2Julyиюля · 2-е июля
Ни в какой области нет такого злоупотребления словом, как в оценке произведений, — в особенности мнимого, — искусства.
In no field is there such an abuse of words as in the appraisal of works of art — especially of sham art.
1. Мы только тогда бываем вполне удовлетворены впечатлением от художественного произведения, когда оно оставляет после себя нечто такое, чего мы, при всем усилии мысли, не можем довести до полной ясности.
1. We are fully satisfied with the impression a work of art makes on us only when it leaves behind it something that, for all the effort of our thought, we cannot bring to complete clarity.
From Die Welt als Wille und Vorstellung II · close to the original .
What Tolstoy read · Julius Frauenstädt, Arthur Schopenhauer: Lichtstrahlen aus seinen WerkenGanz befriedigt durch den Eindruck eines Kunſt⸗ werks ſind wir nur dann, wann er etwas hinter⸗ läßt, was wir, bei allem Nachdenken darüber, nicht bis zur Deutlichkeit eines Begriffs herabziehen kön⸗ nen.
Source text: archive.orgOriginal · GermanEindruck eines Kunſtwerks ſind wir nur dann, wann er etwas hinterläßt, das wir, bei allem Nachdenken darüber, nicht bis zur Deutlichkeit eines Begriffs herabziehen können.
Source text: archive.orgIn English · R. B. Haldane and J. Kemp, 1886We are only perfectly satisfied by the impression of a work of art when it leaves something which, with all our thinking about it, we cannot bring down to the distinctness of a conception.
Source text: gutenberg.orgDetails
The words shown were found, word for word, in the saved source text. Die Welt als Wille und Vorstellung II (1844), ch. 34 (Ueber das innere Wesen der Kunst), WWV II, ed. Frauenstädt (Leipzig, 1888), pp. 466–467; Lichtstrahlen, p. 137; Haldane and Kemp, vol. III, ch. XXXIV.
Schopenhauer's sentence, closely: we are wholly satisfied by the impression of a work of art only when it leaves something behind that we, for all our thinking about it, cannot draw down to the distinctness of a concept. Tolstoy writes «при всем усилии мысли» (for all the effort of thought) for “bei allem Nachdenken darüber” (for all our reflecting on it), and «довести до полной ясности» (bring to full clarity) for “bis zur Deutlichkeit eines Begriffs herabziehen” (draw down to the distinctness of a concept), so the concept, against which the chapter sets the work of art, drops out. Lichtstrahlen prints the sentence as the head of an extract under art (intermediary), with “was” for the edition's “das”. The sentence starts at the foot of p. 466 in the 1888 edition and runs over the page's running head, so the excerpt from the original begins at the page turn.
2. Искусство есть такое воздействие на людей, при котором в душах их таинственное становится очевидным, смутное делается ясным, сложное — простым, случайное — необходимым. Истинный художник всегда упрощает.
2. Art is an action upon people in which, in their souls, the mysterious becomes evident, the vague becomes clear, the complex simple, the accidental necessary. The true artist always simplifies.
From Fragments d'un journal intime · reworded by Tolstoy .
What changedAmiel’s definition, art as “the bringing into relief of the obscure thought of nature,” becomes a definition of Tolstoy’s own kind, “an action upon people in which, in their souls, the mysterious becomes evident,” and “The great artist is the simplifier” becomes “The true artist always simplifies.”
Original · FrenchL'art n'est que la mise en relief de la pensée obscurcie de la nature; c'est la simplification des lignes et le dégagement des groupes invisibles.
Le mystérieux devient évident, le confus devient clair, le compliqué devient simple, le fortuit devient nécessaire.
Le grand artiste est un simplificateur.
Source text: archive.orgIn English · Mrs. Humphry Ward, 1885Art is simply the bringing into relief of the obscure thought of nature; a simplification of the lines, a falling into place of groups otherwise invisible.
The mysterious grows clear, the confused plain; what is complicated becomes simple--what is accidental, necessary.
The great artist is the simplifier.
Source text: gutenberg.orgDetails
The words shown were found, word for word, in the saved source text. Fragments d'un journal intime, Journal, 25 novembre 1861 (7th ed., Geneva 1897, t. I, p. 162); Ward's translation, November 25, 1861.
Signed 'after Amiel', and reworked. Amiel's definition, 'L'art n'est que la mise en relief de la pensée obscurcie de la nature' (art is only the bringing into relief of nature's obscured thought), becomes a definition of Tolstoy's own kind: «Искусство есть такое воздействие на людей, при котором в душах их таинственное становится очевидным» (art is an action on people by which, in their souls, the mysterious becomes evident). Amiel's four pairs follow closely ('le mystérieux devient évident, le confus devient clair, le compliqué devient simple, le fortuit devient nécessaire'), and his 'Le grand artiste est un simplificateur' (the great artist is a simplifier) becomes «Истинный художник всегда упрощает» (the true artist always simplifies). The rest of the paragraph (understanding a drama as putting the bird back into the egg; the fire of inspiration and sympathetic ink) is left out.
