There is no need of determining whether art must flee reality or defer to it, but rather what precise dose of reality the work must take on as ballast to keep from f loating up among the clouds or from dragging along the ground with weighted boots. Each artist solves this problem according to his lights and abilities. The greater an artist’s revolt against the world’s reality, the greater can be the weight of reality to balance that revolt. But the weight can never stifle the artist’s solitary exigency. The loftiest work will always be, as in the Greek tragedians, Melville, Tolstoy, or Molière, the work that maintains an equilibrium between reality and man’s rejection of that reality, each forcing the other upward in a ceaseless overflowing, characteristic of life itself at its most joyous and heart-rending extremes. Then, every once in a while, a new world appears, different from the everyday world and yet the same, particular but universal, full of innocent insecurity-called forth for a few hours by the power and longing of genius. That’s just it and yet that’s not it; the world is nothing and the world is everything-this is the contradictory and tireless cry of every true artist, the cry that keeps him on his feet with eyes ever open and that, every once in a while, awakens for all in this world asleep the fleeting and insistent image of a reality we recognize without ever having known it.
Likewise, the artist can neither turn away from his time nor lose himself in it. If he turns away from it, he speaks in a void. But, conversely, insofar as he takes his time as his object, he asserts his own existence as subject and cannot give in to it altogether. In other words, at the very moment when the artist chooses to share the fate of all, he asserts the individual he is. And he cannot escape from this ambiguity. The artist takes from history what he can see of it himself or undergo himself, directly or indirectly-the immediate event, in other words, and men who are alive today, not the relationship of that immediate event to a future that is invisible to the living artist. Judging contemporary man in the name of a man who does not yet exist is the function of prophecy. But the artist can value the myths that are offered him only in relation to their repercussion on living people. The prophet, whether religious or political, can judge absolutely and, as is known, is not chary of doing so. But the artist cannot. If he judged absolutely, he would arbitrarily divide reality into good and evil and thus indulge in melodrama. The aim of art, on the contrary, is not to legislate or to reign supreme, but rather to understand first of all. Sometimes it does reign supreme, as a result of understanding. But no work of genius has ever been based on hatred and contempt. This is why the artist, at the end of his slow advance, absolves instead of condemning. Instead of being a judge, he is a justifier. He is the perpetual advocate of the living creature, because it is alive. He truly argues for love of one’s neighbour and not for that love of the remote stranger which debases contemporary humanism until it becomes the catechism of the law court. Instead, the great work eventually confounds all judges. With it the artist simultaneously pays homage to the loftiest figure of mankind and bows down before the worst of criminals. ‘There is not,’ Wilde wrote in prison, ‘a single wretched man in this wretched place along with me who does not stand in symbolic relation to the very secret of life.’ Yes, and that secret of life coincides with the secret of art.
For a hundred and fifty years the writers belonging to a mercantile society, with but few exceptions, thought they could live in happy irresponsibility. They lived, indeed, and then died alone, as they had lived. But we writers of the twentieth century shall never again be alone. Rather, we must know that we can never escape the common misery and that our only justification, if indeed there is a justification, is to speak up, insofar as we can, for those who cannot do so. But we must do so for all those who are suffering at this moment, whatever may be the glories, past or future, of the States and parties oppressing them: for the artist there are no privileged torturers. This is why beauty, even today, especially today, cannot serve any party; it cannot serve, in the long or short run, anything but men’s suffering or their liberty. The only really committed artist is he who, without refusing to take part in the combat, at least refuses to join the regular armies and remains a free-lance. The lesson he then finds in beauty, if he draws it fairly, is a lesson not of selfishness but rather of hard brotherhood. Looked upon thus, beauty has never enslaved anyone. And for thousands of years, every day, at every second, it has instead assuaged the servitude of millions of men and, occasionally, liberated some of them once and for all. After all, perhaps the greatness of art lies in the perpetual tension between beauty and pain, the love of men and the madness of creation, unbearable solitude