Cover for Proposed Roads to Freedom

Project Gutenberg #690

Proposed Roads to Freedom

Bertrand Russell

1918

Russell's political argument for socialism, anarchism, and syndicalism, prepared from Project Gutenberg HTML.

Project Gutenberg #690 Public domain in the United States Cover source Local typographic cover created for MojiMori from public-domain source metadata

Section 8 of 10 Page 3 of 3

CHAPTER VII — SCIENCE AND ART UNDER SOCIALISM

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publication were offered at the standard rate. An author who had admirers would be able to secure their help in payment. An unknown author might, it is true, have to suffer a considerable loss of comfort in order to make his payment, but that would give an automatic means of eliminating those whose writing was not the result of any very profound impulse and would be by no means wholly an evil. Probably some similar method would be desirable as regards the publishing and performing of new music. What we have been suggesting will, no doubt, be objected to by orthodox Socialists, since they will find something repugnant to their principles in the whole idea of a private person paying to have certain work done. But it is a mistake to be the slave of a system, and every system, if it is applied rigidly, will entail evils which could only be avoided by some concession to the exigencies of special cases. On the whole, a wise form of Socialism might afford infinitely better opportunities for the artist and the man of science than are possible in a capitalist community, but only if the form of Socialism adopted is one which is fitted for this end by means of provisions such as we have been suggesting. 3. Possibility of Appreciation.—This condition is one which is not necessary to all who do creative work, but in the sense in which I mean it the great majority find it very nearly indispensable. I do not mean widespread public recognition, nor that ignorant, half-sincere respect which is commonly accorded to artists who have achieved success. Neither of these serves much purpose. What I mean is rather understanding, and a spontaneous feeling that things of beauty are important. In a thoroughly commercialized society, an artist is respected if he makes money, and because he makes money, but there is no genuine respect for the works of art by which his money has been made. A millionaire whose fortune has been made in button-hooks or chewing-gum is regarded with awe, but none of this feeling is bestowed on the articles from which his wealth is derived. In a society which measures all things by money the same tends to be true of the artist. If he has become rich he is respected, though of course less than the millionaire, but his pictures or books or music are regarded as the chewing-gum or the button- hooks are regarded, merely as a means to money. In such an atmosphere it is very difficult for the artist to preserve his creative impulse pure: either he is contaminated by his surroundings, or he becomes embittered through lack of appreciation for the object of his endeavor. It is not appreciation of the artist that is necessary so much as appreciation of the art. It is difficult for an artist to live in an environment in which everything is judged by its utility, rather than by its intrinsic quality. The whole side of life of which art is the flower requires something which may be called disinterestedness, a capacity for direct enjoyment without thought of tomorrow's problems and difficulties. When people are amused by a joke they do not need to be persuaded that it will serve some important purpose. The same kind of direct pleasure is involved in any genuine appreciation of art. The struggle for life, the serious work of a trade or profession, is apt to make people too solemn for jokes and too pre-occupied for art. The easing of the struggle, the diminution in the hours of work, and the lightening of the burden of existence, which would result from a better economic system, could hardly fail to increase the joy of life and the vital energy, available for sheer delight in the world. And if this were achieved there would inevitably be more spontaneous pleasure in beautiful things, and more enjoyment of the work of artists. But none of these good results are to be expected from the mere removal of poverty: they all require also a diffused sense of freedom, and the absence of that feeling of oppression by a vast machine which now weighs down the individual spirit. I do not think State Socialism can give this sense of freedom, but some other forms of Socialism, which have absorbed what is true in Anarchist teaching, can give it to a degree of which capitalism is wholly incapable. A general sense of progress and achievement is an immense stimulus to all forms of creative work. For this reason, a great deal will depend, not only in material ways, upon the question whether methods of production in industry and agriculture become stereotyped or continue to change rapidly as they have done during the last hundred years. Improved methods of production will be much more obviously than now to the interest of the community at large, when what every man receives is his due share of the total produce of labor. But there will probably not be any individuals with the same direct and intense interest in technical improvements as now belongs to the capitalist in manufacture. If the natural conservatism of the workers is not to prove stronger than their interest in increasing production, it will be necessary that, when better methods are introduced by the workers in any industry, part at least of the benefit should be allowed for a time to be retained by them. If this is done, it may be presumed that each Guild will be continually seeking for new processes or inventions, and will value those technical parts of scientific research which are useful for this purpose. With every improvement, the question will arise whether it is to be used to give more leisure or to increase the dividend of commodities. Where there is so much more leisure than there is now, there will be many more people with a knowledge of science or an understanding of art. The artist or scientific investigator will be far less cut off than he is at present from the average citizen, and this will almost inevitably be a stimulus to his creative energy. I think we may fairly conclude that, from the point of view of all three requisites for art and science, namely, training, freedom and appreciation, State Socialism would largely fail to remove existing evils and would introduce new evils of its own; but Guild Socialism, or even Syndicalism, if it adopted a liberal policy toward those who preferred to work less than the usual number of hours at recognized occupations, might be immeasurably preferable to anything that is possible under the rule of capitalism. There are dangers, but they will all vanish if the importance of liberty is adequately acknowledged. In this as in nearly everything else, the road to all that is best is the road of freedom.

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