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قراءة كتاب Hopes and Fears for Art

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Hopes and Fears for Art

Hopes and Fears for Art

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دار النشر: Project Gutenberg
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general.  Indeed, those of you who are specially studying Art could learn little of me that would be useful to yourselves only.  You are already learning under competent masters—most competent, I am glad to know—by means of a system which should teach you all you need, if you have been right in making the first step of devoting yourselves to Art; I mean if you are aiming at the right thing, and in some way or another understand what Art means, which you may well do without being able to express it, and if you are resolute to follow on the path which that inborn knowledge has shown to you; if it is otherwise with you than this, no system and no teachers will help you to produce real art of any kind, be it never so humble.  Those of you who are real artists know well enough all the special advice I can give you, and in how few words it may be said—follow nature, study antiquity, make your own art, and do not steal it, grudge no expense of trouble, patience, or courage, in the striving to accomplish the hard thing you have set yourselves to do.  You have had all that said to you twenty times, I doubt not; and twenty times twenty have said it to yourselves, and now I have said it again to you, and done neither you nor me good nor harm thereby.  So true it all is, so well known, and so hard to follow.

But to me, and I hope to you, Art is a very serious thing, and cannot by any means be dissociated from the weighty matters that occupy the thoughts of men; and there are principles underlying the practice of it, on which all serious-minded men, may—nay, must—have their own thoughts.  It is on some of these that I ask your leave to speak, and to address myself, not only to those who are consciously interested in the arts, but to all those also who have considered what the progress of civilisation promises and threatens to those who shall come after us: what there is to hope and fear for the future of the arts, which were born with the birth of civilisation and will only die with its death—what on this side of things, the present time of strife and doubt and change is preparing for the better time, when the change shall have come, the strife be lulled, and the doubt cleared: this is a question, I say, which is indeed weighty, and may well interest all thinking men.

Nay, so universally important is it, that I fear lest you should think I am taking too much upon myself to speak to you on so weighty a matter, nor should I have dared to do so, if I did not feel that I am to-night only the mouthpiece of better men than myself; whose hopes and fears I share; and that being so, I am the more emboldened to speak out, if I can, my full mind on the subject, because I am in a city where, if anywhere, men are not contented to live wholly for themselves and the present, but have fully accepted the duty of keeping their eyes open to whatever new is stirring, so that they may help and be helped by any truth that there may be in it.  Nor can I forget, that, since you have done me the great honour of choosing me for the President of your Society of Arts for the past year, and of asking me to speak to you to-night, I should be doing less than my duty if I did not, according to my lights, speak out straightforwardly whatever seemed to me might be in a small degree useful to you.  Indeed, I think I am among friends, who may forgive me if I speak rashly, but scarcely if I speak falsely.

The aim of your Society and School of Arts is, as I understand it, to further those arts by education widely spread.  A very great object is that, and well worthy of the reputation of this great city; but since Birmingham has also, I rejoice to know, a great reputation for not allowing things to go about shamming life when the brains are knocked out of them, I think you should know and see clearly what it is you have undertaken to further by these institutions, and whether you really care about it, or only languidly acquiesce in it—whether, in short, you know it to the heart, and are indeed part and parcel of it, with your own will, or against it; or else have heard say that it is a good thing if any one care to meddle with it.

If you are surprised at my putting that question for your consideration, I will tell you why I do so.  There are some of us who love Art most, and I may say most faithfully, who see for certain that such love is rare nowadays.  We cannot help seeing, that besides a vast number of people, who (poor souls!) are sordid and brutal of mind and habits, and have had no chance or choice in the matter, there are many high-minded, thoughtful, and cultivated men who inwardly think the arts to be a foolish accident of civilisation—nay, worse perhaps, a nuisance, a disease, a hindrance to human progress.  Some of these, doubtless, are very busy about other sides of thought.  They are, as I should put it, so artistically engrossed by the study of science, politics, or what not, that they have necessarily narrowed their minds by their hard and praiseworthy labours.  But since such men are few, this does not account for a prevalent habit of thought that looks upon Art as at best trifling.

What is wrong, then, with us or the arts, since what was once accounted so glorious, is now deemed paltry?

The question is no light one; for, to put the matter in its clearest light, I will say that the leaders of modern thought do for the most part sincerely and single-mindedly hate and despise the arts; and you know well that as the leaders are, so must the people be; and that means that we who are met together here for the furthering of Art by wide-spread education are either deceiving ourselves and wasting our time, since we shall one day be of the same opinion as the best men among us, or else we represent a small minority that is right, as minorities sometimes are, while those upright men aforesaid, and the great mass of civilised men, have been blinded by untoward circumstances.

That we are of this mind—the minority that is right—is, I hope, the case.  I hope we know assuredly that the arts we have met together to further are necessary to the life of man, if the progress of civilisation is not to be as causeless as the turning of a wheel that makes nothing.

How, then, shall we, the minority, carry out the duty which our position thrusts upon us, of striving to grow into a majority?

If we could only explain to those thoughtful men, and the millions of whom they are the flower, what the thing is that we love, which is to us as the bread we eat, and the air we breathe, but about which they know nothing and feel nothing, save a vague instinct of repulsion, then the seed of victory might be sown.  This is hard indeed to do; yet if we ponder upon a chapter of ancient or mediæval history, it seems to me some glimmer of a chance of doing so breaks in upon us.  Take for example a century of the Byzantine Empire, weary yourselves with reading the names of the pedants, tyrants, and tax-gatherers to whom the terrible chain which long-dead Rome once forged, still gave the power of cheating people into thinking that they were necessary lords of the world.  Turn then to the lands they governed, and read and forget a long string of the causeless murders of Northern and Saracen pirates and robbers.  That is pretty much the sum of what so-called history has left us of the tale of those days—the stupid languor and the evil deeds of kings and scoundrels.  Must we turn away then, and say that all was evil?  How then did men live from day to day?  How then did Europe grow into intelligence and freedom?  It seems there were others than those of whom history (so called) has left us the names and the deeds.  These, the raw material for the treasury and the slave-market, we now call ‘the people,’ and we know that they were working all that while.  Yes, and that their work was not merely slaves’ work, the meal-trough before them and the whip behind them; for though history (so called) has forgotten them, yet their work has not been forgotten, but has made another history—the history of

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