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The American Society for Aesthetics, Wiley are collaborating with JSTOR to digitize,
preserve and extend access to The Journal of Aesthetics and Art Criticism
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EXISTENTIALISM AND THE ARTS*
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EXISTENTIALISM AND THE ARTS 253
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254 VAN METER AMES
speech is action: "he knows that to speak out is to cause change and that one
cannot speak out without intending change" (Situations, II, p. 73). Sartre goes
on to say that "of course style constitutes the value of prose. Only it must pass
unperceived" (ibid., p. 75). He makes fun of purists who think his theory of
engagement will spoil literature, and points to the contradiction in those who
would have the writer avoid saying anything about temporal affairs yet still
have a message. He treats prose in terms of almost a pragmatic conception of
man's active relation to his world, saying: "he is the being who cannot even
see a situation without changing it," for he sees in terms of needs, desires and
aversions, which make him want to help other people.
This means a shift from thinking of freedom as negative, irresponsible, un-
involved, to the kind of freedom which is responsible because engaged and co-
operative. The experience of the French resistance against the German occupa-
tion wrought a sea-change in French existentialism, away from futile pessimism.
Sartre indicates this in his little book Existentialism Is a Humanism, though
without repudiating his cynical foundation in Being and Nothingness.
Prose then, in his "What Is Literature?", is not a lone performance in phrase-
making, but a living relation between writer and reader, whereby they create
together. Sartre is led to say: "There can be no art except for and through others"
(Situations, II, p. 93). He holds that a novel is freely written to be freely read.
It is not like a tool devised as a means for a certain end. A novel is itself an
end which does not so much serve freedom as elicit freedom. The writer appeals
to the reader to help in the production of a work. The reader's response is di-
rected, yet is spontaneous, not to be forced. The reader must retain a certain
detachment or aesthetic distance, which Gautier confused with the theory of
art for art's sake. The truth in this theory is simply that the responses of the
reader should be appealed to, not dominated. And art is also for life's sake, in
Sartre's view of the novel. Its substance is the world as the reader is moved to
reconstruct it when his creative energy is called out by the writer.
The concern here for social progress marks not only a considerable departure
from the anti-social account of human relations in Being and Nothingness, and
from the deterministic metaphysics which reduced freedom to a magic of nega-
tion, but also means a re-thinking of aesthetics. In Sartre's early book on The
Psychology of Imagination he identified the imaginative with the imaginary, be-
cause it seemed to him that to imagine something was to break away from per-
ception and its conditions, to negate the world, long enough to insert an image
which could only be unreal, a kind of nothing. Yet he saw even then that some-
how imagination becomes "an empirical and psychological function" and that
this is "the necessary condition for man's empirical freedom in the midst of the
world" (L'Imaginaire, p. 237). But how a work of art, which is an image iso-
lated from the world, can be instrumental to social reconstruction, is hard to
see. Why is not all art as inefficacious as he thinks painting, poetry, and music
are? How can there be such a thing as a novel of the kind that Sartre himself
writes? He lacks a naturalistic account of language and symbols which could
do justice to his own art. Aesthetics, in his original version of it, as part of his
theory of imagination, can have nothing to do with ethics. But in his discussion
of engaged literature aesthetics becomes part of ethics.
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EXISTENTIALISM AND THE ARTS 255
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256 VAN METER AMES
and universal relations, eternal verities to show through .... But we ... are
persuaded that no art could really suit us unless it rendered the event in its
brutal freshness, ambiguity, unpredictability, and endowed time with its flow
.. . we would ... make each character a trap to seize the reader and sink him
in the consciousness of another ... that he might be uncertain with the uneasi-
ness of the heroes, anxious with their anxiety ... sliding without recourse toward
Evil or climbing toward a Good that no future can take away" (Situations II,
254-255).
A bad novel is one "which aims to please through flattery," but Sartre does
not think a novel can be downright bad, because he means by a novel a work
which unleashes generosity, and generosity could not be used to consecrate in-
justice. A good novel could not be written in praise of anti-semitism. He says:
"The art of prose is solidly at one with the only kind of regime in which prose
makes sense: democracy" (ibid., 113).
We may add that science also is at one with democracy. But without aban-
doning existentialism Sartre can scarcely be expected to recognize what science
has in common with art as a creative activity in the service of freedom and
control for a good life. He thinks of science as preventing freedom with laws.
He does not seem to realize that for recent science the whole universe is in a
constant process of becoming other than it is or was a moment ago. He does
not admit the continuity and intimate interaction between mind and body,
men and their environment, hence of art and life, art and science.
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