3. Если целый мир, как представление, есть лишь видимость, то искусство есть разъяснение этой видимости, камер-обскура, показывающая предметы чище и позволяющая лучше обозревать и охватывать их. Искусство есть зрелище в зрелище, сцена на сцене, как в «Гамлете».
3. If the whole world, as representation, is only appearance, then art is the elucidation of this appearance, a camera obscura that shows objects more purely and lets one survey and take them in better. Art is a spectacle within a spectacle, a stage upon the stage, as in “Hamlet.”
From Die Welt als Wille und Vorstellung I · reworded by Tolstoy .
What changedWithout “des Willens,” of the will, the world as “the visibility of will” becomes “only appearance,” and art, which renders this visibility “more distinct,” becomes “the elucidation of this appearance.”
What Tolstoy read · Julius Frauenstädt, Arthur Schopenhauer: Lichtstrahlen aus seinen WerkenIſt die ganze Welt als Vorſtellung nur die Sicht⸗ barkeit des Willens, ſo iſt die Kunſt die Verdeut⸗ lichung dieſer Sichtbarkeit, die Camera obscura, welche die Gegenſtände reiner zeigt und beſſer über⸗ ſehen und zuſammenfaſſen läßt, das Schauſpiel im Schauspiel, die Bühne auf der Bühne im „Hamlet“.
Source text: archive.orgOriginal · GermanIſt die ganze Welt als Vorſtellung nur die Sichtbarkeit des Willens, ſo iſt die Kunſt die Verdeutlichung dieſer Sichtbarkeit, die Camera obscura, welche die Gegenſtände reiner zeigt und beſſer überſehen und zuſammenfaſſen läßt, das Schauſpiel im Schauſpiel, die Bühne auf der Bühne im „Hamlet“.
Source text: archive.orgIn English · R. B. Haldane and J. Kemp, 1883If the whole world as idea is only the visibility of will, the work of art is to render this visibility more distinct.
It is the _camera obscura_ which shows the objects more purely, and enables us to survey them and comprehend them better.
It is the play within the play, the stage upon the stage in “Hamlet.”
Source text: gutenberg.orgDetails
The words shown were found, word for word, in the saved source text. Die Welt als Wille und Vorstellung I (1819), Book III, § 52, WWV I, ed. Frauenstädt (Leipzig, 1888), p. 315; Lichtstrahlen, p. 108, citing “W. I, 315”; Haldane and Kemp, Third Book, § 52.
Schopenhauer's sentence, with the will taken out. Schopenhauer: “Ist die ganze Welt als Vorstellung nur die Sichtbarkeit des Willens” (if the whole world as representation is only the visibility of the will); Tolstoy: «Если целый мир, как представление, есть лишь видимость» (if the whole world, as representation, is only a visibility, or a semblance). Without “des Willens” (of the will) the Russian «видимость» reads as appearance or semblance, and art becomes «разъяснение этой видимости» (the clarifying of this semblance) where Schopenhauer has art make the will's visibility plainer. The rest is close: the camera obscura that shows objects more purely and lets one survey and grasp them better; the play within the play, the stage on the stage, as in Hamlet. Tolstoy makes the last clause a sentence of its own, beginning «Искусство есть» (art is). Lichtstrahlen prints the sentence alone (intermediary), as Tolstoy did.
4. Человек, одаренный обыкновенными чувствами, сообразует мысли с вещами; художник сообразует вещи со своими мыслями. Обыкновенный человек считает природу неизменно укрепленной и твердой; художник — текучей, переливающейся и кладет на нее отпечаток своего существа. Для него непокорный мир покорен и податлив; он одевает прах и камни человеческими свойствами и превращает их в выражения разума.
4. The man endowed with ordinary senses conforms his thoughts to things; the artist conforms things to his thoughts. The ordinary man regards nature as immovably fixed and solid; the artist regards it as fluid and shifting, and sets the stamp of his own being upon it. For him the refractory world is obedient and pliant; he clothes dust and stones with human qualities and turns them into expressions of reason.
From Nature · close to the original .
Emerson’s own wordsThe sensual man conforms thoughts to things; the poet conforms things to his thoughts.
The one esteems nature as rooted and fast; the other, as fluid, and impresses his being thereon.
To him, the refractory world is ductile and flexible; he invests dust and stones with humanity, and makes them the words of the Reason.
