection:

Should a theory of art presuppose a moral Should a theory of art presuppose a moral starting point and ultimate end or goal?starting point and ultimate end or goal?

If aesthetic experience is the experience of the If aesthetic experience is the experience of the recipient and artist being united through the art recipient and artist being united through the art piece, then how does one evaluate the quality of piece, then how does one evaluate the quality of infectiousness (which distinguishes true art from infectiousness (which distinguishes true art from its counterfeit)? What does it mean to say the its counterfeit)? What does it mean to say the “stronger the infection, the better the art, as art?” “stronger the infection, the better the art, as art?” How do we know this is right? How do we know this is right?

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F. Questions for Reflection:F. Questions for Reflection:

– Can mere replication of an emotion give rise to Can mere replication of an emotion give rise to enough of those rich, differentiated relations and enough of those rich, differentiated relations and alternative worlds that are among art’s most precious alternative worlds that are among art’s most precious contributions to life?contributions to life?

– What does it mean to transmit a feeling to another What does it mean to transmit a feeling to another person, with intent to infect? Feelings, after all, arise person, with intent to infect? Feelings, after all, arise from private inner experience?from private inner experience?

– Can emotions be confidently separated from Can emotions be confidently separated from thoughts? Certainly great works of art are an thoughts? Certainly great works of art are an inspiring mix of both ideas and feelings?inspiring mix of both ideas and feelings?

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G. Bibliography:G. Bibliography:

A Cambridge Companion to TolstoyA Cambridge Companion to Tolstoy, Edited by Donna , Edited by Donna Tussing Orwin (Cambridge University Press, 2002).Tussing Orwin (Cambridge University Press, 2002).

A Companion to Aesthetics: Blackwell Companions to A Companion to Aesthetics: Blackwell Companions to PhilosophyPhilosophy, edited by David Cooper (Malden, MA.: Blackwell, , edited by David Cooper (Malden, MA.: Blackwell, 1992, 1995), 429-30.1992, 1995), 429-30.

Leo Tolstoy, Leo Tolstoy, What is Art?,What is Art?, trans. Richard Pevear and Larissa trans. Richard Pevear and Larissa Volokhonsky (New York: Penguin Books, 1995).Volokhonsky (New York: Penguin Books, 1995).

What is Art? and Essays on ArtWhat is Art? and Essays on Art, trans. Aylmer Maude , trans. Aylmer Maude (Oxford: Oxford University Press, 1930).(Oxford: Oxford University Press, 1930).

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