Part 15 (1/2)

For wit and judgment often are at strife, Though meant each other's aid like man and wife.

But there was a divergence of opinion as to whether the latter should be looked upon as part of the intellect or not.

There was the same divergence of opinion as to taste and intellectual judgment. As regards the former, the opposition to the intellectual principle was reinforced in the eighteenth century by Kant in his _Kritik der Urtheilskraft_. But Voltaire and writers anterior to him frequently fell back into intellectualist definitions of a word invented precisely to avoid them. Dacier (1684) writes of taste as ”Une harmonie, un accord de l'esprit et de la raison.” The difficulties surrounding a true definition led to the creation of the expression _non so che_, or _je ne sais quoi_, or _no se que_, which throws into clear relief the confusion between taste and intellectual judgment.

As regards imagination and feeling, or sentiment, there was a strong tendency to sensualism. The Cardinal Sforza-Pallavicino talks of poetry as ignoring alike truth or falsehood and yet delighting the senses. He approves of the remark that poetry should make us ”raise our eyebrows,”

but in later life this keen-eyed prince seems to have fallen back from the brilliant intuition of his earlier years into the pedagogic theory.

Muratori was convinced that fancy was entirely sensual, and therefore he posted the intellect beside it, ”to refrain its wild courses, like a friend having authority.” Gravina practically coincides in this view of poetic fancy, as a subordinate faculty, incapable of knowledge, fit only to be used by moral philosophy for the introduction into the mind of the true, by means of novelty and the marvellous.

In England, also, Bacon held poetry to belong to the fancy, and a.s.signed to it a place between history and science. Epic poetry he awarded to the former, ”parabolic” poetry to the latter. Elsewhere he talks of poetry as a dream, and affirms that it is to be held ”rather as an amus.e.m.e.nt of the intelligence than as a science.” For him music, painting, sculpture, and the other arts are merely pleasure-giving. Addison reduced the pleasures of the imagination to those caused by visible objects, or by ideas taken from them. These pleasures he held to be inferior to those of the senses and less refined than those of the intellect. He looked upon imaginative pleasure as consisting in resemblances discovered between imitations and things imitated, between copies and originals, an exercise adapted to sharpen the spirit of observation.

The sensualism of the writers headed by Du Bos, who looked upon art as a mere pastime, like a tournament or a bull-fight, shows that the truth about Aesthetic had not yet succeeded in emerging from the other spiritual activities. Yet the new words and the new views of the seventeenth century have great importance for the origins of Aesthetic; they were the direct result of the restatement of the problem by the writers of the Renaissance, who themselves took it up where Antiquity had left it. These new words, and the discussions which arose from them, were the demands of Aesthetic for its theoretical justification. But they were not able to provide this justification, and it could not come from elsewhere.

With Descartes, we are not likely to find much sympathy for such studies as relate to wit, taste, fancy, or feelings. He ignored the famous _non so che_; he abhorred the imagination, which he believed to result from the agitation of the animal spirits. He did not altogether condemn poetry, but certainly looked upon it as the _folle du logis_, which must be strictly supervised by the reason. Boileau is the aesthetic equivalent of Cartesian intellectualism, Boileau _que la raison a ses regles engage_, Boileau the enthusiast for allegory. France was infected with the mathematical spirit of Cartesianism and all possibility of a serious consideration of poetry and of art was thus removed. Witness the diatribes of Malebranche against the imagination, and listen to the Italian, Antonio Conti, writing from France in 1756 on the theme of the literary disputes that were raging at the time: ”They have introduced the method of M. Descartes into belles-lettres; they judge poetry and eloquence independently of their sensible qualities. Thus they also confound the progress of philosophy with that of the arts. The Abbe Terra.s.son says that the moderns are greater geometricians than the ancients; therefore they are greater orators and greater poets.” La Motte, Fontenelle, Boileau, and Malebranche carried on this battle, which was taken up by the Encyclopaedists, and when Du Bos published his daring book, Jean Jacques le Bel published a reply to it (1726), in which he denied to sentiment its claim to judge of art. Thus Cartesianism could not possess an Aesthetic of the imagination. The Cartesian J.P. de Crousaz (1715) found the beautiful to consist in what is approved of, and thereby reduced it to ideas, ignoring the pleasing and sentiment.

