432
Today, under the pressure of
events, we are obliged to transport
that tension into our lives likewise.
This is why so many artists, bend–
ing under the burden, take refuge
in the ivory tower or conversely in
the social church. But, as for me,
I see in this a like act of resigna–
tion. We must simultaneously
serve suffering and beauty. The
long patience, the strength, the se–
cret cunning such service calls for
are the virtues that establish the
very renascence we need.
One word more. This undertak–
ing, I know, cannot be accom–
plished without dangers and bit–
terness. We must accept the dan–
gers: the era of seated artists is
over. But we must reject the bit–
terness. One of the temptations of
the artist is to believe himself soli–
tary, and in truth he hears this
shouted at him with a certain base
delight. But this is not true. He
stands in the midst of all, in the
same rank, nei ther higher nor
lower, with all those who are work–
ing and struggling. His very voca–
tion, in the face of oppression, is
to open the prisons and to give a
voice to the sorrows and joys of
all. This is where art, against its
enemies, justifies itself by proving
precisely that it is no one's enemy.
By itself art could probably not
produce the renascence which
im–
plies justice and liberty. But with–
out it, that renascence would be
without forms and, consequently,
would be nothing. Without culture,
and the relative freedom it implies,
society, even when perfect, is but
a jungle. This is why any authen–
tic creation is a gift to the future.
(Translated from the French by Justin O'Brien)
