The Commonweal/Volume 1/Number 3/The Worker's Share of Art

by William Morris

THE WORKER'S SHARE OF ART.

I can imagine some of our comrades smiling bitterly at the above title, and wondering what a Socialist journal can have to do with art; so I begin by saying that I understand only too thoroughly how “unpractical” the subject is while the present system of capital and wages lasts. Indeed that is my text.

What, however, is art? whence does it spring? Art is man's embodied expression of interest in the life of man; it springs from man's pleasure in his life; please we must call it, taking all human life together, however much it may be broken by the grief and trouble of individuals; and as it is the expression of pleasure in life generally, in the memory of the deeds of the past, and the hope of those of the future, so it is especially the expression of man's pleasure in the deeds of the present; in his work.

Yes, that may well seem strange to us at present! Men to-day may see the pleasure of unproductive energy—energy put forth in games and sports; but in productive energy—in the task which must be finished before we can eat, the task which will begin again to-morrow, and many a to-morrow without charge or end till we are ended—pleasure in that?

Yet I repeat that the chief source of art is man's pleasure in his daily necessary work, which expresses itself and is embodied in that work itself; nothing else can make the common surroundings of life beautiful, and whenever they are beautiful it is a sign that men's work has pleasure in it, however they may suffer or otherwise. It is the lack of this pleasure in daily work which has made our towns and habitations sordid and hideous, insults to the beauty of the earth which they disfigure, and all the accessories of life mean, trivial, ugly—in a word, vulgar. Terrible as this is to endure in the present, there is hope in it for the future; for surely it is but just that outward ugliness and disgrace should be the result of the slavery and misery of the people; and that slavery and misery once changed, it is but responsible to expect that external ugliness will give place to beauty, the sign of free and happy work.

Meantime, be sure that nothing else will produce even a reasonable semblance of art; for, think of it! the workers, by means of whose hands the mass of art must be made, are forced by the commercial system to live, even at the best, in places so squalid and hideous that no one could live in them and keep his sanity without losing all sense of beauty and enjoyment in life. The advance of the industrial army under its “captains of industry” (save the mark!) is traced, like the advance of other armies, in the ruin of the peace and loveliness of earth's surface, and nature, who will have us live at any cost, compels us to get used to our degradation at the expense of losing our manhood, and producing children doomed to live less like men than ourselves. Men living amidst such ugliness cannot conceive of beauty, and, therefore, cannot express it.

Nor is it only the workers who feel this misery (and I rejoice over that, at any rate). The higher or more intellectual arts suffer with the industrial ones. The artists, the aim of whose lives it is to produce beauty and interest, are deprived of the materials for their works in real life, since all around them is ugly and vulgar. They are driven into seeking their materials in the imaginations of past ages, or into giving the lie to their own sense of beauty and knowledge of it by sentimentalising and falsifying the life which goes on around them; and so, in spite of all their talent, intellect and enthusiasm, produce little which is not contemptible when matched against the workers of the non-commercial ages. Nor must we forget that whatever is produced that is worth anything is the work of men who are in rebellion against the corrupt society of to-day—rebellion sometimes open, sometimes veiled under cynicism, but by which in any case lives are wasted in a struggle, too often vain, against their fellow-men, which ought to be used for the exercise of special gifts for the benefit of the world.

High and low, therefore, slaveholders and slaves, we lack beauty in our lives, or, in other words, man-like pleasure. This absence of pleasure is the second gift to the world which the development of commercialism has added to its first gift of a propertiless proletariat. Nothing else but the grinding of this iron system could have reduced the civilised world to vulgarity. The theory that art is sick because people have turned their attention to science is without foundation. It is true that science is allowed to live because profit can be made of her, and men, who must find some outlet for their energies, turn to her, since she exists, though only as the slave (but now the rebellious slave) of capital; whereas when art is fairly in the clutch of profit-grinding she dies, and leaves behind her but her phantom of sham art as the futile slave of the capitalist.

Strange as it may seem, therefore, to some people, it is as true as strange, that Socialism, which has been commonly supposed to tend to mere Utilitarianism, is the only hope of the arts. It may be, indeed, that till the social revolution is fully accomplished, and perhaps for a little while afterwards, men's surroundings may go on getting plainer, grimmer, and barer. I say for a little while afterwards, because it may take men some time to shake off the habits of penury on the one hand and inane luxury on the other, which have been forced on them by commercialism. But even in that there is hope; for it is at least possible that all the old superstitions and conventionalities of art have got to be swept away before art can be born again; that before that new birth we shall have to be left bare of everything that has been called art; that we shall have nothing left us but the materials of art, that is the human race with its aspirations and passions and its home, the earth; on which materials we shall have to use these tools, leisure and desire.

Yet, though that may be, it is not likely that we shall quite recognise it; it is probable that it will come so gradually that it will not be obvious to our eyes. Maybe, indeed, art is sick to death even now, and nothing but its already half-dead body is left upon the earth: but also; may we not hope that we shall not have to wait for the new birth of art till we attain the peace of the realised New Order? Is it not at least possible, on the other hand, that what will give the death-blow to the vulgarity of which enwraps us all now will be the great tragedy of Social Revolution, and that the worker will then once more begin to have a share in art, when he begins to see his aim clear before him—his aim of a share of real life for all men—and when his struggle for that aim has begun? It is not the excitement of battling for a great and worthy end which is the foe to art, but the dead weight of sordid, unrelieved anxiety, the anxiety for the daily earning of a wretched pittance by labour degrading at once to body and mind, both by its excess and by its mechanical nature.

In any case, the leisure which Socialism above all things aims at obtaining for the worker is also the very things that breeds desire—desire for beauty, for knowledge, for more abundant life, in short. Once more, that leisure and desire are sure to produce art, and without them nothing but sham art, void of life or reason for existence, can be produced: therefore not only the worker, but the world in general, will have no share in art till our present commercial society gives place to real society—to Socialism. I know this subject is too serious and difficult to treat properly in one short article. I will ask our readers, therefore, to consider this as an introduction to the consideration of the relations of industrial labour to art.

WILLIAM MORRIS.