Locke was as intellectualist in the England of this period as was Descartes in France. He speaks of wit as combining ideas in an agreeable variety, which strikes the imagination, while the intellect or judgment seeks for differences according to truth. The wit, then, consists of something which is not at all in accordance with truth and reason. For Shaftesbury, taste is a sense or instinct of the beautiful, of order and proportion, identical with the moral sense and with its ”preconceptions”

antic.i.p.ating the recognition of reason. Body, spirit, and G.o.d are the three degrees of beauty. Francis Hutcheson proceeded from Shaftesbury and made popular ”the internal sense of beauty, which lies somewhere between sensuality and rationality and is occupied with discussing unity in variety, concord in multiplicity, and the true, the good, and the beautiful in their substantial ident.i.ty.” Hutcheson allied the pleasure of art with this sense, that is, with the pleasure of imitation and of the likeness of the copy to the original. This he looked upon as relative beauty, to be distinguished from absolute beauty. The same view dominates the English writers of the eighteenth century, among whom may be mentioned Reid, the head of the Scottish school, and Adam Smith.

With far greater philosophical vigour, Leibnitz in Germany opened the door to that crowd of psychic facts which Cartesian intellectualism had rejected with horror. His conception of reality as _continuous_ (_natura non facit saltus_) left room for imagination, taste, and their congeners. Leibnitz believed that the scale of being ascended from the lowliest to G.o.d. What we now term aesthetic facts were then identified with what Descartes and Leibnitz had called ”confused” knowledge, which might become ”clear,” but not distinct. It might seem that when he applied this terminology to aesthetic facts, Leibnitz had recognized their peculiar essence, as being neither sensual nor intellectual. They are not sensual for him, because they have their own ”clarity,”

differing from pleasure and sensual emotion, and from intellectual ”distinctio.” But the Leibnitzian law of continuity and intellectualism did not permit of such an interpretation. Obscurity and clarity are here to be understood as quant.i.tative grades of a _single_ form of knowledge, the distinct or intellectual, toward which they both tend and reach at a superior grade. Though artists judge with confused perceptions, which are clear but not distinct, these may yet be corrected and proved true by intellective knowledge. The intellect clearly and distinctly knows the thing which the imagination knows confusedly but clearly. This view of Leibnitz amounts to saying that the realization of a work of art can be perfected by intellectually determining its concept. Thus Leibnitz held that there was only one true form of knowledge, and that all other forms could only reach perfection in that. His ”clarity” is not a specific difference; it is merely a partial antic.i.p.ation of his intellective ”distinction.” To have posited this grade is an important achievement, but the view of Leibnitz is not fundamentally different from that of the creators of the words and intuitions already studied.

All contributed to attract attention to the peculiarity of aesthetic facts.

Speculation on language at this period revealed an equally determined intellectualist att.i.tude. Grammar was held to be an exact science, and grammatical variations to be explainable by the ellipse, by abbreviation, and by failure to grasp the typical logical form. In France, with Arnauld (1660), we have the rigorous Cartesian intellectualism; Leibnitz and Locke both, speculated upon this subject, and the former all his life nourished the thought of a universal language. The absurdity of this is proved in this volume.

A complete change of the Cartesian system, upon which Leibnitz based his own, was necessary, if speculation were ever to surpa.s.s the Leibnitzian aesthetic. But Wolff and the other German pupils of Leibnitz were as unable to shake themselves free of the all-pervading intellectualism as were the French pupils of Descartes.

Meanwhile a young student of Berlin, named Alexander Amedeus Baumgarten, was studying the Wolffian philosophy, and at the same time lecturing in poetry and Latin rhetoric. While so doing, he was led to rethink and pose afresh the problem of how to reduce the precepts of rhetoric to a rigorous philosophical system. Thus it came about that Baumgarten published in September 1735, at the age of twenty-one, as the thesis for his degree of Doctor, an opuscule ent.i.tled, _Meditationes philosophicae de nonnullis ad poema pertinentibus_, and in it we find written _for the first time_ the word ”Aesthetic,” as the name of a special science. Baumgarten ever afterwards attached great importance to his juvenile discovery, and lectured upon it by request in 1742, at Frankfort-on-the-Oder, and again in 1749. It is interesting to know that in this way Emmanuel Kant first became acquainted with the theory of Aesthetic, which he greatly altered when he came to treat of it in his philosophy. In 1750, Baumgarten published the first volume of a more ample treatise, and a second part in 1762. But illness, and death in 1762, prevented his completing his work.