Source text: gutenberg.orgDetails
The words shown were found, word for word, in the saved source text. Nature (1836), ch. VI 'Idealism', Ch. VI, the paragraph on the poet, after 'Possessed himself by a heroic passion, he uses matter as symbols of it'; in Nature, Addresses, and Lectures.
Close, sentence by sentence, with the persons renamed. 'The sensual man' becomes 'a man endowed with ordinary senses' (Человек, одаренный обыкновенными чувствами), and 'the one' 'the ordinary man' (Обыкновенный человек); 'the poet' becomes 'the artist' (художник), both times. 'As fluid' becomes 'fluid, shimmering' (текучей, переливающейся), and 'the words of the Reason' 'expressions of reason' (выражения разума). No printable, because 'poet' becomes 'artist'.
5. Помните, что ничего нельзя делать прекрасного из соперничества, ничего благородного из гордости.
5. Remember that nothing beautiful can be done out of rivalry, nothing noble out of pride.
From The Ethics of the Dust · close to the original .
John Ruskin’s own wordsAnd remember, child, that nothing is ever done beautifully, which is done in rivalship; nor nobly, which is done in pride.
Source text: gutenberg.orgTolstoy’s own version · Мысли мудрых людей на каждый деньПомните всегда, что ничего нельзя делать прекрасного из соперничества, ничего благородного из гордости.
Source text: tolstoy.ruDetails
The words shown were found, word for word, in the saved source text. The Ethics of the Dust (1866), Lecture VIII 'Crystal Caprice', Lecture VIII, the Lecturer's story of St. Barbara and the goddess Neith: Neith's answer to Barbara, who has boasted of her building.
Close. In Ruskin the words are spoken by Neith, the Egyptian goddess of the Lecturer's story, to St. Barbara; Tolstoy gives them as Ruskin's own counsel. He leaves out the address 'child'; 'nothing is ever done beautifully, which is done in rivalship' becomes 'nothing beautiful can be done from rivalry' (ничего нельзя делать прекрасного из соперничества), 'nor nobly, which is done in pride' 'nothing noble from pride'. Tolstoy printed the sentence in Thoughts of Wise Men (1903) under 12 April, beginning «Помните всегда» (Tolstoy's own version); the Circle drops «всегда». The commentary of Jubilee vol. 40 names L. P. Nikiforov's Russian «Избранные мысли Джона Рёскина» (Posrednik, 1902) as the source of his Ruskin there, and the Jubilee list of the Circle's sources names its third part (1904); earlier months did not find either online. No printable, because 'child' is left out inside the sentence.
Translation note. The Russian italic is broken only at the comma; it is set here as one span.
6. Науки и искусства могут быть нужны народу только тогда, когда люди, живущие среди народа и как народ, не заявляя никаких прав, будут предлагать ему свои научные и художественные услуги, принять или не принять которые будет зависеть от воли народа.
6. The sciences and the arts can be needed by the people only when those who live among the people and as the people live, claiming no rights, offer them their services in science and art, whose acceptance or refusal will depend on the people’s will.
7. Есть два несомненных признака истинной науки и истинного искусства: первый, внутренний — тот, что служитель науки и искусства не для выгоды, а с самоотвержением исполняет свое призвание, и второй, внешний — тот, что произведение его понятно всем людям.
7. There are two unmistakable signs of true science and true art: the first, an inward one, is that those who serve science and art fulfill their calling not for gain but with self-denial; and the second, an outward one, is that their work is intelligible to all people.
8. Наука и искусство так же тесно связаны между собой, как легкие и сердце, так что если один орган извращен, то и другой не может правильно действовать.
Наука истинная изучает и вводит в сознание людей те истины знания, которые людьми известного времени и общества считаются самыми важными. Искусство же переводит эти истины из области знания в область чувства.
8. Science and art are as closely bound together as the lungs and the heart, so that if one organ is perverted, the other cannot act rightly either.
True science studies, and brings into people’s consciousness, those truths of knowledge that the people of a given time and society consider most important. Art carries these truths over from the realm of knowledge into the realm of feeling.
Занятие искусством хотя и не такое высокое дело, каким считают его обыкновенно те, которые занимаются им, но дело не бесполезное и доброе, если оно соединяет людей и вызывает в них добрые чувства; занятие же искусством таким, которое одобряется богатыми классами нашего мира, — искусством, разъединяющим людей и вызывающим в них недобрые чувства, есть дело не только бесполезное, но вредное.
The practice of art, though not so lofty a work as those who practice it usually consider it, is yet a work that is not useless, and a good one, if it unites people and calls forth good feelings in them; but the practice of such art as the wealthy classes of our world approve — art that divides people and calls forth ill feelings in them — is a work not only useless but harmful.
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