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

Hegel’s Vorlesungen �ber Aesthetik amounts therefore to a funeral oration upon Art.

Romanticism and metaphysical idealism had placed art, sometimes above the clouds, sometimes within them, and believing that it was no good there to anyone, Hegel provided a decent burial.

Nothing perhaps better shows how well this fantastic conception of art suited the spirit of the time, than the fact that even the adversaries of Schelling, Solger, and Hegel either admit agreement with that conception, or find themselves involuntarily in agreement with it, while believing themselves to be very remote. They too are mystical aestheticians.

We all know with what virulence Arthur Schopenhauer attacked and combated Schelling, Hegel, and all the “charlatans” and “professors” who had divided among them the inheritance of Kant.

Well, Schopenhauer’s theory of art starts, just like Hegel’s, from the difference between the abstract and the concrete concept, which is the Idea. Schopenhauer’s ideas are the Platonic ideas, although in the form which he gives to them, they have a nearer resemblance to the Ideas of Schelling than to the Idea of Hegel.

Schopenhauer takes much trouble to differentiate his ideas from intellectual concepts. He calls the idea “unity which has become plurality by means of space and time. It is the form of our intuitive apperception. The concept is, on the contrary, unity extracted from plurality by means of abstraction, which is an act of our intellect. The concept may be called unitas post rem, the idea unitas ante rem.”

The origin of this psychological illusion of the ideas or types of things is always to be found in the changing of the empirical classifications created for their own purposes by the natural sciences, into living realities.

Thus each art has for its sphere a special category of ideas.

Architecture and its derivatives, gardening (and strange to say landscape-painting is included with it), sculpture and animal-painting, historical painting and the higher forms of sculpture, etc., all possess their special ideas. Poetry’s chief object is man as idea. Music, on the contrary, does not belong to the hierarchy of the other arts. Schelling had looked upon music as expressing the rhythm of the universe itself.

For Schopenhauer, music does not express ideas, but the Will itself.

The analogies between music and the world, between fundamental notes and crude matter, between the scale and the scale of species, between melody and conscious will, lead Schopenhauer to the conclusion that music is not only an arithmetic, as it appeared to Leibnitz, but indeed a metaphysic: “the occult metaphysical exercise of a soul not knowing that it philosophizes.”

For Schopenhauer, as for his idealist predecessors, art is beatific. It is the flower of life; he who is plunged in artistic contemplation ceases to be an individual; he is the conscious subject, pure, freed from will, from pain, and from time.

Yet in Schopenhauer’s system exist elements for a better and a more profound treatment of the problem of art. He could sometimes show himself to be a lucid and acute analyst. For instance, he continually remarks that the categories of space and time are not applicable to art, but only the general form of representation. He might have deduced from this that art is the most immediate, not the most lofty grade of consciousness, since it precedes even the ordinary perceptions of space and time. Vico had already observed that this freeing oneself from ordinary perception, this dwelling in imagination, does not really mean an ascent to the level of the Platonic Ideas, but, on the contrary, a redescending to the sphere of immediate intuition, a return to childhood.

On the other hand, Schopenhauer had begun to submit the Kantian categories to impartial criticism, and finding the two forms of intuition insufficient, added a third, causality.

He also drew comparisons between art and history, and was more successful here than the idealist excogitators of a philosophy of history. Schopenhauer rightly saw that history was irreducible to concepts, that it is the contemplation of the individual, and therefore not a science. Having proceeded thus far, he might have gone further, and realized that the material of history is always the particular in its particularity, that of art what is and always is identical. But he preferred to execute a variation on the general motive that was in fashion at this time.

The fashion of the day! It rules in philosophy as elsewhere, and we are now about to see the most rigid and arid of analysts, the leader of the so-called realist school, or school of exact science in Germany in the nineteenth century, plunge headlong into aesthetic mysticism.

G.F. Herbart (1813) begins his Aesthetic by freeing it from the discredit attaching to Metaphysic and to Psychology. He declares that the only true way of understanding art is to study particular examples of the beautiful and to note what they reveal as to its essence.

We shall now see what came of Herbart’s analysis of these examples of beauty, and how far he succeeded in remaining free of Metaphysic.

For Herbart, beauty consists of relations. The science of Aesthetic consists of an enumeration of all the fundamental relations between colours, lines, tones, thoughts, and will. But for him these relations are not empirical or physiological. They cannot therefore be studied in a laboratory, because thought and the will form part of them, and these belong as much to Ethics as to the external world. But Herbart explicitly states that no true beauty is sensible, although sensation may and does often precede and follow the intuition of beauty. There is a profound distinction between the beautiful and the agreeable or pleasant: the latter does not require a representation, while the former consists in representations of relations, which are immediately followed by a judgment expressing unconditioned approval. Thus the merely pleasurable becomes more and more indifferent, but the beautiful appears always as of more and more permanent value. The judgment of taste is universal, eternal, immutable. The complete representation of the same relations always carries with it the same judgment. For Herbart, aesthetic judgments are the general class containing the subclass of ethical judgments. The five ethical ideas, of internal liberty, of perfection, of benevolence, of equity, and of justice, are five aesthetic ideas; or better, they are aesthetic concepts applied to the will in its relations.