and the exhausting crowd, rejection and consent. Art advances between two chasms, which are frivolity and propaganda. On the ridge where the great artist moves forward, every step is an adventure, an extreme risk. In that risk, however, and only there, lies the freedom of art. A difficult freedom that is more like an ascetic discipline? What artist would deny this? What artist would dare to claim that he was equal to such a ceaseless task? Such f reedom presupposes health of body and mind, a style that reflects strength of soul, and a patient defiance. Like all f reedom, it is a perpetual risk, an exhausting adventure, and this is why people avoid the risk today, as they avoid liberty with its exacting demands, in order to accept any kind of bondage and achieve at least comfort of soul. But if art is not an adventure, what is it and where is its justification? No, the free artist is no more a man of comfort than is the free man. The free artist is the one who, with great effort, creates his own order. The more undisciplined what he must put in order, the stricter will be his rule and the more he will assert his freedom. There is a remark of Gide that I have always approved although it may be easily misunderstood: ‘Art lives on constraint and dies of freedom.’ That is true. But it must not be interpreted as meaning that art can be controlled. Art lives only on the constraints it imposes on itself; it dies of all others. Conversely, if it does not constrain itself, it indulges in ravings and becomes a slave to mere shadows. The freest art and the most rebellious will therefore be the most classical; it will reward the greatest effort. So long as a society and its artists do not accept this long and free effort, so long as they relax in the comfort of amusements or the comfort of conformism, in the games of art for art’s sake or the preachings of realistic art, its artists are lost in nihilism and sterility. Saying this amounts to saying that today the rebirth depends on our courage and our will to be lucid.
Yes, the rebirth is in the hands of all of us. It is up to us if the West is to bring forth any anti-Alexanders to tie together the Gordian Knot of civilization cut by the sword. For this purpose, we must assume all the risks and labours of freedom. There is no need of knowing whether, by pursuing justice, we shall manage to preserve liberty. It is essential to know that, without liberty, we shall achieve nothing and that we shall lose both future justice and ancient beauty. Liberty alone draws men from their isolation; but slavery dominates a crowd of solitudes. And art, by virtue of that f ree essence I have tried to define, unites whereas tyranny separates. It is not surprising, therefore, that art should be the enemy marked out by every form of oppression. It is not surprising that artists and intellectuals should have been the first victims of modern tyrannies, whether of the Right or of the Left. Tyrants know there is in the work of art an emancipatory force, which is mysterious only to those who do not revere it. Every great work makes the human face more admirable and richer, and this is its whole secret. And thousands of concentration camps and barred cells are not enough to hide this staggering testimony of dignity. This is why it is not true that culture can be, even temporarily, suspended in order to make way for a new culture. Man’s unbroken testimony as to his suffering and his nobility cannot be suspended; the act of breathing cannot be suspended. There is no culture without legacy, and we cannot and must not reject anything of ours, the legacy of the West. Whatever the works of the future may be, they will bear the same secret, made up of courage and freedom, nourished by the daring of thousands of artists of all times and all nations. Yes, when modern tyranny shows us that, even when confined to his calling, the artist is a public enemy, it is right. But in this way tyranny pays its respects, through the artist, to an image of man that nothing has ever been able to crush.
My conclusion will be simple. It will consist of saying, in the very midst of the sound and the fury of our history: ‘Let us rejoice.’ Let us rejoice, indeed, at having witnessed the death of a lying and comfort-loving Europe and at being faced with cruel truths. Let us rejoice as men because a prolonged hoax has collapsed and we see clearly what threatens us. And let us rejoice as artists, torn from our sleep and our deafness, forced to keep our eyes on destitution, prisons, and bloodshed. If, faced with such a vision, we can preserve the memory of days and of faces, and if, conversely, faced with the world’s beauty, we manage not to forget the humiliated, then Western art will gradually recover its strength and its sovereignty. To be sure, there are few examples in history of artists confronted with such hard problems. But when even the simplest words and phrases cost their weight in freedom and blood, the artist must learn to handle them with restraint. Danger makes men classical, and all greatness, after all, is rooted in risk.
