That Taine here falls into the old pedagogic theory of Aesthetic is evident. Works of art are arranged for him in a scale of values, as for the aesthetic metaphysicians. He began by declaring the absurdity of all judgment of taste, "a chacun son gout," but he ends by declaring that personal taste is without value, that we must establish a common measure before proceeding to praise or blame. His scale of values is double or triple. We must first fix the degree of importance of the characteristic, that is, the greater or less generality of the idea, and the degree of good in it, that is to say, its greater or lesser moral value. These, he says, are two degrees of the same thing, strength, seen from different sides. We must also establish the degree of convergence of the effects, that is, the fulness of expression, the harmony between the idea and the form.
This half-moral, half-metaphysical exposition is accompanied with the usual protestations, that the matter in hand is to be studied methodically, a.n.a.lytically, as the naturalist would study it, that he will try to reach "a law, not a hymn." As if these protestations could abolish the true nature of his thought! Taine actually went so far as to attempt dialectic solutions of works of art! "In the primitive period of Italian art, we find the soul without the body: Giotto. At the Renaissance, with Verrocchio and his school, we find the body without the soul. With Raphael, in the sixteenth century, we find expression and anatomy in harmony: body and soul." Thesis, ant.i.thesis, synthesis!
With G.T. Fechner we find the like protestations and the like procedure. He will study Aesthetic inductively, from beneath. He seeks clarity, not loftiness. Proceeding thus inductively, he discovers a long series of laws or principles of Aesthetic, such as unity in variety, a.s.sociation and contrast, change and persistence, the golden mean, etc.
He exhibits this chaos with delight at showing himself so much of a physiologist, and so inconclusive. Then he proceeds to describe his experiments in Aesthetics. These consist of attempts to decide, for instance, by methods of choice, which of certain rectangles of cardboard is the most agreeable, and which the most disagreeable, to a large number of people arbitrarily chosen. Naturally, these results do not agree with others obtained on other occasions, but Fechner knows that errors correct themselves, and triumphantly publishes long lists of these valuable experiments. He also communicates to us the shapes and measurements of a large number of pictures in museums, as compared with their respective subjects! Such are the experiments of physiological aestheticians.
But Fechner, when he comes to define what beauty and what art really are, is, like everyone else, obliged to fall back upon introspection.
But his definition is trivial, and his comparison of his three degrees of beauty to a family is simply grotesque in its _navete_. He terms this theory the eudemonistic theory, and we are left wondering why, when he had this theory all cut and dried in his mind, he should all the same give himself the immense trouble of compiling his tables and of enumerating his laws and principles, which do not agree with his theory.
Perhaps it was all a pastime for him, like playing at patience, or collecting postage-stamps?
Another example of superst.i.tion in respect to the natural sciences is afforded by Ernest Grosse. Grosse abounds in contempt for what he calls speculative Aesthetic. Yet he desires a Science of Art (Kunstwissenschaft), which shall formulate its laws from those historical facts which have hitherto been collected.
But Grosse wishes us to complete the collection of historical evidence with ethnographical and prehistoric materials, for we cannot obtain really general laws of art from the exclusive study of cultivated peoples, "just as a theory of reproduction exclusively based upon the form it takes with mammifers, must necessarily be imperfect!"
He is, however, aware that the results of experiences among savages and prehistoric races do not alone suffice to furnish us with an equipment for such investigations as that concerning the nature of Art, and, like any ordinary mortal, he feels obliged to interrogate, before starting, the spirit of man. He therefore proceeds to define Aesthetic on apriorist principles, which, he remarks, can be discarded when we shall have obtained the complete theory, in like manner with the scaffolding that has served for the erection of a house.
Words! Words! Vain words! He proceeds to define Aesthetic as the activity which in its development and result has the immediate value of feeling, and is, therefore, an end in itself. Art is the opposite of practice; the activity of games stands intermediate between the two, having also its end in its own activity.
The Aesthetics of Taine and of Grosse have been called sociological.
Seeing that any true definition of sociology as a science is impossible, for it is composed of psychological elements, which are for ever varying, we do not delay to criticize the futile attempts at definition, but pa.s.s at once to the objective results attained by the sociologists.
This superst.i.tion, like the naturalistic, takes various forms in practical life. We have, for instance, Proudhon (1875), who would hark back to Platonic Aesthetic, cla.s.s the aesthetic activity among the merely sensual, and command the arts to further the cause of virtue, on pain of judicial proceedings in case of contumacy.
But M. Guyau is the most important of sociological aestheticians. His works, published in Paris toward the end of last century, and his posthumous work, ent.i.tled _Les problemes de l"Esthetique contemporaine_, subst.i.tute for the theory of play, that of _life_, and the posthumous work above-mentioned makes it evident that by life he means social life.
