the unseen world and other essays-第63章
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nce elevated and popular； that it manifests that which is often most recondite； and that it manifests it to all。
Having determined what a work of art is； our author goes on to study the social conditions under which works of art are produced； and he concludes that the general character of a work of art is determined by the state of intellect and morals in the society in which it is executed。 There is； in fact； a sort of moral temperature which acts upon mental development much as physical temperature acts upon organic development。 The condition of society does not produce the artist's talent； but it assists or checks its efforts to display itself； it decides whether or not it shall be successful And it exerts a 〃natural selection〃 between different kinds of talents； stimulating some and starving others。 To make this perfectly clear； we will cite at some length Taine's brilliant illustration。
The case chosen for illustration is a very simple one；that of a state of society in which one of the predominant feelings is melancholy。 This is not an arbitrary supposition； for such a time has occurred more than once in human history； in Asia； in the sixth century before Christ； and especially in Europe； from the fourth to the tenth centuries of our era。 To produce such a state of feeling； five or six generations of decadence； accompanied with diminution of population； foreign invasions； famines； pestilences； and increasing difficulty in procuring the necessaries of life； are amply sufficient。 It then happens that men lose courage and hope； and consider life an evil。 Now； admitting that among the artists who live in such a time； there are likely to be the same relative numbers of melancholy； joyous； or indifferent temperaments as at other times； let us see how they will be affected by reigning circumstances。
Let us first remember； says Taine； that the evils which depress the public will also depress the artist。 His risks are no less than those of less gifted people。 He is liable to suffer from plague or famine； to be ruined by unfair taxation or conscription； or to see his children massacred and his wife led into captivity by barbarians。 And if these ills do not reach him personally； he must at least behold those around him affected by them。 In this way； if he is joyous by temperament； he must inevitably become less joyous； if he is melancholy； he must become more melancholy。
Secondly； having been reared among melancholy contemporaries； his education will have exerted upon him a corresponding influence。 The prevailing religious doctrine； accommodated to the state of affairs； will tell him that the earth is a place of exile； life an evil； gayety a snare； and his most profitable occupation will be to get ready to die。 Philosophy； constructing its system of morals in conformity to the existing phenomena of decadence； will tell him that he had better never have been born。 Daily conversation will inform him of horrible events； of the devastation of a province； the sack of a town by the Goths； the oppression of the neighbouring peasants by the imperial tax…collectors； or the civil war that has just burst out between half a dozen pretenders to the throne。 As he travels about； he beholds signs of mourning and despair； crowds of beggars； people dying of hunger； a broken bridge which no one is mending； an abandoned suburb which is going to ruin； fields choked with weeds； the blackened walls of burned houses。 Such sights and impressions； repeated from childhood to old age （and we must remember that this has actually been the state of things in what are now the fairest parts of the globe）； cannot fail to deepen whatever elements of melancholy there may be already in the artist's disposition。
The operation of all these causes will be enhanced by that very peculiarity of the artist which constitutes his talent。 For； according to the definitions above given； that which makes him an artist is his capacity for seizing upon the essential characteristics and the salient traits of surrounding objects and events。 Other men see things in part fragmentarily； he catches the spirit of the ensemble。 And in this way he will very likely exaggerate in his works the general average of contemporary feeling。
Lastly； our author reminds us that a man who writes or paints does not remain alone before his easel or his writing…desk。 He goes out； looks about him； receives suggestions from friends； from rivals； from books； and works of art whenever accessible； and hears the criticisms of the public upon his own productions and those of his contemporaries。 In order to succeed； he must not only satisfy to some extent the popular taste； but he must feel that the public is in sympathy with him。 If in this period of social decadence and gloom he endeavours to represent gay； brilliant； or triumphant ideas； he will find himself left to his own resources； and； as Taine rightly says； the power of an isolated man is always insignificant。 His work will be likely to be mediocre。 If he attempts to write like Rabelais or paint like Rubens； he will get neither assistance nor sympathy from a public which prefers the pictures of Rembrandt； the melodies of Chopin； and the poetry of Heine。
Having thus explained his position by this extreme instance； signified for the sake of clearness； Taine goes on to apply such general considerations to four historic epochs； taken in all their complexity。 He discusses the aspect presented by art in ancient Greece； in the feudal and Catholic Middle Ages； in the centralized monarchies of the seventeenth century； and in the scientific； industrial democracy in which we now live。 Out of these we shall select； as perhaps the simplest； the case of ancient Greece； still following our author closely； though necessarily omitting many interesting details。
The ancient Greeks； observes Taine； understood life in a new and original manner。 Their energies were neither absorbed by a great religious conception； as in the case of the Hindus and Egyptians； nor by a vast social organization； as in the case of the Assyrians and Persians； nor by a purely industrial and commercial regime； as in the case of the Phoenicians and Carthaginians。 Instead of a theocracy or a rigid system of castes； instead of a monarchy with a hierarchy of civil officials； the men of this race invented a peculiar institution； the City； each city giving rise to others like itself； and from colony to colony reproducing itself indefinitely。 A single Greek city； for instance； Miletos； produced three hundred other cities； colonizing with them the entire coast of the Black Sea。 Each city was substantially self…ruling； and the idea of a coalescence of several cities into a nation was one which the Greek mind rarely conceived； and never was able to put into operation。
In these cities； labour was for the most part carried on by slaves。 In Athens there were four or five for each citizen； and in places like Korinth and Aigina the slave population is said to have numbered four or five hundred thousand。 Besides； the Greek citizen had little need of personal service。 He lived out of doors； and； like most Southern people； was comparatively abstemious in his habits。 His dinners were slight； his clothing was simple； his house was scantily furnished； being intended chiefly for a den to sleep in。
Serving neither king nor priest； the citizen was free and sovereign in his own city。 He elected his own magistrates； and might himself serve as city…ruler； as juror； or as judge。 Representation was unknown。 Legislation was carried on by all the citizens assembled in mass。 Therefore politics and war were the sole or chief employments of the citizen。 War； indeed； came in for no slight share of his attention。 For society was not so well protected as in these modern days。 Most of these Greek cities； scattered over the coasts of the Aigeian； the Black Sea； and the Mediterranean； were surrounded by tribes of barbarians； Scythians； Gauls Spaniards； and Africans。 The citizen must therefore keep on his guard； like the Englishman of to…day in New Zealand； or like the inhabitant of a Massachusetts town in tho seventeenth century。 Otherwise Gauls Samnites； or Bithynians； as savage as North American Indians； would be sure t
