A General View of Positivism by Auguste Comte (learn to read books TXT) 📕

the contrary, would have been far more favourable to the fine arts, could it have continued longer. I do not speak, indeed, of its dogmas; which were so incompatible with Art, as to lead to the strange inconsistency of giving a factitious sanction to Paganism in the midst of Christianity. By holding personal and chimerical objects before us as the end of life, Monotheism discouraged all poetry, except so far as it related to our individual existence. This, however, was idealized by the mystics, whose beautiful compositions penetrated into our inmost emotions, and wanted nothing but greater perfection of form. All that Catholicism effected for Art in other respects was to secure a better position for it, as soon as the priesthood became strong enough to counteract the intellectual and moral defects of Christian doctrine. But the social life of the Middle Ages was far more aesthetic than that of antiquity. War was still the prevailing occupation; but by assuming a defensive character, it had become far more moral, and therefore more poetic. Woman had acquired a due measure of freedom; and the free development of home affections were thus no longer restricted. There was a consciousness of personal dignity hitherto unknown, and yet quite compatible with social devotion, which elevated individual life in all its aspects. All these qualities were summed up in the noble institution of Chivalry; which gave a strong stimulus to Art throughout Western Europe, and diffused it more largely than in any former period. This movement was in reality, though the fact is not recognized as it should be, the source of modern Art. The reason for its short duration is to be found in the essentially transient and provisional character of medieval society under all its aspects. By the time that its language and habits had become sufficiently stable for the aesthetic spirit to produce works of permanent value, Catholic Feudalism was already undermined by the growing force of the negative movement. The beliefs and modes of life offered for idealization were seen to be declining: and neither the poet nor his readers could feel those deep convictions which the highest purposes of Art require.

During the decline of Chivalry, Art received indirectly an additional impulse from the movement of social decomposition which has been going on rapidly for the last five centuries. In this movement all mental and social influences gradually participated. Negativism, it is true, is not the proper province of Art; but the dogmas of Christianity were so oppressive to it, that its efforts to shake off the yoke were of great service to the cause of general emancipation. Dante’s incomparable work is a striking illustration of this anomalous combination of two contradictory influences. It was a situation unfavourable for art, because every aspect of life was rapidly changing and losing its character before there was time to idealize it. Consequently the poet had to create his own field artificially from ancient history, which supplied him with those fixed and definite modes of life which he could not find around him. Thus it was that for several centuries the Classical system became the sole source of aesthetic culture; the result being that Art lost much of the originality and popularity which had previously belonged to it. That great masterpieces should have been produced at all under such unfavourable circumstances is the best proof of the spontaneous character of our aesthetic faculties. The value of the Classical system has been for some time entirely exhausted; and now that the negative movement has reached its extreme limits there only remained one service (a service of great temporary importance) for Art to render, the idealization of Doubt itself. Such a phase of course admitted of but short duration. The best examples of it are the works of Byron and Goethe, the principle value of which has been, that they have initiated Protestant countries into the unrestricted freedom of thought which emanated originally from French philosophy.

Thus history shows that the aesthetic development of Humanity has been the result of spontaneous tendencies rather than of systematic guidance. The mental conditions most favourable to it have never been fulfilled simultaneously with its social conditions. At the present time both are alike wanting. Yet there is no evidence that our aesthetic faculties are on the decline. Not only has the growth of art proceeded in spite of every obstacle, but it has become more thoroughly incorporated into the life of ordinary men. In ancient times it was cultivated only by a small class. So little was it recognized as a component part of social organization, that it did not even enter into men’s imaginary visions of a future existence. But in the Middle Ages the simplest minds were encouraged to cultivate the sense of beauty as one of the purest delights of human life; and it was held out as the principal occupation of the celestial state. From that time all classes of European society have taken an increasing interest in these elevating pleasures, beginning with poetry, and thence passing to the special arts, especially music, the most social of all. The influence of artists, even when they had no real claim to the title, has been on the increase; until at last the anarchy of the present time has introduced them to political power, for which they are utterly unqualified.

All this would seem to show that the greatest epoch of Art has yet to come. In this respect, as in every other, the Past has but supplied the necessary materials for future reconstruction. What we have seen as yet is but a spontaneous and immature prelude; but in the manhood of our moral and mental powers, the culture of Art will proceed on principles as systematic as the culture of Science and of Industry, both of which at present are similarly devoid of organization. The regeneration of society will be incomplete until Art has been fully incorporated into the modern order. And to this result all our antecedents