Art is the development of social sympathy, but the whole of art does not enter into sociology. Art has two objects; the production of agreeable sensations (colours, sounds, etc.) and of phenomena of psychological induction, which include ideas and feelings of a more complex nature than the foregoing, such as sympathy for the personages represented, interest, piety, indignation, etc. Thus art becomes the expression of life. Hence arise two tendencies: one for harmony, consonance, for all that delights the ear and eye; the other transforming life, under the dominion of art. True genius is destined to balance these two tendencies; but the decadent and the unbalanced deprive art of its sympathetic end, setting aesthetic sympathy against human sympathy. If we translate this language into that with which we are by this time quite familiar, we shall see that Guyau admits an art that is merely hedonistic, and places above it another art, also hedonistic, but serving the ends of morality.
M. Nordau wages war against the decadent and unbalanced, in much the same manner as Guyau. He a.s.signs to art the function of re-establishing the integrity of life, so much broken up and specialized in our industrial civilization. He remarks that there is such a thing as art for art"s sake, the simple expression of the internal states of the individual, but it is the art of the cave-dweller.
C. Lombroso"s theory of genius as degeneration may be grouped with the naturalistic theories. His argument is in essence the following. Great mental efforts, and total absorption in one dominant thought, often produce physiological disorders or atrophy of important vital functions.
Now these disorders often lead to madness; therefore, genius may be identified with madness. This proof, from the particular to the general, does not follow that of traditional Logic. But with Lombroso, Buchner, Nordau, and the like we have come to the boundary between specious and vulgar error. They confuse scientific a.n.a.lysis with historical research.
Such inquiries may have value for history, but they have none for Aesthetic. Thus, too, A. Lang maintains that the doctrine of the origin of art as disinterested expression of the mimetic faculty is not confirmed in what we know of primitive art, which is rather decorative than expressive. But primitive art, which is a given fact to be interpreted, cannot ever become its own criterion of interpretation.
The naturalistic misunderstanding has had a bad effect on linguistic researches, which have not been carried out on the lofty plane to which Humboldt and Steinthal had brought them.
Max Muller is popular and exaggerated. He fails clearly to distinguish thought from logical thought, although in one place he remarks that the formation of names has a more intimate connexion with wit than with judgment. He holds that the science of language is not historical, but natural, because language is not the invention of man, altogether ignoring the science of the spirit, philosophy, of which language is a part. For Max Muller, the natural sciences were the only sciences. The consciousness of the science of the spirit becomes ever more obscured, and we find the philologist W.D. Whitney combating Max Muller"s "miracles" and maintaining the separability of thought and speech.
With Hermann Paul (1880) we have an awakening of Humboldt"s spirit. Paul maintains that the origin of language is the speech of the individual man, and that a language has its origin every time it is spoken. Paul also showed the fallacies contained in the _Volkerpsychologie_ of Steinthal and Lazarus, demonstrating that there is no such thing as a collective soul, and that there is no language save that of the individual.
W. Wundt (1886), on the other hand, commits the error of connecting language with Ethnopsychology and other non-existent sciences, and actually terms the glorious doctrine of Herder and of Humboldt _Wundertheorie_, or theory of miracle, accusing them of mystical obscurity. Wundt confuses the question of the historical appearance of language with that of its internal nature and genesis. He looks upon the theory of evolution as having attained to its complete triumph, in its application to organic nature in general, and especially to man. He has no suspicion whatever of the function of fancy, and of the true relation between thought and expression, between expression in the naturalistic, and expression in the spiritual and linguistic sense. He looks upon speech as a specially developed form of psycho-physical vital manifestations, of expressive animal movements. Language is developed continuously from such facts, and thus is explained how, "beyond the general concept of expressive movement, there is no specific quality which delimits language in a non-arbitrary manner."
Thus the philosophy of Wundt reveals its weak side, showing itself incapable of understanding the spiritual nature of language and of art.
In the _Ethic_ of the same author, aesthetic facts are presented as a mixture of logical and ethical elements, a special normative aesthetic science is denied, and Aesthetic is merged in Logic and Ethic.
The neo-critical and neo-Kantian movement in thought was not able to maintain the concept of the spirit against the hedonistic, moralistic, and psychological views of Aesthetic, in vogue from about the middle of last century. Neo-criticism inherited from Kant his view as to the slight importance of the creative imagination, and appears indeed to have been ignorant of any form of knowledge, other than the intellective.