The time of irresponsible artists is over. We shall regret it for our little moments of bliss. But we shall be able to admit that this ordeal contributes meanwhile to our chances of authenticity, and we shall accept the challenge. The f reedom of art is not worth much when its only purpose is to assure the artist’s comfort. For a value or a virtue to take root in a society, there must be no lying about it; in other words, we must pay for it every time we can. If liberty has become dangerous, then it may cease to be prostituted. And I cannot agree, for example, with those who complain today of the decline of wisdom. Apparently they are right. Yet, to tell the truth, wisdom has never declined so much as when it involved no risks and belonged exclusively to a few humanists buried in libraries. But today, when at last it has to face real dangers, there is a chance that it may again stand up and be respected.
It is said that Nietzsche after the break with Lou Salomé, in a period of complete solitude, crushed and uplifted at the same time by the perspective of the huge work he had to carry on without any help,used to walk at night on the mountains overlooking the gulf of Genoa and light great bonfires of leaves and branches which he would watch as they burned. I have often dreamed of those fires and have occasionally imagined certain men and certain works in f ront of those fires, as a way of testing men and works. Well, our era is one of those fires whose unbearable heat will doubtless reduce many a work to ashes! But as for those which remain, their metal will be intact, and, looking at them, we shall be able to indulge without restraint in the supreme joy of the intelligence which we call ‘admiration.’
One may long, as I do, for a gentler flame, a respite, a pause for musing. But perhaps there is no other peace for the artist than what he finds in the heat of combat. ‘Every wall is a door,’ Emerson correctly said. Let us not look for the door, and the way out, anywhere but in the wall against which we are living. Instead, let us seek the respite where it is-in the very thick of the battle. For in my opinion, and this is where I shall close, it is there. Great ideas, it has been said, come into the world as gently as doves. Perhaps then, if we listen attentively, we shall hear, amid the uproar of empires and nations, a faint flutter of wings, the gentle stirring of life and hope. Some will say that this hope lies in a nation; others, in a man. I believe rather that it is awakened, revived, nourished by millions of solitary individuals whose deeds and works every day negate frontiers and the crudest implications of history. As a result, there shines forth fleetingly the ever threatened truth that each and every man, on the foundation of his own sufferings and joys, builds for all.
Defence of Intelligence
If the kind of French friendship with which we are concerned were to be but an effusion of feeling among people who get along together, I should not count on it. That would be the easiest, but also the least useful, form of friendship. And I suppose that the people who founded this society called L’Amitié Fran?aise wanted something else-a more difficult form of friendship that calls for effort. In order to avoid yielding to facility and indulging in self-congratulation, I should like, in the ten minutes allotted me, merely to point out the difficulties of such an undertaking. I could not possibly do this more effectively than by speaking of what always stands in the way of f riendship-in other words, falsehood and hatred.
We shall indeed not accomplish anything for French friendship if we cannot get rid of falsehood and hatred. In a way, we have certainly not got rid of them. We have been learning their lessons for too long now. And perhaps the last and most long-lived victory of Hitlerism is to be found in the shameful scars made on the hearts of those who fought Hitlerism most vigorously. How could it be otherwise? For years now, this world has been subjected to an unparalleled outbreak of hatred. For four years we witnessed here at home the reasoned expression of that hatred. Men like you and me who in the morning patted children on the head would a few hours later become meticulous executioners. Such men became the bureaucrats of hatred and torture. For four years their administration functioned by creating villages of orphans, by shooting men’s faces full of holes so that they would not be recognized, by jamming and stamping children’s bodies into coffins too small for them, by torturing brothers in their sisters’ presence, by shaping cowards as in a mould, and by destroying the proudest of souls. It seems that such stories are not believed abroad. But for four years, in our anguish, we could not avoid believing them. Every morning for four years each Frenchman received his ration of hatred and his slap in the face-when he opened his newspaper. Necessarily, some of that has remained with us. We were left with hatred. We were left with the impulse that the other day in Dijon made a fourteen-year-old child fall upon a collaborator who had been lynched and disfigure his face. We were left with the rage that consumes our souls at the memory of certain images and certain faces. The executioners’ hatred engendered the victims’ hatred. And once the executioners had gone, the French were left with their hatred only partially spent. They still look at one another with a residue of anger.
