Aesthetic as Science of Expression and General Linguistic Part 3

We pardon thinkers and men of science their literary mediocrity. The fragments console us for the failure of the whole, for it is far more easy to recover the well-arranged composition from the fragmentary work of genius than to achieve the discovery of genius. But how can we pardon mediocre expression in pure artists? _Mediocribus esse poetis non di, non homines, non concessere columnae_. The poet or painter who lacks form, lacks everything, because he lacks _himself_. Poetical material permeates the Soul of all: the expression alone, that is to say, the form, makes the poet. And here appears the truth of the thesis which denies to art all content, as content being understood just the intellectual concept. In this sense, when we take "content" as equal to "concept" it is most true, not only that art does not consist of content, but also that _it has no content_.

In the same way the distinction between _poetry and prose_ cannot be justified, save in that of art and science. It was seen in antiquity that such distinction could not be founded on external elements, such as rhythm and metre, or on the freedom or the limitation of the form; that it was, on the contrary, altogether internal. Poetry is the language of sentiment; prose of the intellect; but since the intellect is also sentiment, in its concretion and reality, so all prose has a poetical side.

[Sidenote] _The relation of first and second degree._

The relation between intuitive knowledge or expression, and intellectual knowledge or concept, between art and science, poetry and prose, cannot be otherwise defined than by saying that it is one of _double degree_.

The first degree is the expression, the second the concept: the first can exist without the second, but the second cannot exist without the first. There exists poetry without prose, but not prose without poetry.

Expression, indeed, is the first affirmation of human activity. Poetry is "the maternal language of the human race"; the first men "were by nature sublime poets." We also admit this in another way, when we observe that the pa.s.sage from soul to mind, from animal to human activity, is effected by means of language. And this should be said of intuition or expression in general. But to us it appears somewhat inaccurate to define language or expression as an _intermediate_ link between nature and humanity, as though it were a mixture of the one and of the other. Where humanity appears, the rest has already disappeared; the man who expresses himself, certainly emerges from the state of nature, but he really does emerge: he does not stand half within and half without, as the use of the phrase "intermediate link" would imply.

[Sidenote] _Inexistence of other forms of knowledge._

The cognitive intellect has no form other than these two. Expression and concept exhaust it completely. The whole speculative life of man is spent in pa.s.sing from one to the other and back again.

[Sidenote] _History. Its ident.i.ty with and difference from art._

_Historicity_ is incorrectly held to be a third theoretical form.

History is not form, but content: as form, it is nothing but intuition or aesthetic fact. History does not seek for laws nor form concepts; it employs neither induction nor deduction; it is directed _ad narrandum, non ad demonstrandum_; it does not construct universals and abstractions, but posits intuitions. The this, the that, the _individuum omni modo determinatum_, is its kingdom, as it is the kingdom of art.

History, therefore, is included under the universal concept of art.

Faced with this proposition and with the impossibility of conceiving a third mode of knowledge, objections have been brought forward which would lead to the affiliation of history to intellective or scientific knowledge. The greater portion of these objections is dominated by the prejudice that in refusing to history the character of conceptual science, something of its value and dignity has been taken from it. This really arises from a false idea of art, conceived, not as an essential theoretic function, but as an amus.e.m.e.nt, a superfluity, a frivolity.

Without reopening a long debate, which so far as we are concerned, is finally closed, we will mention here one sophism which has been and still is widely repeated. It is intended to show the logical and scientific nature of history. The sophism consists in admitting that historical knowledge has for its object the individual; but not the representation, it is added, so much as the concept of the individual.

From this it is argued that history is also a logical or scientific form of knowledge. History, in fact, should elaborate the concept of a personage such as Charlemagne or Napoleon; of an epoch, like the Renaissance or the Reformation; of an event, such as the French Revolution and the Unification of Italy. This it is held to do in the same way as Geometry elaborates the concepts of spatial form, or Aesthetic those of expression. But all this is untrue. History cannot do otherwise than represent Napoleon and Charlemagne, the Renaissance and the Reformation, the French Revolution and the Unification of Italy as individual facts with their individual physiognomy: that is, in the same way as logicians state, that one cannot have a concept of an individual, but only a representation. The so-called concept of the individual is always a universal or general concept, full of details, very rich, if you will, but however rich it be, yet incapable of attaining to that individuality, to which historical knowledge, as aesthetic knowledge, alone attains.

