“Fountains of Joy” by Albert Jay Nock (The Freeman, March 21, 1923)
Current discussions of the philosophy of art remind us that,
according to Goethe, a little common sense will sometimes do duty
for a great deal of philosophy, but no amount of philosophy will
make up for a failure in common sense. It is usually the case
that as analysis becomes closer and philosophizing becomes more
profound, there is a tendency to obscure certain broad general
fundamentals which to the eye of common sense are always apparent; and thus very often the complete truth of the matter is
imperfectly apprehended. A great deal of what we read about
the arts seems in some such fashion as this to get clear away
from the notion that the final purpose of the arts is to give joy;
yet common sense, proceeding in its simple, unmethodical manner,
would say at once that this is their final purpose, and that one
who did not keep it in mind as such, could hardly hope to arrive
at the truth about any of the arts. Matthew Arnold once said
most admirably that no one could get at the actual truth about
the Bible, who did not enjoy the Bible; and that one who had all
sorts of fantastic notions about the origin and composition of the
Bible, but who knew how to enjoy the Bible deeply, was nearer
the truth about the Bible than one who could pick it all to pieces,
but could not enjoy it. Common sense, we believe, would hold
this to be true of any work of art.
When Hesiod defined the function of poetry as that of giving
“a release from sorrows and a truce from cares,” he intimated the
final purpose of all great art as that of elevating and sustaining
the human spirit through the communication of joy, of felicity;
that is to say, of the most simple, powerful and highly refined
emotion that the human spirit is capable of experiencing. This,
no doubt, does not exhaust its beneficence; no doubt it works for
good in other ways as well; but this is its great and final purpose.
It is not to give entertainment or diversion or pleasure, not even
to give happiness, but to give joy; and through this distinction,
common sense comes immediately upon a test of good and valid
art, not infallible, perhaps, but nevertheless quite competent. It
is, in fact, the test that the common sense of mankind always does
apply, consciously or unconsciously, to determine the quality of
good art. Great critics, too, from Aristotle down, have placed
large dependence on it. One wonders, therefore, whether more
might not advantageously be made of it in the critical writing of
the present time.
A work of art – a poem or novel, a picture, a piece of music –
may affect the average cultivated spirit with interest, with curiosity, with pleasure; it may yield diversion, entertainment or even
solace, not in the sense of edification or tending to build up a
permanent resource against sorrows and cares, but in the sense
that its pleasurable occupation of the mind excludes sorrow and
care for the time being, somewhat as physical exercise or a game
of chess or billiards may do. But all this is not a mark of good
art. Good art affects one with an emotion of a different quality;
and this quality may be rather easily identified, provided one does
not make a great point of proceeding with the stringency of a
philosopher in trying to define it. Joubert said that it is not hard
to know God, if one will only not trouble oneself about defining
him; and this is true as well of the profound and obscure affections of the human spirit – they are much better made known
in the experience of the devout than in the analysis of the philosopher. A critic, indeed, might content himself at the outset
by laying down some examples of classic art, and saying that the
emotion he wishes to identify, the emotion of joy, is simply what
is produced upon the average cultivated spirit by those; and that
the difference in quality between this emotion and the emotion
produced by another work of art, is a fair index or registration of
the difference in quality of art between the two objects or examples. We have space but for one illustration, so for convenience we shall take it from the realm of poetry. Let us take two
examples, both dealing with the valid and excellent poetic theme
of the shortness of human life and the transitory character of
its interests. First, this one:
How nothing must we seem unto this ancient thing!
How nothing unto the earth – and we so small!
O, wake, wake! do you not feel my hands cling?
One day it will be raining as it rains to-night; the same wind blow,
Raining and blowing on this house wherein we lie, but you and I,
We shall not hear, we shall not ever know.
Is the emotion wherewith this verse affects the average cultivated spirit, of the same order, the same quality, as the emotion produced by this –
The cloud-cap’d towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve
And, like an insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.
– or is the difference merely one of degree? Well, then this
difference may be used at the outset by criticism, as the common
sense of mankind does continually use it, as an index of the poetic
quality of the two examples; and criticism can go safely on in
assuming that to whatever degree a work of art succeeds in
arousing just that emotion, so far can it justify its candidacy for
a place as valid art.
We do not put forward this test as one to be used mechanically,
nor have we any exaggerated notion of its importance. There
are some very welcome signs that criticism, after long running
derelict in fantastic extravagance, is beginning to come to its
sober senses. Well, then, here, in this test that we speak of, is
an implement of criticism that great critics have found extremely
useful, but which has of late fallen into disuse – why not bring
it out and use it again, not fanatically, but with judgment and
discretion? It is primarily an implement for the critic to use
upon himself in shaping the course of his criticism; the layman, as we said, has had the more or less conscious use of it
all the time. When confronted with the claims of this or that
work of art, the critic will be greatly helped to get his bearings
if for the moment he puts all other considerations aside, and
asks himself with what order or quality of emotion, precisely,
does this work of art affect him. Is it with a pleasurable emotion due to interest, curiosity, entertainment, diversion, or is it
the emotion of felicity, of joy? No matter about the degree, but
is it or is it not, in any measure, small or great, the kind of thing
that he gets out of “The cloud-cap’d towers, the gorgeous palaces”?
We do not say that this test will ensure his judgment; all we
say is that it will greatly assist it.