Kirchmann (1868) was one of the early adherents to psychological Aesthetic, defining the beautiful as the idealized image of pleasure, the ugly as that of pain. For him the aesthetic fact is the idealized image of the real. Failing to apprehend the true nature of the aesthetic fact, Kirchmann invented a new psychological category of ideal or apparent feelings, which he thought were attenuated images from those of real life.
The aged Theodore Fischer describes Aesthetic in his auto-criticism as the union of mimetic and harmony, and the beautiful as the harmony of the universe, which is never realized in fact, because it is infinite.
When we think to grasp the beautiful, we experience that exquisite illusion, which is the aesthetic fact. Robert Fischer, son of the foregoing, introduced the word _Einfuhlung_, to express the vitality which he believed that man inspired into things with the help of the aesthetic process.
E. Siebeck and M. Diez, the former writing in 1875, the latter in 1892, unite a certain amount of idealistic influence, derived from Kant and Herbart, with the merely empirical and psychological views that have of late been the fashion. Diez, for instance, would explain the artistic function as the ideal of feeling, placing it parallel to science; the ideal of thought, morality; the ideal of will and religion, the ideal of the personality. But this ideal of feeling escapes definition, and we see that these writers have not had the courage of their ideas: they have not dared to push their thought to its logical conclusion.
The merely psychological and a.s.sociationist view finds in Theodore Lipps its chief exponent. He criticizes and rejects a series of aesthetic theories, such as those of play, of pleasure, of art as recognition of real life, even if disagreeable, of emotionality, of syncretism, which attaches to art a number of other ends, in addition to those of play and of pleasure.
The theory of Lipps does not differ very greatly from that of Jouffroy, for he a.s.sumes that artistic beauty is the sympathetic. "Our ego, transplanted, objectified, and recognized in others, is the object of sympathy. We feel ourselves in others, and others in us." Thus the aesthetic pleasure is entirely composed of sympathy. This extends even to the pleasure derived from architecture, geometrical forms, etc.
Whenever we meet with the positive element of human personality, we experience this feeling of beat.i.tude, which is the aesthetic emotion.
But the value of the personality is an ethical value: the whole sphere of ethic is included in it. Therefore all artistic or aesthetic pleasure is the enjoyment of something which has ethical value, but this value is not an element of a compound, but the object of aesthetic intuition.
Thus is aesthetic activity deprived of all autonomous existence and reduced to a mere retainer of Ethic.
C. Groos (1895) shows some signs of recognizing aesthetic activity as a theoretic value. Feeling and intellect, he says, are the two poles of knowledge, and he recognizes the aesthetic fact as internal imitation.
Everything beautiful belongs to aestheticity, but not every aesthetic fact is beautiful. The beautiful is the representation of sensible pleasure, and the ugly of sensible displeasure. The sublime is the representation of something powerful, in a simple form. The comic is the representation of an inferiority, which provokes in us the pleasurable feeling of "superiority." Groos very wisely makes mock of the supposed function of the Ugly, which Hartmann and Schasler had inherited and developed from a long tradition. Lipps and Groos agree in denying aesthetic value to the comic, but Lipps, although he gives an excellent a.n.a.lysis of the comic, is nevertheless in the trammels of his moralistic thesis, and ends by sketching out something resembling the doctrine of the overcoming of the ugly, by means of which may be attained a higher aesthetic and (sympathetic) value.
Labours such as those of Lipps have been of value, since they have cleared away a number of errors that blocked the way, and restrained speculation to the field of the internal consciousness. Similar is the merit of E. Veron"s treatise (1883) on the double form of Aesthetic, in which he combats the academic view of the absolute beauty, and shows that Taine confuses Art and Science, Aesthetic and Logic. He acutely remarks that if the object of art were to reveal the essence of things, the greatest artists would be those who best succeeded in doing this, and the greatest works would all be _identical_; whereas we know that the very opposite is the case. Veron was a precursor of Guyau, and we seek for scientific system in vain in his book. Veron looks upon art as two things: the one _decorative_, pleasing eye and ear, the other _expressive_, "l"expression emue de la personalite humaine." He thought that decorative art prevailed in antiquity, expressive art in modern times.