Let us rather show how the content of history comes to be distinguished from that of art. The distinction is secondary. Its origin will be found in what has already been observed as to the ideal character of the intuition or first perception, in which all is real and therefore nothing is real. The mind forms the concepts of external and internal at a later stage, as it does those of what has happened and of what is desired, of object and subject, and the like. Thus it distinguishes historical from non-historical intuition, the _real_ from the _unreal_, real fancy from pure fancy. Even internal facts, what is desired and imagined, castles in the air, and countries of c.o.c.kagne, have their reality. The soul, too, has its history. His illusions form part of the biography of every individual. But the history of an individual soul is history, because in it is always active the distinction between the real and the unreal, even when the real is the illusions themselves. But these distinctive concepts do not appear in history as do scientific concepts, but rather like those that we have seen dissolved and melted in the aesthetic intuitions, although they stand out in history in an altogether new relief. History does not construct the concepts of the real and unreal, but makes use of them. History, in fact, is not the theory of history. Mere conceptual a.n.a.lysis is of no use in realizing whether an event in our lives were real or imaginary. It is necessary to reproduce the intuitions in the mind in the most complete form, as they were at the moment of production, in order to recognize the content.

Historicity is distinguished in the concrete from pure imagination only as one intuition is distinguished from another: in the memory.

[Sidenote] _Historical criticism._ [Sidenote] _Historical scepticism._

Where this is not possible, owing to the delicate and fleeting shades between the real and unreal intuitions, which confuse the one with the other, we must either renounce, for the time at least, the knowledge of what really happened (and this we often do), or we must fall back upon conjecture, verisimilitude, probability. The principle of verisimilitude and of probability dominates in fact all historical criticism.

Examination of the sources and of authority is directed toward establis.h.i.+ng the most credible evidence. And what is the most credible evidence, save that of the best observers, that is, of those who best remember and (be it understood) have not desired to falsify, nor had interest in falsifying the truth of things? From this it follows that intellectual scepticism finds it easy to deny the certainty of any history, for the certainty of history is never that of science.

Historical certainty is composed of memory and of authority, not of a.n.a.lyses and of demonstration. To speak of historical induction or demonstration, is to make a metaphorical use of these expressions, which bear quite a different meaning in history to that which they bear in science. The conviction of the historian is the undemonstrable conviction of the juryman, who has heard the witnesses, listened attentively to the case, and prayed Heaven to inspire him. Sometimes, without doubt, he is mistaken, but the mistakes are in a negligible minority compared with the occasions when he gets hold of the truth.

That is why good sense is right against the intellectualists, in believing in history, which is not a "fable agreed upon," but that which the individual and humanity remember of their past. We strive to enlarge and to render as precise as possible this record, which in some places is dim, in others very clear. We cannot do without it, such as it is, and taken as a whole, it is rich in truth. In a spirit of paradox only, can one doubt if there ever were a Greece or a Rome, an Alexander or a Caesar, a feudal Europe overthrown by a series of revolutions, that on the 1st of November 1517 the theses of Luther were seen fixed to the door of the church of Wittenberg, or that the Bastile was taken by the people of Paris on the 14th of July 1789.

"What proof givest thou of all this?" asks the sophist, ironically.

Humanity replies "I remember."

[Sidenote] _Philosophy as perfect science. The so-called natural sciences, and their limits._

The world of what has happened, of the concrete, of history, is the world that is called real, natural, including in this definition the reality that is called physical, as well as that which is called spiritual and human. All this world is intuition; historical intuition, if it be realistically shown as it is, or imaginary intuition, artistic in the strict sense, if shown under the aspect of the possible, that is to say, of the imaginable.

Science, true science, which is not intuition but concept, not individuality but universality, cannot be anything but a science of the spirit, that is, of what is universal in reality: Philosophy. If natural _sciences_ be spoken of, apart from philosophy, it is necessary to observe that these are not perfect sciences: they are complexes of knowledge, arbitrarily abstracted and fixed. The so-called natural sciences themselves recognize, in fact, that they are surrounded by limitations. These limitations are nothing more than historical and intuitive data. They calculate, measure, establish equalities, regularity, create cla.s.ses and types, formulate laws, show in their own way how one fact arises out of other facts; but in their progress they are always met with facts which are known intuitively and historically.

Even geometry now states that it rests altogether on hypotheses, since s.p.a.ce is not three-dimensional or Euclidean, but this a.s.sumption is made use of by preference, because it is more convenient. What there is of truth in the natural sciences, is either philosophy or historical fact.

What they contain proper to themselves is abstract and arbitrary. When the natural sciences wish to form themselves into perfect sciences, they must issue from their circle and enter the philosophical circle. This they do when they posit concepts which are anything but natural, such as those of the atom without extension in s.p.a.ce, of ether or vibrating matter, of vital force, of s.p.a.ce beyond the reach of intuition, and the like. These are true and proper philosophical efforts, when they are not mere words void of meaning. The concepts of natural science are, without doubt, most useful; but one cannot obtain from them that _system_, which belongs only to the spirit.