What is Aesthetic for Baumgarten? It is the science of sensible knowledge. Its objects are the sensible facts (_aisthaeta_), which the Greeks were always careful to distinguish from the mental facts (_noaeta_). It is therefore _scientia cognitionis sensitivae, theoria liberalium artium, gnoseologia inferior, ars pulcre cogitandi, ars a.n.a.logi rationis_. Rhetoric and Poetic are for him special cases of Aesthetic, which is a general science, embracing both.

Its laws are diffused among all the arts, like the mariner's star (_cynosura quaedam_), and they must be always referred to in all cases, for they are universal, not empirical or merely inductive (_falsa regula pejor est quam nulla_). Aesthetic must not be confounded with Psychology, which supplies only suppositions. Aesthetic is an independent science, which gives the rules for knowing sensibly, and is occupied with the perfection of sensible knowledge, which is beauty. Its contrary is ugliness. The beauty of objects and of matter must be excluded from the beauty of sensible knowledge, because beautiful objects can be badly thought and ugly objects beautifully thought.

Poetic representations are those which are confused or imaginative.

Distinction and intellectuality are not poetic. The greater the determination, the greater the poetry; individuals absolutely determined (_omnimodo determinata_) are very poetical, as are images or fancies, and everything which refers to feeling. The judgment of sensible and imaginative representations is taste.

Such are, in brief, the truths which Baumgarten stated in his _Meditationes_, and further developed and exemplified in his _Aesthetica_. Close study of the two works above-mentioned leads to the conviction that Baumgarten did not succeed in freeing himself from the unity of the Leibnitzian monadology. He obtained from Leibnitz his conception of the poetic as consisting of the confused, but German critics are wrong in believing that he attributed to it a positive, not a negative quality. Had he really done this, he would have broken at a blow the unity of the Leibnitzian monad, and conquered the science of Aesthetic.

This giant's step he did not take: he failed to banish the contradictions of Leibnitz and of the other intellectualists. To posit a _perfection_ did not suffice. It was necessary to maintain it against the _lex continui_ of Leibnitz and to proclaim its independence of all intellectualism. Aesthetic truths for Baumgarten were those which did not seem altogether false or altogether true: in fact, the verisimilar.

If it were objected to Baumgarten that one should not occupy oneself with what, like poetry, he defines as confused and obscure, he would reply that confusion is a condition of finding the truth, that we do not pa.s.s at once from night to dawn. Thus he did not surpa.s.s the thought of Leibnitz in this respect. Poor Baumgarten was always in suspense lest he should be held to occupy himself with things unworthy of a philosopher!

”How can you, a professor of philosophy, dare to praise lying and the mixture of truth and falsehood?” He imagined that some such reproach might be addressed to him on account of his purely philosophical speculations, and true enough he actually received a criticism of his theory, in which it was argued, that if poetry consisted of sensual perfection, then it was a bad thing for mankind. Baumgarten contemptuously replied that he had not the time to argue with those capable of confounding his _oratio perfecta sensitiva_ with an _oratio perfecte (omnino!) sensitiva_.

The fact about Baumgarten is that apart from baptizing the new science Aesthetic, and apart from his first definitions, he does not stray far from the old ruts of scholastic thought. The excellent Baumgarten, with all his ardour and all his convictions, is a sympathetic and interesting figure in the history of Aesthetic not yet formed, but in process of formation.

The revolutionary who set aside the old definitions of Aesthetic, and for the first time revealed the true nature of art and poetry, is the Italian, Giambattista Vico.

What were the ideas developed by Vico in his _Scienza nuova_ (1725)?

They were neither more nor less than the solution of the problem, posed by Plato, attempted in vain by Aristotle, again posed and again unsolved at the Renaissance.

Is poetry a rational or an irrational thing? Is it spiritual or animal?