2.

          An introduction to Tolstoy's 'expression-theory'

          In her book "Aesthetics"¹ Anne Sheppard predominantly compares Tolstoy with Plato sole because of his opinions concerning art. In his book "What is art?" Tolstoy introduces his 'expression theory' of art. In this book Tolstoy posits his strong (professional) conviction that art is uniquely made possible by the human capacity to infect other people with the same emotion, that one experiences, or vice versa to be infected by emotions others experience. An artist can by way of expressing his emotions through his art communicate at a very direct level with his audience. The so-called 'aesthetic experience' is no intellectual activity but manifests itself in the domain of our emotions that influence and shape us in the most direct way without any rational operation . The criteria for the value of art Tolstoy considers by judging the nature of the feelings to be transmitted, while the degree of it's infectiousness is to be related to specific actual form at which the art is shaped. Art that expresses emotions such as charity, the brotherhood of mankind etc. is judged positively, while he condemns art that transfers feelings such as pride and sexual obsessions. The degree of contagiousness is itself determined by three specific factors: individuality, clearness and sincerity. In this manner the aesthetic and the moral are in the deepest sense indissoluble interconnected with each other; the truly aesthetic experience consists of receiving the morally correct ethical emotion.
          Sheppard signals a remarkable comparison between Plato's opinion concerning art and Tolstoy's 'expression-theory' of art. She refers to passages in Plato's Io dialogue that seem to point to the contagious characteristics of art in transferring emotions. Other passages from the Politeia reveal the relation between art and one's moral education. Imitation of morally bad personalities such as was done by his contemporary poets of tragedies etc., had it's effect on one's mental and emotional state of being. Both Tolstoy and Plato alike stress the fact that the emotional impact of an expression by art produces its moral implication. However Tolstoy appears to appreciate morally valuable emotions, while Plato admires morally valuable personalities and prefers them to be imitated. The overall impression one get analysing both authors is that both perceive and stress the strong bond between the moral and the aesthetic. It should be therefore no surprise that there is very view art, which can pass their standards. Both thinkers have been frequently accused in the past because of their low esteem of art.
          In his book "What is art?" Tolstoy has situated the phenomenon 'art' in a wider context. He clearly saw a structural kinship in art, science and religious perception, and he relates this abundantly plain with kindred convictions of great classical philosophers like Plato and Aristotle. That's why it is quite possible to commence an investigation at the structural resemblance between Tolstoy and Plato, by comparing their ideas about the coherence of art, science and the religious perception.
          Any non superficial reader of "What is art?" will be made very clear by Tolstoy that he considers 'religious perception' not as some sort of outdated superstition. He emphatically states that this 'religious perception' is one of the fundamental characteristics of human nature. He does not posit any explicit metaphysical explication, but seems to take for a fact that every human being has this spiritual receptive capacity within his recourses. This religious perception is by no means an exclusive property of any specific religious cult like for instance the Christian Church (pg. 170). Though every religious cult has its origin and owes its existence because of this religious perception within mankind. Tolstoy compares the religious perception with a river that as a thrusting and guiding force has led mankind from of old in its evolution to a greater perfection of human civilization. This religious perception has inspired mankind to continuously seek to develop further art and science. Each specific society has used its religious perception to translate "the meaning of life" in its specific terms of moral ideals and values concerning art and science (pg.64). Therefore this religious perception has been from of old been the factor, that has led human civilization to a higher level of perfection.
 
 

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Last updated April 29, 1999 author: Drs. T. J.  Kuijl ©1995-1999. Comments are welcome and can be send via e-mail (click on e-mail) Quotations of the content of this article should mention the author's name and its source. Copies of this article must leave the text unaltered including the copyright reference. Dissemination of  electronic copies is not allowed.

1. A. Sheppard, Aesthetics, Oxford 1987, pg. 138-143.