These historical and intuitive a.s.sumptions, which cannot be separated from the natural sciences, furthermore explain, not only how, in the progress of knowledge, that which was once considered to be truth descends gradually to the grade of mythological beliefs and imaginary illusions, but also how, among natural scientists, there are some who term all that serves as basis of argument in their teaching _mythical facts, verbal expedients_, or _conventions_. The naturalists and mathematicians who approach the study of the energies of the spirit without preparation, are apt to carry thither these mental habits and to speak, in philosophy, of such and such conventions "as arranged by man."

They make conventions of truth and morality, and their supreme convention is the Spirit itself! However, if there are to be conventions, something must exist about which there is no convention to be made, but which is itself the agent of the convention. This is the spiritual activity of man. The limitation of the natural sciences postulates the illimitation of philosophy.

[Sidenote] _The phenomenon and the noumenon._

These explications have firmly established that the pure or fundamental forms of knowledge are two: the intuition and the concept--Art, and Science or Philosophy. With these are to be included History, which is, as it were, the product of intuition placed in contact with the concept, that is, of art receiving in itself philosophic distinctions, while remaining concrete and individual. All the other forms (natural sciences and mathematics) are impure, being mingled with extraneous elements of practical origin. The intuition gives the world, the phenomenon; the concept gives the noumenon, the Spirit.

IV

HISTORICISM AND INTELLECTUALISM IN AESTHETIC

These relations between intuitive or aesthetic knowledge and the other fundamental or derivative forms of knowledge having been definitely established, we are now in a position to reveal the errors of a series of theories which have been, or are, presented, as theories of Aesthetic.

[Sidenote] _Critique of verisimilitude and of naturalism._

From the confusion between the exigencies of art in general and the particular exigencies of history has arisen the theory (which has lost ground to-day, but used to dominate in the past) of _verisimilitude_ as the object of art. As is generally the case with erroneous propositions, the intention of those who employed and employ the concept of verisimilitude has no doubt often been much more reasonable than the definition given of the word. By verisimilitude used to be meant the artistic _coherence_ of the representation, that is to say, its completeness and effectiveness. If "verisimilar" be translated by "coherent," a most exact meaning will often be found in the discussions, examples, and judgments of the critics. An improbable personage, an improbable ending to a comedy, are really badly-drawn personages, badly-arranged endings, happenings without artistic motive. It has been said with reason that even fairies and sprites must have verisimilitude, that is to say, be really sprites and fairies, coherent artistic intuitions. Sometimes the word "possible" has been used instead of "verisimilar." As we have already remarked in pa.s.sing, this word possible is synonymous with that which is imaginable or may be known intuitively. Everything which is really, that is to say, coherently, imagined, is possible. But formerly, and especially by the theoreticians, by verisimilar was understood historical credibility, or that historical truth which is not demonstrable, but conjecturable, not true, but verisimilar. It has been sought to impose a like character upon art. Who does not recall the great part played in literary history by the criticism of the verisimilar? For example, the fault found with the _Jerusalem Delivered_, based upon the history of the Crusades, or of the Homeric poems, upon that of the verisimilitude of the costume of the emperors and kings?

At other times has been imposed upon art the duty of the aesthetic reproduction of historical reality. This is another of the erroneous significations a.s.sumed by the theory concerning _the imitation of nature_. Verism and naturalism have since afforded the spectacle of a confusion of the aesthetic fact with the processes of the natural sciences, by aiming at some sort of _experimental_ drama or romance.

[Sidenote] _Critique of ideas in art, of theses in art, and of the typical._

The confusions between the methods of art and those of the philosophical sciences have been far more frequent. Thus it has often been held to be within the competence of art to develop concepts, to unite the intelligible with the sensible, to represent _ideas or universals_, putting art in the place of science, that is, confusing the artistic function in general with the particular case in which it becomes aesthetico-logical.

The theory of art as supporting _theses_ can be reduced to the same error, as can be the theory of art considered as individual representation, exemplifying scientific laws. The example, in so far as it is an example, stands for the thing exemplified, and is thus an exposition of the universal, that is to say, a form of science, more or less popular or vulgarized.

The same may be said of the aesthetic theory of the _typical_, when by type is understood, as it frequently is, just the abstraction or the concept, and it is affirmed that art should make _the species s.h.i.+ne in the individual_. If by typical be here understood the individual, here, too, we have a merely verbal variation. To typify would signify, in this case, to characterize; that is, to determine and to represent the individual. Don Quixote is a type; but of whom is he a type, if not of all Don Quixotes? A type, that is to say, of himself. Certainly he is not a type of abstract concepts, such as the loss of the sense of reality, or of the love of glory. An infinite number of personages can be thought of under these concepts, who are not Don Quixote. In other words, we find our own impressions fully determined and verified in the expression of a poet (for example in a poetical personage). We call that expression typical, which we might call simply aesthetic. Poetical or artistic universals have been spoken of in like manner, in order to show that the artistic product is altogether spiritual and ideal in itself.

