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

Strangely enough, it was priest-ridden Spain that all through the sixteenth and seventeenth centuries led the van of revolt against the rules and precepts of the grammarians. While Torquato Tasso remained the miserable slave of grammarians unworthy to lick the dust from his feet, Lope de Vega slyly remarked that when he wrote his comedies, he locked up the givers of precepts with six keys, that they might not reproach him. J.B. Marino declared that he knew the rules better than all the pedants in the world; “but the true rule is to know when to break the rules, in accordance with the manners of the day and the taste of the age.” Among the most acute writers of the end of the seventeenth century is to be mentioned Gravina, who well understood that a work of art must be its own criterion, and said so clearly when praising a contemporary for a work which did not enter any one of the admitted categories.

Unfortunately Gravina did not clearly formulate his views.

France of the eighteenth century produced several writers like Du Bos, who declared that men will always prefer the poems that move them, to those composed according to rule. La Motte combated the unities of place and time, and Batteux showed himself liberal in respect to rules.

Voltaire, although he opposed La Motte and described the three unities as the three great laws of good sense, was also capable of declaring that all styles but the tiresome are good, and that the best style is that which is best used. In England we find Home in his Elements of Criticism deriding the critics for asserting that there must be a precise criterion for distinguishing epic poetry from all other forms of composition. Literary compositions, he held, melt into one another, just like colours.

The literary movement of the end of the eighteenth and the beginning of the nineteenth centuries attacked rules of all sorts. We will not dwell upon the many encounters of these periods, nor record the names of those that conquered gloriously, or their excesses. In France the preface to the Cromwell of V. Hugo (1827), in Italy the Lettera semiseria di Grisostomo, were clarions of rebellion. The principle first laid down by A.W. Schlegel, that the form of compositions must be organic and not mechanic, resulting from the nature of the subject, from its internal development not from an external stamp, was enunciated in Italy. Art is always a whole, a synthesis.

But it would be altogether wrong to believe that this empirical defeat of the styles and rules implied their final defeat in philosophy. Even writers who were capable of dispensing with prejudice when judging works of art, once they spoke as philosophers, were apt to reassume their belief in those categories which, empirically, they had discarded. The spectacle of these literary or rhetorical categories, raised by German philosophers to the honours of philosophical deduction, is even more amusing than that which afforded amusement to Home. The truth is that they were unable to free their aesthetic systems of intellectualism, although they proclaimed the empire of the mystic idea. Schelling (1803) at the beginning, Hartmann (1890) at the end of the century, furnish a good example of this head and tail.

Schelling, in his Philosophy of Art, declares that, historically speaking, the first place in the styles of poetry is due to Epic, but, scientifically speaking, it falls to Lyric. In truth, if poetry be the representation of the infinite in the finite, then lyric poetry, in which prevails the finite, must be its first moment. Lyric poetry corresponds to the first of the ideal series, to reflection, to knowledge; epic poetry corresponds to the second power, to action. This philosopher finally proceeds to the unification of epic and lyric poetry, and from their union he deduces the dramatic form, which is in his view “the supreme incarnation of the essence and of the in-se of every art.”

With Hartmann, poetry is divided into poetry of declamation and poetry for reading. The first is subdivided into Epic, Lyric, and Dramatic; the Epic is divided into plastic epic, proper epic, pictorial epic, and lyrical epic; Lyric is divided into epical lyric, lyrical lyric, and dramatic lyric; Dramatic is divided into lyrical dramatic, epical dramatic, and dramatical dramatic. The second (readable poetry) is divided into poetry which is chiefly epical, lyrical, and dramatic, with the tertiary division of moving, comic, tragic, and humoristic; and poetry which can all be read at once, like a short story, or that requires several sittings, like a romance.

These brief extracts show of what dialectic pirouettes and sublime trivialities even philosophers are capable, when they begin to treat of the Aesthetic of the tragic, comic, and humorous. Such false distinctions are still taught in the schools of France and Germany, and we find a French critic like Ferdinand Bruneti�re devoting a whole volume to the evolution of literary styles or classes, which he really believes to constitute literary history. This prejudice, less frankly stated, still infests many histories of literature, even in Italy.

We believe that the falsity of these rules of classes should be scientifically demonstrated. In our Theory of Aesthetic we have shown how we believe that it should be demonstrated.

The proof of the theory of the limits of the arts has been credited to Lessing, but his merit should rather be limited to having been the first to draw attention to the problem. His solution was false, but his achievement nevertheless great, in having posed the question clearly. No one before him, in antiquity, in the Middle Age, or in modern times, had seriously asked: What is the value of the distinctions between the arts?