We cannot here dwell upon the aesthetic theories of men of letters, such as that of E. Zola, developing his thesis of natural science and history mixed, which is known as that of the human doc.u.ment or as the experimental theory, or of Ibsen and the moralization of the art problem, as presented by him and by the Scandinavian school. Perhaps no French writer has written more profoundly upon art than Gustave Flaubert. His views are contained in his Correspondence, which has been published. L. Tolsto wrote his book on art while under the influence of Veron and his hatred of the concept of the beautiful. Art, he says, communicates the feelings, as the word communicates the thoughts. But his way of understanding this may be judged from the comparison which he inst.i.tutes between Art and Science. According to this, "Art has for its mission to make a.s.similable and sensible what may not have been a.s.similated in the form of argument. There is no science for science"s sake, no art for art"s sake. Every human effort should be directed toward increasing morality and suppressing violence." This amounts to saying that well-nigh all the art that the world has. .h.i.therto seen is false. Aeschylus, Sophocles, Euripides, Aristophanes, Dante, Ta.s.so, Milton, Shakespeare, Raphael, Michael Angelo, Bach, Beethoven, are all, according to Tolsto, "false reputations, made by the critics."
We must also cla.s.s F. Nietzsche with the artists, rather than with the philosophers. We should do him an injustice (as with J. Ruskin) were we to express in intellectual terminology his aesthetic affirmations. The criticism which they provoke would be too facile. Nowhere has Nietzsche given a complete theory of art, not even in his first book, _Die Geburt der TraG.o.die oder Griechentum und Pessimismus_. What seems to be theory there, is really the confession of the feelings and aspirations of the writer. Nietzsche was the last, splendid representative of the romantic period. He was, therefore, deeply preoccupied with the art problem and with the relation of art to natural science and to philosophy, though he never succeeded in definitely fixing those relations. From Romanticism, rather than from Schopenhauer, he gathered those elements of thought out of which he wove his conception of the two forms of art: the Apollonian, all serene contemplation, as expressed in the epic and in sculpture; the Dionysac, all tumult and agitation, as expressed in music and the drama. These doctrines are not rigorously proved, and their power of resistance to criticism is therefore but slender, but they serve to transport the mind to a more lofty spiritual level than any others of the second half of the nineteenth century.
The most noteworthy thought on aesthetic of this period is perhaps to be found among the aestheticians of special branches of the arts, and since we know that laws relating only to special branches are not conceivable, this thought may be considered as bearing upon the general theory of Aesthetic.
The Bohemian critic E. Hanslick (1854) is perhaps the most important of these writers. His work _On Musical Beauty_ has been translated into several languages. His polemic is chiefly directed against R. Wagner and the pretension of finding in music a determined content of ideas and feelings. He expresses equal contempt for those sentimentalists who derive from music merely pathological effects, pa.s.sionate excitement, or stimulus for practical activity, in place of enjoying the musical works.
"If a few Phrygian notes sufficed to instil courage into the soldier facing the enemy, or a Doric melody to a.s.sure the fidelity of a wife whose husband was absent, then the loss of Greek music may cause pain to generals and to husbands, but aestheticians and composers will have no reason to deplore it." "If every Requiem, every lamenting Adagio, possessed the power to make us sad, who would be able to support existence in such conditions? But if a true musical work look upon us with the clear and brilliant eyes of beauty, we feel ourselves bound by its invincible fascination, though its theme be all the sorrows of the century."
For Hanslick, the only end of music was form, or musical beauty. The followers of Herbart showed themselves very tender towards this unexpected and vigorous ally, and Hanslick, not to be behindhand in politeness, returned their compliments, by referring to Herbart and to R. Zimmermann, in the later editions of his work, as having "completely developed the great aesthetic principle of form." Unfortunately Hanslick meant something altogether different from the Herbartians by his use of the word form. Symmetry, merely acoustic relations, and the pleasure of the ear, did not const.i.tute the musically beautiful for him. Mathematics were in his view useless in the Aesthetic of music. "Sonorous forms are not empty, but perfectly full; they cannot be compared to simple lines enclosing a s.p.a.ce; they are the spirit, which takes form, making its own bodily configuration. Music is more of a picture than is an arabesque; but it is a picture of which the subject is inexpressible in words, nor is it to be enclosed in a precise concept. In music, there is a meaning and a connexion, but of a specially musical nature: it is a language which we speak and understand, but which it is impossible to translate."
Hanslick admits that music, if it do not render the quality of sentiments, renders their tone or dynamic side; it renders adjectives, if it fail to render substantives; if not "murmuring tenderness" or "impetuous courage," at any rate the "murmuring" and the "impetuous."
The essence of his book is contained in the negation that it is possible to separate form and content in music. "Take any motive you will, and say where form begins and content ends. Are we to call the sounds content? Very good, but they have already received form. What are we to call form? Sounds again? But they are already form filled, that is to say, possessing a content." These observations testify to an acute penetration of the nature of art. Hanslick"s belief that they were characteristics peculiar to music, not common to every form of art, alone prevented him from seeing further.