[Sidenote] _Critique of the symbol and of the allegory._

Continuing to correct these errors, or to make clear equivoques, we will note that the _symbol_ has sometimes been given as essence of art. Now, if the symbol be given as inseparable from the artistic intuition, it is the synonym of the intuition itself, which always has an ideal character. There is no double-bottom to art, but one only; in art all is symbolical, because all is ideal. But if the symbol be looked upon as separable--if on the one side can be expressed the symbol, and on the other the thing symbolized, we fall back again into the intellectualist error: that pretended symbol is the exposition of an abstract concept, it is an _allegory_, it is science, or art that apes science. But we must be just toward the allegorical also. In some cases, it is altogether harmless. Given the _Gerusalemme liberata_, the allegory was imagined afterwards; given the _Adone_ of Marino, the poet of the lascivious insinuated afterwards that it was written to show how "immoderate indulgence ends in pain"; given a statue of a beautiful woman, the sculptor can write on a card that the statue represents _Clemency_ or _Goodness_. This allegory linked to a finished work _post festum_ does not change the work of art. What is it, then? It is an expression externally _added_ to another expression. A little page of prose is added to the _Gerusalemme_, expressing another thought of the poet; a verse or a strophe is added to the _Adone_, expressing what the poet would like to make a part of his public swallow; while to the statue nothing more than the single word is added: _Clemency_ or _Goodness_.

[Sidenote] _Critique of the theory of artistic and literary cla.s.ses._

But the greatest triumph of the intellectualist error lies in the theory of artistic and literary cla.s.ses, which still has vogue in literary treatises, and disturbs the critics and the historians of art. Let us observe its genesis.

The human mind can pa.s.s from the aesthetic to the logical, just because the former is a first step, in respect to the latter. It can destroy the expressions, that is, the thought of the individual with the thought of the universal. It can reduce expressive facts to logical relations. We have already shown that this operation in its turn becomes concrete in an expression, but this does not mean that the first expressions have not been destroyed. They have yielded their place to the new aesthetico-logical expressions. When we are on the second step, we have left the first.

He who enters a picture-gallery, or who reads a series of poems, may, after he has looked and read, go further: he may seek out the relations of the things there expressed. Thus those pictures and compositions, each of which is an individual inexpressible by logic, are resolved into universals and abstractions, such as _costumes, landscapes, portraits, domestic life, battles, animals, flowers, fruit, seascapes, lakes, deserts, tragic, comic, piteous, cruel, lyrical, epic, dramatic, knightly, idyllic facts_, and the like. They are often also resolved into merely quant.i.tative categories, such as _little picture, picture, statuette, group, madrigal, song, sonnet, garland of sonnets, poetry, poem, story, romance_, and the like.

When we think the concept _domestic life_, or _knighthood_, or _idyll_, or _cruelty_, or any other quant.i.tative concept, the individual expressive fact from which we started is abandoned. From aesthetes that we were, we have been changed into logicians; from contemplators of expression, into reasoners. Certainly no objection can be made to such a process. In what other way could science be born, which, if aesthetic expressions be a.s.sumed in it, yet has for function to go beyond them?

The logical or scientific form, as such, excludes the aesthetic form. He who begins to think scientifically has already ceased to contemplate aesthetically; although his thought will a.s.sume of necessity in its turn an aesthetic form, as has already been said, and as it would be superfluous to repeat.

The error begins when we try to deduce the expression from the concept, and to find in the thing subst.i.tuting the laws of the thing subst.i.tuted; when the difference between the second and the first step has not been observed, and when, in consequence, we declare that we are standing on the first step, when we are really standing on the second. This error is known as _the theory of artistic and literary cla.s.ses_.

What is the aesthetic form of domestic life, of knighthood, of the idyll, of cruelty, and so forth? How should these contents be _represented_? Such is the absurd problem implied in the theory of artistic and literary cla.s.ses. It is in this that consists all search after laws or rules of styles. Domestic life, knighthood, idyll, cruelty, and the like, are not impressions, but concepts. They are not contents, but logico-aesthetic forms. You cannot express the form, for it is already itself expression. And what are the words cruelty, idyll, knighthood, domestic life, and so on, but the expression of those concepts?

Even the most refined of these distinctions, those that have the most philosophic appearance, do not resist criticism; as, for instance, when works of art are divided into the subjective and the objective styles, into lyric and epic, into works of feeling and works of design. It is impossible to separate in aesthetic a.n.a.lysis, the subjective from the objective side, the lyric from the epic, the image of feeling from that of things.

[Sidenote] _Errors derived from this theory appearing in judgments on art._