“The temperament to which Art appeals … is the temperament of receptivity. That is all.
If a man approaches a work of art with any desire to exercise authority over it and the artist, he approaches it in such a spirit that he cannot receive any artistic impression from it at all. The work of art is to dominate the spectator: the spectator is not to dominate the work of art. The spectator is to be receptive. He is to be the violin on which the master is to play. And the more completely he can suppress his own silly views, his own foolish prejudices, his own absurd ideas of what Art should be, or should not be, the more likely he is to understand and appreciate the work of art in question.”
“An educated person’s ideas of Art are drawn naturally from what Art has been, whereas the new work of art is beautiful by being what Art has never been; and to measure it by the standard of the past is to measure it by a standard on the rejection of which its real perfection depends. A temperament capable of receiving, through an imaginative medium, and under imaginative conditions, new and beautiful impressions, is the only temperament that can appreciate a work of art.”
“No spectator of art needs a more perfect mood of receptivity than the spectator of a play. The moment he seeks to exercise authority he becomes the avowed enemy of Art and of himself. Art does not mind. It is he who suffers.”
Wild proposes that individualism offers the most fertile ground for the seed of art:
Individualism does not come to man with any sickly cant about duty, which merely means doing what other people want because they want it; or any hideous cant about self-sacrifice, which is merely a survival of savage mutilation. In fact, it does not come to man with any claims upon him at all. It comes naturally and inevitably out of man. It is the point to which all development tends. It is the differentiation to which all organisms grow. It is the perfection that is inherent in every mode of life, and towards which every mode of life quickens. And so Individualism exercises no compulsion over man. On the contrary, it says to man that he should suffer no compulsion to be exercised over him. It does not try to force people to be good. It knows that people are good when they are let alone. Man will develop Individualism out of himself. Man is now so developing Individualism. To ask whether Individualism is practical is like asking whether Evolution is practical. Evolution is the law of life, and there is no evolution except towards Individualism. Where this tendency is not expressed, it is a case of artificially-arrested growth, or of disease, or of death.
What is true about Art is true about Life.
This Individualism, Wilde argues, ignites the most generous glow of the human spirit and cultivates the highest potential of the human soul:
What man has sought for is, indeed, neither pain nor pleasure, but simply Life. Man has sought to live intensely, fully, perfectly.When he can do so without exercising restraint on others, or suffering it ever, and his activities are all pleasurable to him, he will be saner, healthier, more civilized, more himself. Pleasure is Nature’s test, her sign of approval. When man is happy, he is in harmony with himself and his environment.
Wilde’s, 1891 essay The Soul of Man Under Socialism (public library;free download), written mere months after The Picture of Dorian Gray was published, explores the social structures of art with equal parts libertarianism, anarchism, and genuine concern — but more than a political treatise, at the heart of it is a profound meditation on what it means to create, to live, and to be human. (via BrainPickings)