“At the same time the same work of art will produce different impressions on people of different levels. And people of lower levels will never receive from it what people of higher levels receive. This is real, objective art. Imagine some scientific work — a book on astronomy or chemistry. It is impossible that one person should understand it in one way and another in another way. Everyone who is sufficiently prepared and who is able to read this book will understand what the author means, and precisely as the author means it. An objective work of art is just such a book, except that it affects the emotional and not only the intellectual side of man.” “Do such works of objective art exist at the present day?” I asked. “Of course they exist,” answered G. “The great Sphinx in Egypt is such a work of art, as well as some historically known works of architecture, certain statues of gods, and many other things. There are figures of gods and of various mythological beings that can be read like books, only not with the mind but with the emotions, provided they are sufficiently developed. In the course of our travels in Central Asia we found, in the desert at the foot of the Hindu Kush, a strange figure which we thought at first was some ancient god or DEVIL. At first it produced upon us simply the impression of being a curiosity. But after a while we began to feel that this figure contained many things, a big, complete, and complex system of cosmology. And slowly, step by step, we began to decipher this system. It was in the body of the figure, in its legs, in its arms, in its head, in its eyes, in its ears; everywhere. In the whole statue there was nothing accidental, nothing without meaning. And gradually we understood the aim of the people who built this statue. We began to feel their thoughts, their feelings. Some of us thought that we saw their faces, heard their voices. At all events, we grasped the meaning of what they wanted to convey to us across thousands of years, and not only the meaning, but all the feelings and the emotions connected with it as well. That indeed was art!” Fragments: One

“Crystallization is possible on any foundation. Take for example a brigand, a really good, genuine brigand. I knew such brigands in the Caucasus. He will stand with a rifle behind a stone by the roadside for eight hours without stirring. Could you do this? All the time, mind you, a struggle is going on in him. He is thirsty and hot, and flies are biting him; but he stands still. Another is a monk; he is afraid of the DEVIL; all night long he beats his head on the floor and prays. Thus crystallization is achieved. In such ways people can generate in themselves an enormous inner strength; they can endure torture; they can get what they want. This means that there is now in them something solid, something permanent. Such people can become immortal. But what is the good of it? A man of this kind becomes an ‘immortal thing,’ although a certain amount of consciousness is sometimes preserved in him. But even this, it must be remembered, occurs very rarely.” Fragments: Two

“You must realize that each man has a definite repertoire of roles which he plays in ordinary circumstances,” said G. in this connection. “He has a role for every kind of circumstance in which he ordinarily finds himself in life; but put him into even only slightly different circumstances and he is unable to find a suitable role and for, a short time he becomes himself. The study of the roles a man plays represents a very necessary part of self-knowledge. Each man’s repertoire is very limited. And if a man simply says ‘I’ and ‘Ivan Ivanich,’ he will not see the whole of himself because ‘Ivan Ivanich’ also is not one; a man has at least five or six of them. One or two for his family, one or two at his office (one for his subordinates and another for his superiors), one for friends in a restaurant, and perhaps one who is interested in exalted ideas and likes intellectual conversation. And at different times the man is fully identified with one of them and is unable to separate himself from it. To see the roles, to know one’s repertoire, particularly to know its limitedness, is to know a great deal. But the point is that, outside his repertoire, a man feels very uncomfortable should something push him if only temporarily out of his rut, and he tries his hardest to return to any one of his usual roles. Directly he falls back into the rut everything at once goes smoothly again and the feeling of awkwardness and tension disappears. This is how it is in life; but in the work, in order to observe oneself, one must become reconciled to this awkwardness and tension and to the feeling of discomfort and helplessness. Only by experiencing this discomfort can a man really observe himself. And it is clear why this is so. When a man is not playing any of his usual roles, when he cannot find a suitable role in his repertoire, he feels that he is undressed. He is cold and ashamed and wants to run away from everybody. But the question arises: What does he want? A quiet life or to work on himself? If he wants a quiet life, he must certainly first of all never move out of his repertoire. In his usual roles he feels comfortable and at peace. But if he wants to work on himself, he must destroy his peace. To have them both together is in no way possible. A man must make a choice. But when choosing the result is very often deceit, that is to say, a man tries to deceive himself. In words he chooses work but in reality he does not want to lose his peace. The result is that he sits between two stools. This is the most uncomfortable position of all. He does no work at all and he gets no comfort whatever. But it is very difficult for a man to decide to throw everything to the DEVIL and begin real work. And why is it difficult? Principally because his life is too easy and even if he considers it bad he is already accustomed to it. It is better for it to be bad, yet known. But here there is something new and unknown. He does not even know whether any result can be got from it or not. And besides, the most difficult thing here is that it is necessary to obey someone, to submit to someone. If a man could invent difficulties and sacrifices for himself, he would sometimes go very far. But the point here is that this is not possible. It is necessary to obey another or to follow the direction of general work, the control of which can belong only to one person. Such submission is the most difficult thing that there can be for a man who thinks that he is capable of deciding anything or of doing anything. Of course, when he gets rid of these fantasies and sees what he really is, the difficulty disappears. This, however, can only take place in the course of work. But to begin to work and particularly to continue to work is very difficult and it is difficult because life runs too smoothly.” Fragments: Twelve