Aesthetic as Science of Expression and General Linguistic by Benedetto Croce (read the beginning after the end novel .TXT) 📕

Poetry and language are for Vico substantially identical. He finds in the origins of poetry the origins of languages and letters. He believed that the first languages consisted in mute acts or acts accompanied by bodies which had natural relations to the ideas that it was desired to signify. With great cleverness he compared these pictured languages to heraldic arms and devices, and to hieroglyphs. He observed that during the barbarism of the Middle Age, the mute language of signs must return, and we find it in the heraldry and blazonry of that epoch. Hence come three kinds of languages: divine silent languages, heroic emblematic languages, and speech languages.

Formal logic could never satisfy a man with such revolutionary ideas upon poetry and language. He describes the Aristotelian syllogism as a method which explains universals In their particulars, rather than unites particulars to obtain universals, looks upon Zeno and the sorites as a means of subtilizing rather than sharpening the intelligence, and concludes that Bacon is a great philosopher, when he advocates and illustrates induction, “which has been followed by the English to the great advantage of experimental philosophy.” Hence he proceeds to criticize mathematics, which, had hitherto always been looked upon as the type of the perfect science.

Vico is indeed a revolutionary, a pioneer. He knows very well that he is in direct opposition to all that has been thought before about poetry.

“My new principles of poetry upset all that first Plato and then Aristotle have said about the origin of poetry, all that has been said by the Patrizzi, by the Scaligers, and by the Castelvetri. I have discovered that It was through lack of human reason that poetry was born so sublime that neither the Arts, nor the Poetics, nor the Critiques could cause another equal to it to be born, I say equal, and not superior.” He goes as far as to express shame at having to report the stupidities of great philosophers upon the origin of song and verse. He shows his dislike for the Cartesian philosophy and its tendency to dry up the imagination “by denying all the faculties of the soul which come to it from the body,” and talks of his own time as of one “which freezes all the generous quality of the best poetry and thus precludes it from being understood.”

As regards grammatical forms, Vico may be described as an adherent of the great reaction of the Renaissance against scholastic verbalism and formalism. This reaction brought back as a value the experience of feeling, and afterwards with Romanticism gave its right place to the imagination. Vico, in his Scienza nuova, may be said to have been the first to draw attention to the imagination. Although he makes many luminous remarks on history and the development of poetry among the Greeks, his work is not really a history, but a science of the spirit or of the ideal. It is not the ethical, logical, or economic moment of humanity which interests him, but the imaginative moment. He discovered the creative imagination, and it may almost be said of the Scienza nuova of Vico that it is Aesthetic, the discovery of a new world, of a new mode of knowledge.

This was the contribution of the genius of Vico to the progress of humanity: he showed Aesthetic to be an autonomous activity. It remained to distinguish the science of the spirit from history, the modifications of the human spirit from the historic vicissitudes of peoples, Aesthetic from Homeric civilization.

But although Goethe, Herder, and Wolf were acquainted with the Scienza nuova, the importance of this wonderful book did not at first dawn upon the world. Wolf, in his prolegomena to Homer, thought that he was dealing merely with an ingenious speculator on Homeric themes. He did not realize that the intellectual stature of Vico far surpassed that of the most able philologists.

The fortunes of Aesthetic after Vico were very various, and the list of aestheticians who fell back into the old pedagogic definition, or elaborated the mistakes of Baumgarten, is very long. Yet with C.H.

Heydenreich in Germany and Sulzer in Switzerland we find that the truths contained in Baumgarten have begun to bear fruit. J.J. Herder (1769) was more important than these, and he placed Baumgarten upon a pedestal, though criticizing his pretension of creating an ars pulchre cogitandi

instead of a simple scientia de pulchro et pulchris philosophice cogitans. Herder admitted Baumgarten’s definition of poetry as oratio sensitiva perfecta, perfect sensitived speech, and this is probably the best definition of poetry that has ever been given. It touches the real essence of poetry and opens to thought the whole of the philosophy of the beautiful. Herder, although he does not cite Vico upon aesthetic questions, yet praises him as a philosopher. His remarks about poetry as “the maternal language of humanity, as the garden is more ancient than the cultivated field, painting than writing, song than declamation, exchange than commerce,” are replete with the spirit of the Italian philosopher.

But despite similar happy phrases, Herder is philosophically the inferior of the great Italian. He is a firm believer in the Leibnitzian law of continuity, and does not surpass the conclusions of Baumgarten.

Herder and his friend Hamann did good service as regards the philosophy of language. The French encyclopaedists, J.J. Rousseau, d’Alembert, and many others of this period, were none of them able to get free of the idea that a word is either a natural, mechanical fact, or a sign attached to a thought. The only way out of this difficulty is to look upon the imagination as itself active and expressive in verbal imagination, and language as the language of intuition, not of the intelligence. Herder talks of language as “an understanding of the soul with itself.” Thus language begins to appear, not as an arbitrary invention or a mechanical fact, but as a primitive affirmation of human activity, as a creation.