C. Fiedler, published in German (in 1887) an extremely luminous work on the origin of artistic activity. He describes eloquently how the pa.s.sive spectator seems to himself to grasp all reality, as the shows of life pa.s.s before him; but at the moment that he tries to realize this artistically, all disappears, and leaves him with the emptiness of his own thoughts. Yet by concentration alone do we attain to expression; art is a language that we gradually learn to speak. Artistic activity is only to be attained by limiting ourselves; it must consist of "forms precisely determined, tangible, sensibly demonstrable, precisely because it is spiritual." Art does not imitate nature, for what is nature, but that vast confusion of perceptions and representations that were referred to above? Yet in a sense art does imitate nature; it uses nature to produce values of a kind peculiar to itself. Those values are true visibility.
Fiedler"s views correspond with those of his predecessor, Hanslick, but are more rigorously and philosophically developed. The sculptor A.
Hildebrand may be mentioned with these, as having drawn attention to the nature of art as architectonic rather than imitative, with special application to the art of sculpture.
What we miss with these and with other specialists, is a broad view of art and language, as one and the same thing, the inheritance of all humanity, not of a few persons, specially endowed. H. Bergson in his book on laughter (1900) falls under the same criticism. He develops his theory of art in a manner a.n.a.logous to Fiedler, and errs like him in looking upon it as something different and exceptional in respect to the language of every moment. He declares that in life the individuality of things escapes us: we see only as much as suffices for our practical ends. The influence of language aids this rude simplification: all but proper names are abstractions. Artists arise from time to time, who recover the riches hidden beneath the labels of ordinary life.
Amid the ruin of idealist metaphysics, is to be desired a healthy return to the doctrine of Baumgarten, corrected and enriched with the discoveries that have been made since his time, especially by romanticism and psychology. C. Hermann (1876) announced this return, but his book is a hopeless mixture of empirical precepts and of metaphysical beliefs regarding Logic and Aesthetic, both of which, he believes, deal not with the empirical thought and experience of the soul, but with the pure and absolute.
B. Bosanquet (1892) gives the following definition of the beautiful, as "that which has a characteristic or individual expressivity for the sensible perception, or for the imagination, subject to the conditions of general or abstract expressivity for the same means." The problem as posed by this writer by the ant.i.thesis of the two German schools of form and content, appears to us insoluble.
Though De Sanctis left no school in Italy, his teaching has been cleared of the obscurities that had gathered round it during the last ten years; and the thesis of the true nature of history, and of its nature, altogether different from natural science, has been also dealt with in Germany, although its precise relation to the aesthetic problem has not been made clear. Such labours and such discussions const.i.tute a more favourable ground for the scientific development of Aesthetic than the stars of mystical metaphysic or the stables of positivism and of sensualism.
We have now reached the end of the inquiry into the history of aesthetic speculation, and we are struck with the smallness of the number of those who have seen clearly the nature of the problem. No doubt, amid the crowd of artists, critics, and writers on other subjects, many have incidentally made very just remarks, and if all these were added to the few philosophers, they would form a gallant company. But if, as Schiller truly observed, the rhythm of philosophy consist in a withdrawal from public opinion, in order to return to it with renewed vigour, it is evident that this withdrawal is essential, and indeed that in it lies the whole progress of philosophy.
During our long journey, we have witnessed grave aberrations from the truth, which were at the same time attempts to reach it; such were the hedonism of the sophists and rhetoricians of antiquity, of the sensualists of the eighteenth and second half of the nineteenth centuries; the moralistic hedonism of Aristophanes and the Stoics, of the Roman eclectics, of the writers of the Middle Age and of the Renaissance; the ascetic and logical hedonism of Plato and the Fathers of the Church; the aesthetic mysticism of Plotinus, reborn to its greatest triumphs, during the cla.s.sic period of German thought.
Through the midst of these variously erroneous theories, that traverse the field of thought in all directions, runs a tiny rivulet of golden truth. Starting from the subtle empiricism of Aristotle, it flows in the profound penetration of Vico to the nineteenth century, where it appears again in the masterly a.n.a.lyses of Schleiermacher, Humboldt, and De Sanctis.
This brief list shows that the science of Aesthetic is no longer to be discovered, but it also shows _that it is only at its beginning_.
The birth of a science is like the birth of a human being. In order to live, a science, like a man, has to withstand a thousand attacks of all sorts. These appear in the form of errors, which must be extirpated, if the science is not to perish. And when one set has been weeded, another crops up; when these have been dealt with, the former errors often return. Therefore _scientific criticism_ is always necessary. No science can repose on its laurels, complete, unchallenged. Like a human being, it must maintain its position by constant efforts, constant victories over error. The general errors which reveal a negation of the very concept of art have already been dealt with in the Historical Summary.