Transcribed for the Internet by Andy Blunden. ( thanks to MIA)
It is untrue that revolutionary art can be created only by workers. Just because the revolution is a working-class revolution, it releases – to repeat what was said before – very little working-class energy for art. During the French Revolution, the greatest works which, directly or indirectly, reflected it, were created not by French artists, but by German, English, and others. The French bourgeoisie, which was directly concerned with making the revolution, could not give up a sufficient quantity of its strength to re-create and to perpetuate its imprint. This is still more true of the proletariat, which, though it has culture in politics, has little culture in art. The intelligentsia, aside from the advantages of its qualifications in form, has also the odious privilege of holding a passive political position, which is marked by a greater or lesser degree of hostility or friendliness towards the October Revolution.
It is not surprising, then, that this contemplative intelligentsia is able to give, and does give, a better artistic reproduction of the revolution than the proletariat which has made the revolution, though the re-creations of the intelligentsia are somewhat off line. We know very well the political limitations, the instability and the unreliability of the fellow travellers. But if we should eliminate Pilnyak, with his The Naked Year, the “Serapion Fraternity” with Vsevolod Ivanoy, Tikhonoy, and Polonskaya, if we should eliminate Mayakovsky and Eannin, is there anything that will remain for us but a few unpaid promissory notes of a future proletarian literature? Especially as Demyan Byedny, who cannot be counted among the fellow travellers and who, we hope, cannot be related from revolutionary literature, cannot be related to proletarian literature in the sense as defined by the manifesto of the Kuznitsa. What will remain then?
Does that mean that the party, quite in opposition to its nature, occupies a purely eclectic position in the field of art? This argument, which seems so crushing, is, in reality, extremely childish. The Marxian method affords an opportunity to estimate the development of the new art, to trace all its sources, to help the most progressive tendencies by a critical illumination of the road, but it does not do more than that. Art must make its own way and by its own means. The Marxian methods are not the same as the artistic. The party leads the proletariat but not the historic processes of history. There are domains in which the party leads, directly and imperatively. There are domains in which it only cooperates. There are, finally, domains in which it only orients itself. The domain of art is not one in which the party is called upon to command. It can and must protect and help it, but it can only lead it indirectly. It can and must give the additional credit of its confidence to various art groups, which are striving sincerely to approach the revolution and so help an artistic formulation of the revolution. And at any rate, the party cannot and will not take the position of a literary circle which is struggling and merely competing with other literary circles.
The party stands guard over the historic interests of the working class in its entirety. Because it prepares consciously and step by step the ground for a new culture and therefore for a new art, it regards the literary fellow travellers not as the competitors of the writers of the working class, but as the real or potential helpers of the working class in the big work of reconstruction. The party understands the episodic character of the literary groups of a transition period and estimates them, not from the point of view of the class passports of the individual gentlemen literati, but from the point of view of the place which these groups occupy and can occupy in preparing a socialist culture. If it is not possible to determine the place of any given group today, then the party as a party will wait patiently and gracefully. Individual critics or readers may sympathise with one group or another in advance. The party, as a whole, protects the historic interests of the working class and must be more objective and wise. Its caution must be double-edged. If the party does not put its stamp of approval on the Kuznitsa, just because workers write for it, it does not, in advance, repel any given literary group, even from the intelligentsia, insofar as such a group tries to approach the revolution and tries to strengthen one of its links – a link is always a weak point – between the city and the village, or between the party member and the non-partisan, or between the intelligentsia and the workers.
