
Flex and Spex: Giving Tolstoy His Due…
Studying the life and work of Tolstoy to make an argument for the importance of understanding “populist art.”
Select passages from Vol. 4 of Arnold Hauser’s The Social History of Art:
- “The entire philosophical speculation of the Russian hinges on [the problem of individual liberty] and the danger of moral relativism; the specter of anarchy, the chaos of crime, occupy and frighten all the Russian thinkers. The Russians see the great and crucial European question of the estrangement of the individual from society, the loneliness and isolation of modern man, as the problem of freedom” (142).
- “The Slavophil inclinations of the radicals are to be explained above all by the fact that the Russians, still in the earliest stages of capitalism, are much more homogeneous as a nation, that is to say, much less divided by class differences, than the peoples of the West” (141).”
- “The disintegration of the personality, in which the emotional conflict goes so far that the individual is no longer clear about his own motives and becomes a problem to himself, does not take place until the beginning of the last century. The concomitants of modern capitalism, romanticism and the estrangement of the individual from society first create the consciousness of spiritual dissension and hence the modern problematical character” (144).
- “Tolstoy…rejects individualism on purely rational and eudaemonist grounds; personal detachment from society can bring no happiness and no satisfaction; he can find comfort and contentment only in self-denial and in devotion to others” (158).
- “[Tolstoy] condemns modern culture on account of the differentiation and segregation which it produces, and the art of Shakespeare, Beethoven, and Pushkin, because it splits men up into different strata instead of uniting them” (160).
- “In spite of his prejudices and errors, Tolstoy represents an enormous revolutionary force. His fight against the lies of the police state and the Church, his enthusiasm for the community of the peasantry and the example of his own life are, whatever may have been the inner motives of his ‘conversion’ and his ultimate flight, among the ferments which undermined the old society and promoted not merely the Russian revolution but also the anti-capitalist revolutionary movement in the whole of Europe” (161).
- “…[W]hile working at Anna Karenina, he loses [his] optimism, and above all his belief in art, which he declares to be absolutely useless, indeed harmful, unless it renounces the refinements and subtleties of modern naturalism and impressionism and turns a luxury article into the universal possession of mankind. In the estrangement of art from the broad masses and the restriction of its public to an ever smaller circle Tolstoy had recognized a real danger….Tolstoy’s rejection of the highly developed and refined art of the present, and his fondness for the primitive ‘universally human’ forms of artistic expression, is a symptom of the same Rousseau-ism with which he plays off the village against the town and identifies the social question with that of the peasantry…. [Thus] Tolstoy’s relationship to art can only be understood as the symptom of a historic change, as the sign of a development which brings the aesthetic culture of the nineteenth century to an end and a generation to the fore that judges art once again as the mediator of ideas” (165).