But all unconscious of the discoveries of Vico, the great mass of eighteenth century writers try their hands at every sort of solution.

The Abb� Batteux published in 1746 Les Beaux-arts r�duits a un seul principe, which is a perfect little bouquet of contradictions. The Abb�

finds himself confronted with difficulties at every turn, but with “un peu d’esprit on se tire de tout,” and when for instance he has to explain artistic enjoyment of things displeasing, he remarks that the imitation never being perfect like reality, the horror caused by reality disappears.

But the French were equalled and indeed surpassed by the English in their amateur Aesthetics. The painter Hogarth was one day reading in Italian a speech about the beauty of certain figures, attributed to Michael Angelo. This led him to imagine that the figurative arts depend upon a principle which consists of conforming to a given line. In 1745

he produced a serpentine line as frontispiece of his collection of engravings, which he described as “the line of beauty.” Thus he succeeded in exciting universal curiosity, which he proceeded to satisfy with his “Analysis of Beauty.” Here he begins by rightly combating the error of judging paintings by their subject and by the degree of their imitation, instead of by their form, which is the essential in art. He gives his definition of form, and afterwards proceeds to describe the waving lines which are beautiful and those which are not, and maintains that among them all there is but one that is really worthy to be called “the line of beauty,” and one definite serpentine line “the line of grace.” The pig, the bear, the spider, and the frog are ugly, because they do not possess serpentine lines. E. Burke, with a like assurance in his examples, was equally devoid of certainty in his general principles.

He declares that the natural properties of an object cause pleasure or pain to the imagination, but that the latter also procures pleasure from their resemblance to the original. He does not speak further of the second of these, but gives a long list of the natural properties of the sensible, beautiful object. Having concluded his list, he remarks that these are in his opinion the qualities upon which beauty depends and which are the least liable to caprice and confusion. But “comparative smallness, delicate structure, colouring vivid but not too much so,” are all mere empirical observations of no more value than those of Hogarth, with whom Burke must be classed as an aesthetician. Their works are spoken of as “classics.” Classics indeed they are, but of the sort that arrive at no conclusion.

Henry Home (Lord Kaimes) is on a level a trifle above the two just mentioned. He seeks “the true principles of the beaux-arts,” in order to transform criticism into “a rational science.” He selects facts and experience for this purpose, but in his definition of beauty, which he divides into two parts, relative and intrinsic, he is unable to explain the latter, save by a final cause, which he finds in the Almighty.

Such theories as the three above mentioned defy classification, because they are not composed by any scientific method. Their authors pass from physiological sensualism to moralism, from imitation of nature to finalism, and to transcendental mysticism, without consciousness of the incongruity of their theses, at variance each with itself.

The German, Ernest Platner, at any rate did not suffer from a like confusion of thought. He developed his researches on the lines of Hogarth, but was only able to discover a prolongation of sexual pleasure in aesthetic facts. “Where,” he exclaims, “is there any beauty that does not come from the feminine figure, the centre of all beauty? The undulating line is beautiful, because it is found in the body of woman; essentially feminine movements are beautiful; the notes of music are beautiful, when they melt into one another; a poem is beautiful, when one thought embraces another with lightness and facility.”

French sensualism shows itself quite incapable of understanding aesthetic production, and the associationism of David Hume is not more fortunate in this respect.

The Dutchman Hemsterhuis (1769) developed an ingenious theory, mingling mystical and sensualist theory with some just remarks, which afterwards, in the hands of Jacobi, became sentimentalism. Hemsterhuis believed beauty to be a phenomenon arising from the meeting by the sentimentalism, which gives multiplicity, with the internal sense, which tends to unity. Consequently the beautiful will be that which presents the greatest number of ideas in the shortest space of time. To man is denied supreme unity, but here he finds approximative unity. Hence the joy arising from the beautiful, which has some analogy with the joy of love.

With Winckelmann (1764) Platonism or Neoplatonism was vigorously renewed. The creator of the history of the figurative arts saw in the divine indifference and more than human elevation of the works of Greek sculpture a beauty which had descended from the seventh heaven and become incarnate in them. Mendelssohn, the follower of Baumgarten, had denied beauty to God: Winckelmann, the Neoplatonician, gave it back to Him. He holds that perfect beauty is to be found only in God. “The conception of human beauty becomes the more perfect in proportion as it can be thought as in agreement with the Supreme Being, who is distinguished from matter by His unity and indivisibility.” To the other characteristics of supreme beauty, Winckelmann adds “the absence of any sort of signification” (Unbezeichnung). Lines and dots cannot explain beauty, for it is not they alone which form