Does not such a policy mean, however, that the party is going to have an unprotected flank on the side of art? This is a great exaggeration. The party will repel the clearly poisonous, disintegrating tendencies of art and will guide itself by its political standards. It is true, however, that it is less protected on the flank of art than on the political front. But is this not true of science also? What are the metaphysicians of a purely proletarian science going to say about the theory of relativity? Can it be reconciled with materialism, or can it not? Has this question been decided? Where and when and by whom? It is clear to anyone, even to the uninitiated, that the work of our physiologist, Pavlov, is entirely along materialist lines. But what is one to say about the psychoanalytic theory of Freud? Can it be reconciled with materialism, as, for instance, Karl Radek thinks (and I also), or is it hostile to it? The same question can be put to all the new theories of atomic structure, etc., etc. It would be fine if a scientist would come along who could grasp all these new generalisations methodologically and introduce them into the dialectic materialist conception of the world. He could thus, at the same time, test the new theories and develop the dialectic method deeper. But I am very much afraid that this work – which is not like a newspaper or journalistic article, but a scientific and philosophic landmark, just as the Origin of Species and Capital – will not be created either today or tomorrow, or rather, if such an epoch-making book were created today, it would risk remaining uncut until the time when the proletariat will be able to lay aside its arms.
But does not the work of culture-bearing, that is, the work of acquiring the ABC of pre-proletarian culture, presuppose criticism, selection and a class standard? Of course it does. But the standard is a political one and not an abstract cultural one. The political standard coincides with the cultural one only in the broad sense that the revolution creates conditions for a new culture. But this does not mean that such a coinciding is secured in every given case. If the revolution has the right to destroy bridges and art monuments whenever necessary, it will stop still less from laying its hand on any tendency in art which, no matter how great its achievement in form, threatens to disintegrate the revolutionary environment or to arouse the internal forces of the revolution, that is, the proletariat, the peasantry and the intelligentsia, to a hostile opposition to one another. Our standard is, clearly, political, imperative and intolerant. But for this very reason, it must define the limits of its activity clearly. For a more precise expression of my meaning, I will say: we ought to have a watchful revolutionary censorship, and a broad and flexible policy in the field of art, free from petty partisan maliciousness …
When the futurists propose to throw overboard the old literature of individualism, not only because it has become antiquated in form, but because it contradicts the collectivist nature of the proletariat, they reveal a very inadequate understanding of the dialectic nature of the contradiction between individualism and collectivism. There are no abstract truths. There are different kinds of individualism. Because of too much individualism, a section of the pre-revolutionary intelligentsia threw itself into mysticism, but another section moved along the chaotic lines of futurism and, caught by the revolution – to their honour be it said – came nearer to the proletariat. But when they who came nearer because their teeth were set on edge by individualism carry their feeling over to the proletariat, they show themselves guilty of egocentrism, that is, of extreme individualism. The trouble is that the average proletarian is lacking in this very quality. In the mass, proletarian individuality has not been sufficiently formed and differentiated.
It is just such heightening of the objective quality and the subjective consciousness of individuality that is the most valuable contribution of the cultural advance at the threshold of which we stand today. It is childish to think that bourgeois belles lettres can make a breach in class solidarity. What the worker will take from Shakespeare, Goethe, Pushkin, or Dostoyevsky will be a more complex idea of human personality, of its passions and feelings, a deeper and profounder understanding of its psychic forces and of the role of the subconscious, etc. In the final analysis, the worker will become richer. At the beginning, Gorky was imbued with the romantic individualism of the tramp. Nevertheless, he fed the early spring revolutionism of the proletariat on the eve of 1905, because he helped to awaken individuality in that class in which individuality, once awakened, seeks contact with other awakened individualities. The proletariat is in need of artistic food and education, but that does not mean to say that the proletariat is mere clay which artists, those that have gone and those that are still to come, can fashion in their own image and in their own likeness.
Though the proletariat is spiritually, and therefore, artistically, very sensitive, it is uneducated aesthetically. It is hardly reasonable to think that it can simply begin at the point where the bourgeois intelligentsia left off on the eve of the catastrophe. Just as an individual passes biologically and psychologically through the history of the race and, to some extent, of the entire animal world in his development from the embryo, so, to a certain extent, must the overwhelming majority of a new class which has only recently come out of prehistoric life, pass through the entire history of artistic culture. This class cannot begin the construction of a new culture without absorbing and assimilating the elements of the old cultures. This does not mean in the least that it is necessary to go through step by step, slowly and systematically, the entire past history of art. Insofar as it concerns a social class and not a biologic individual, the process of absorption and transformation has a freer and more conscious character. But a new class cannot move forward without regard to the most important landmarks of the past …
Revolutionary and Socialist Art
There is no revolutionary art as yet. There are the elements of this art, there are hints and attempts at it, and, what is most important, there is the revolutionary man, who is forming the new generation in his own image and who is more and more in need of this art. How long will it take for such art to reveal itself clearly? It is difficult even to guess, because the process is intangible and incalculable, and we are limited to guesswork even when we try to time more tangible social processes. But why should not this art, at least its first big wave, come soon as the expression of the art of the young generation which was born in the revolution and which carries it on?