Which of them comes first? Which second? Leonardo da Vinci had declared his personal predilection for painting, Michael Angelo for sculpture, but the question had not been philosophically treated before Lessing.

Lessing’s attention was drawn to the problem, through his desire to disprove the assertions of Spence and of the Comte de Caylus, the former in respect to the close union between poetry and painting in antiquity, the latter as believing that a poem was good according to the number of subjects which it should afford the painter. Lessing argued thus: Painting manifests itself in space, poetry in time: the mode of manifestation of painting is through objects which coexist, that of poetry through objects which are consecutive. The objects which coexist, or whose parts are coexistent, are called bodies. Bodies, then, owing to their visibility, are the true objects of painting. Objects which are consecutive, or whose parts are consecutive, are called, in general, actions. Actions, then, are the suitable object of poetry. He admitted that painting might represent an action, but only by means of bodies which make allusion to it; that poetry can represent bodies, but only by means of actions. Returning to this theme, he explained the action or movement in painting as added by our imagination. Lessing was greatly preoccupied with the naturalness and the unnaturalness of signs, which is tantamount to saying that he believed each art to be strictly limited to certain modes of expression, which are only overstepped at the cost of coherency. In the appendix to his Laoco�n, he quotes Plutarch as saying that one should not chop wood with a key, or open the door with an axe. He who should do so would not only be spoiling both those utensils, but would also be depriving himself of the utility of both. He believed that this applied to the arts.

The number of philosophers and writers who have attempted empirical classifications of the arts is enormous: it ranges in comparatively recent times from Lessing, by way of Schasler, Solger, and Hartmann, to Richard Wagner, whose theory of the combination of the arts was first mooted in the eighteenth century.

Lotze, while reflecting upon the futility of these attempts, himself adopts a method, which he says is the most “convenient,” and thereby incurs the censure of Schasler. This method is in fact suitable for his studies in botany and in zoology, but useless for the philosophy of the spirit. Thus both these thinkers maintained Lessing’s wrong principle as to the constancy, the limits, and the peculiar nature of each art.

Who among aestheticians has criticized this principle? Aristotle had a glimpse of the truth, when he refused to admit that the distinction between prose and poetry lay in an external fact, the metre.

Schleiermacher seems to have been the only one who was thoroughly aware of the difficulty of the problem. In analysis, indeed, he goes so far as to say that what the arts have in common is not the external fact, which is an element of diversity; and connecting such an observation as this with his clear distinction between art and what is called technique, we might argue that Schleiermacher looked upon the divisions between the arts as non-existent. But he does not make this logical inference, and his thought upon the problem continues to be wavering and undecided.

Nebulous, uncertain, and contradictory as is this portion of Schleiermacher’s theory, he has yet the great merit of having doubted Lessing’s theory, and of having asked himself by what right are special arts held to be distinct in art.

Schleiermacher absolutely denied the existence of a beautiful in nature, and praised Hegel for having sustained this negation. Hegel did not really deserve this praise, as his negation was rather verbal than effective; but the importance of this thesis as stated by Schleiermacher is very great, in so far as he denied the existence of an objective natural beauty not produced by the spirit of man. This theory of the beautiful in nature, when taken in a metaphysical sense, does not constitute an error peculiar to aesthetic science. It forms part of a fallacious general theory, which can be criticized together with its metaphysic.

The theory of aesthetic senses, that is, of certain superior senses, such as sight and hearing, being the only ones for which aesthetic impressions exist, was debated as early as Plato. The Hippias major

contains a discussion upon this theme, which Socrates leads to the conclusion that there exist beautiful things, which do not reach us through impressions of eye or ear. But further than this, there exist things which please the eye, but not the ear, and vice versa; therefore the reason of beauty cannot be visibility or audibility, but something different from, yet common to both. Perhaps this question has never been so acutely and so seriously dealt with as in this Platonic dialogue. Home, Herder, Hegel, Diderot, Rousseau, Berkeley, all dealt with the problem, but in a more or less arbitrary manner. Herder, for instance, includes touch with the higher aesthetic senses, but Hegel removes it, as having immediate contact with matter as such, and with its immediate sensible qualities.

Schleiermacher, with his wonted penetration, saw that the problem was not to be solved so easily. He refuted the distinction between clear and confused senses. He held that the superiority of sight and hearing over the other senses lay in their free activity, in their capacity of an activity proceeding from within, and able to create forms and sounds without receiving external impressions. The eye and the ear are not merely means of perception, for in that case there could be no visual and no auditive arts. They are also functions of voluntary movements, which fill the domain of the senses. Schleiermacher, however, considered that the difference was rather one of quantity, and that we should