You are right in demanding that an artist approach his work consciously, but you are confusing two concepts: the solution of a problem and the correct formulation of a problem. Only the second is required of the artist.

This man, who for twenty-five years has been reading and writing about art, and in all that time has never understood anything about art, has for twenty-five years been hashing over other people's ideas about realism, naturalism and all that nonsense; for twenty-five years he has been reading and writing about what intelligent people already know and about what stupid people don't want to know--which means that for twenty-five years he's been taking nothing and making nothing out of it. And with it all, what conceit! What pretension!

No psychologist should pretend to understand what he does not understand... Only fools and charlatans know everything and understand nothing.

When you describe the miserable and unfortunate, and want to make the reader feel pity, try to be somewhat colder - that seems to give a kind of background to another's grief, against which it stands out more clearly. Whereas in your story the characters cry and you sigh. Yes, be more cold. ... The more objective you are, the stronger will be the impression you make.

Dear, sweet, unforgettable childhood!

The snow has not yet left the earth but spring is already asking to enter your heart.

Useless pursuits and conversations always about the same things absorb the better part of one's time, the better part of one's strength, and in the end there is left a life grovelling and curtailed, worthless and trivial, and there is no escaping or getting away from it—just as though one were in a madhouse or prison.