Revolutionary art which inevitably reflects all the contradictions of a revolutionary social system, should not be confused with socialist art for which no basis has as yet been made. On the other hand, one must not forget that socialist art will grow out of the art of this transition period.
In insisting on such a distinction, we are not at all guided by a pedantic consideration of an abstract program. Not for nothing did Engels speak of the socialist revolution as a leap from the kingdom of necessity to the kingdom of freedom. The revolution itself is not as yet the kingdom of freedom. On the contrary, it is developing the features of “necessity” to the greatest degree. Socialism will abolish class antagonisms, as well as classes, but the revolution carries the class struggle to its highest tension. During the period of revolution, only that literature which promotes the consolidation of the workers in their struggle against the exploiters is necessary and progressive. Revolutionary literature cannot but be imbued with a spirit of social hatred, which is a creative historic factor in an epoch of proletarian dictatorship. Under socialism, solidarity will be the basis of society. Literature and art will be tuned to a different key. All the emotions which we revolutionists, at the present time, feel apprehensive of naming – so much have they been worn thin by hypocrites and vulgarians – such as disinterested friendship, love for one’s neighbour, sympathy, will be the mighty ringing chords of socialist poetry.
However, does not an excess of solidarity, as the Nietzscheans fear, threaten to degenerate man into a sentimental, passive, herd animal? Not at all. The powerful force of competition which, in bourgeois society, has the character of market competition, will not disappear in a socialist society, but, to use the language of psychoanalysis, will be sublimated, that is, will assume a higher and more fertile form. There will be the struggle for one’s opinion, for one’s project, for one’s taste. In the measure in which political struggles will be eliminated – and in a society where there will be no classes, there will be no such struggles – the liberated passions will be channelled into technique, into construction which also includes art. Art then will become more general, will mature, will become tempered, and will become the most perfect method of the progressive building of life in every field. It will not be merely “pretty” without relation to anything else.
All forms of life, such as the cultivation of land, the planning of human habitations, the building of theatres, the methods of socially educating children, the solution of scientific problems, the creation of new styles, will vitally engross all and everybody. People will divide into “parties” over the question of a new gigantic canal, or the distribution of oases in the Sahara (such a question will exist too), over the regulation of the weather and the climate, over a new theatre, over chemical hypotheses, over two competing tendencies in music, and over a best system of sports. Such parties will not be poisoned by the greed of class or caste. All will be equally interested in the success of the whole. The struggle will have a purely ideological character. It will have no running after profits, it will have nothing mean, no betrayals, no bribery, none of the things that form the soul of “competition” in a society divided into classes. But this will in no way hinder the struggle from being absorbing, dramatic and passionate.
And as all problems in a socialist society – the problems of life which formerly were solved spontaneously and automatically, and the problems of art which were in the custody of special priestly castes – will become the property of all people, one can say with certainty that collective interests and passions and individual competition will have the widest scope and the most unlimited opportunity. Art, therefore, will not suffer the lack of any such explosions of collective, nervous energy, and of such collective psychic impulses which make for the creation of new artistic tendencies and for changes in style. It will be the aesthetic schools around which “parties” will collect, that is, associations of temperaments, of tastes and of moods. In a struggle so disinterested and tense, which will take place in a culture whose foundations are steadily rising, the human personality, with its invaluable basic trait of continual discontent, will grow and become polished at all its points. In truth, we have no reason to fear that there will be a decline of individuality or an impoverishment of art in a socialist society …