Herbart looked upon art as a complex fact, composed of an external element possessing logical or psychological value, the content, and of a true aesthetic element, which is the form. Entertainment, instruction, and pleasure of all sorts are mingled with the beautiful, in order to obtain favour for the work in question. The aesthetic judgment, calm and serene in itself, may be accompanied by all sorts of psychic emotions, foreign to it. But the content is always transitory, relative, subject to moral laws, and judged by them. The form alone is perennial, absolute, and free. The true catharsis can only be effected by separating the form from the content. Concrete art may be the sum of two values, but the aesthetic fact is form alone.

For those capable of penetrating beneath appearances, the aesthetic doctrines of Herbart and of Kant will appear very similar. Herbart is notable as insisting, in the manner of Kant, on the distinction between free and adherent beauty (or adornment as sensuous stimulant), on the existence of pure beauty, object of necessary and universal judgments, and on a certain mingling of ethical with his aesthetic theory. Herbart, indeed, called himself “a Kantian, but of the year 1828.” Kant’s aesthetic theory, though it be full of errors, yet is rich in fruitful suggestions. Kant belongs to a period when philosophy is still young and pliant. Herbart came later, and is dry and one-sided. The romantics and the metaphysical idealists had unified the theory of the beautiful and of art. Herbart restored the old duality and mechanism, and gave us an absurd, unfruitful form of mysticism, void of all artistic inspiration.

Herbart may be said to have taken all there was of false in the thought of Kant and to have made it into a system.

The beginning of the nineteenth century in Germany is notable for the great number of philosophical theories and of counter-theories, broached and rapidly discussed, before being discarded. None of the most prominent names in the period belong to philosophers of first-rate importance, though they made so much stir in their day.

The thought of Friedrich Schleiermacher was obscured and misunderstood amid those crowding mediocrities; yet it is perhaps the most interesting and the most noteworthy of the period.

Schleiermacher looked upon Aesthetic as an altogether modern form of thought. He perceived a profound difference between the “Poetics” of Aristotle, not yet freed from empirical precepts, and the tentative of Baumgarten in the eighteenth century. He praised Kant as having been the first to include Aesthetic among the philosophical disciplines. He admitted that with Hegel it had attained to the highest pinnacle, being connected with religion and with philosophy, and almost placed upon their level.

But he was dissatisfied with the absurdity of the attempt made by the followers of Baumgarten to construct a science or theory of sensuous pleasure. He disapproved of Kant’s view of taste as being the principle of Aesthetic, of Fichte’s art as moral teaching, and of the vague conception of the beautiful as the centre of Aesthetic.

He approved of Schiller’s marking of the moment of spontaneity in productive art, and he praised Schelling for having drawn attention to the figurative arts, as being less liable than poetry to be diverted to false and illusory moralistic ends. Before he begins the study of the place due to the artistic activity in Ethic, he carefully excludes from the study of Aesthetic all practical rules (which, being empirical, are incapable of scientific demonstration).

For Schleiermacher, the sphere of Ethic included the whole Philosophy of the Spirit, in addition to morality. These are the two forms of human activity—that which, like Logic, is the same in all men, and is called activity of identity, and the activity of difference or individuality.

There are activities which, like art, are internal or immanent and individual, and others which are external or practical. The true work of art is the internal picture. Measure is what differentiates the artist’s portrayal of anger on the stage and the anger of a really angry man. Truth is not sought in poetry, or if it be sought there, it is truth of an altogether different kind. The truth of poetry lies in coherent presentation. Likeness to a model does not compose the merit of a picture. Not the smallest amount of knowledge comes from art, which expresses only the truth of a particular consciousness. Art has for its field the immediate consciousness of self, which must be carefully distinguished from the thought of the Ego. This last is the consciousness of identity in the diversity of moments as they pass; the immediate consciousness of self is the diversity itself of the moments, of which we should be aware, for life is nothing but the development of consciousness. In this field, art has sometimes been confused with two facts which accompany it there: these are sentient consciousness (that is, the feelings of pleasure and of pain) and religion. Schleiermacher here alludes to the sensualistic aestheticians of the eighteenth century, and to Hegel, who had almost identified art and religion. He refutes both points of view by pointing out that sentient pleasure and religious sentiment, however different they may be from other points of view, are yet both determined by an objective