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Aesthetic As Science of Expression and General Linguistic Aesthetic as Science of Expression and General Linguistic Benedetto Croce Aesthetic as Science of Expression and General Linguistic Table of Contents Aesthetic as Science of Expression and General Linguistic............................................................................1 Benedetto Croce.......................................................................................................................................1 INTRODUCTION...................................................................................................................................2 I. INTUITION AND EXPRESSION.......................................................................................................8 II. INTUITION AND ART....................................................................................................................13 III. ART AND PHILOSOPHY..............................................................................................................18 IV. HISTORICISM AND INTELLECTUALISM IN AESTHETIC....................................................22 V. ANALOGOUS ERRORS IN HISTORIC AND LOGIC..................................................................26 VI. THEORETIC AND PRACTICAL ACTIVITY..............................................................................29 VII. ANALOGY BETWEEN THE THEORETIC AND THE PRACTICAL......................................33 VIII. EXCLUSION OF OTHER SPIRITUAL FORMS........................................................................36 IX. INDIVISIBILITY OF EXPRESSION INTO MODES OR GRADES AND CRITIQUE OF RHETORIC..........................................................................................................................................38 X. AESTHETIC FEELINGS AND THE DISTINCTION BETWEEN THE UGLY AND THE BEAUTIFUL........................................................................................................................................42 XI. CRITIQUE OF AESTHETIC HEDONISM....................................................................................46 XII. THE AESTHETIC OF THE SYMPATHETIC AND PSEUDO−AESTHETIC CONCEPTS......48 XIII. THE SO−CALLED PHYSICALLY BEAUTIFUL IN NATURE AND ART............................51 XIV. MISTAKES ARISING FROM THE CONFUSION BETWEEN PHYSIC AND AESTHETIC.........................................................................................................................................56 XV. THE ACTIVITY OF EXTERNALIZATION, TECHNIQUE AND THE THEORY OF THE ARTS....................................................................................................................................................59 XVI. TASTE AND THE REPRODUCTION OF ART.........................................................................63 XVII. THE HISTORY OF LITERATURE AND ART.........................................................................68 XVIII. CONCLUSION: IDENTITY OF LINGUISTIC AND AESTHETIC.......................................73 HISTORICAL SUMMARY...............................................................................................................................79 I. AESTHETIC IDEAS IN GRAECO−ROMAN ANTIQUITY...........................................................79 II. AESTHETIC IDEAS IN THE MIDDLE AGE AND IN THE RENAISSANCE............................83 III. SEVENTEENTH AND EIGHTEENTH CENTURIES..................................................................84 APPENDIX.......................................................................................................................................................123 II...........................................................................................................................................................128 III..........................................................................................................................................................133 i Aesthetic as Science of Expression and General Linguistic Benedetto Croce This page copyright © 2003 Blackmask Online. http://www.blackmask.com • INTRODUCTION • I. INTUITION AND EXPRESSION • II. INTUITION AND ART • III. ART AND PHILOSOPHY • IV. HISTORICISM AND INTELLECTUALISM IN AESTHETIC • V. ANALOGOUS ERRORS IN HISTORIC AND LOGIC • VI. THEORETIC AND PRACTICAL ACTIVITY • VII. ANALOGY BETWEEN THE THEORETIC AND THE PRACTICAL • VIII. EXCLUSION OF OTHER SPIRITUAL FORMS • IX. INDIVISIBILITY OF EXPRESSION INTO MODES OR GRADES AND CRITIQUE OF RHETORIC • X. AESTHETIC FEELINGS AND THE DISTINCTION BETWEEN THE UGLY AND THE BEAUTIFUL • XI. CRITIQUE OF AESTHETIC HEDONISM • XII. THE AESTHETIC OF THE SYMPATHETIC AND PSEUDO−AESTHETIC CONCEPTS • XIII. THE SO−CALLED PHYSICALLY BEAUTIFUL IN NATURE AND ART • XIV. MISTAKES ARISING FROM THE CONFUSION BETWEEN PHYSIC AND AESTHETIC • XV. THE ACTIVITY OF EXTERNALIZATION, TECHNIQUE AND THE THEORY OF THE ARTS • XVI. TASTE AND THE REPRODUCTION OF ART • XVII. THE HISTORY OF LITERATURE AND ART • XVIII. CONCLUSION: IDENTITY OF LINGUISTIC AND AESTHETIC • HISTORICAL SUMMARY • I. AESTHETIC IDEAS IN GRAECO−ROMAN ANTIQUITY • II. AESTHETIC IDEAS IN THE MIDDLE AGE AND IN THE RENAISSANCE • III. SEVENTEENTH AND EIGHTEENTH CENTURIES • APPENDIX • II • III Produced by Charles Aldarondo, Tiffany Vergon, Beth Trapaga and the Distributed Proofreaders AESTHETIC AS SCIENCE OF EXPRESSION AND GENERAL LINGUISTIC TRANSLATED FROM THE ITALIAN OF BENEDETTO CROCE Aesthetic as Science of Expression and General Linguistic 1 Aesthetic as Science of Expression and General Linguistic BY DOUGLAS AINSLIE B.A. (OXON.) 1909 THE AESTHETIC IS DEDICATED BY THE AUTHOR TO THE MEMORY OF HIS PARENTS PASQUALE AND LUISA SIPARI AND OF HIS SISTER MARIA NOTE I give here a close translation of the complete Theory of Aesthetic, and in the Historical Summary, with the consent of the author, an abbreviation of the historical portion of the original work. INTRODUCTION There are always Americas to be discovered: the most interesting in Europe. I can lay no claim to having discovered an America, but I do claim to have discovered a Columbus. His name is Benedetto Croce, and he dwells on the shores of the Mediterranean, at Naples, city of the antique Parthenope. Croce's America cannot be expressed in geographical terms. It is more important than any space of mountain and river, of forest and dale. It belongs to the kingdom of the spirit, and has many provinces. That province which most interests me, I have striven in the following pages to annex to the possessions of the Anglo−Saxon race; an act which cannot be blamed as predatory, since it may be said of philosophy more truly than of love, that “to divide is not to take away.” The Historical Summary will show how many a brave adventurer has navigated the perilous seas of speculation upon Art, how Aristotle's marvellous insight gave him glimpses of its beauty, how Plato threw away its golden fruit, how Baumgarten sounded the depth of its waters, Kant sailed along its coast without landing, and Vico hoisted the Italian flag upon its shore. But Benedetto Croce has been the first thoroughly to explore it, cutting his way inland through the tangled undergrowth of imperfect thought. He has measured its length and breadth, marked out and described its spiritual features with minute accuracy. The country thus won to philosophy will always bear his name, Estetica di Croce, a new America. It was at Naples, in the winter of 1907, that I first saw the Philosopher of Aesthetic. Benedetto Croce, although born in the Abruzzi, Province of Aquila (1866), is essentially a Neapolitan, and rarely remains long absent from the city, on the shore of that magical sea, where once Ulysses sailed, and where sometimes yet (near Amalfi) we may hear the Syrens sing their song. But more wonderful than the song of any Syren seems to me the Theory of Aesthetic as the Science of Expression, and that is why I have overcome the obstacles that stood between me and the giving of this theory, which in my belief is the truth, to the English−speaking world. No one could have been further removed than myself, as I turned over at Naples the pages of La Critica, from any idea that I was nearing the solution of the problem of Art. All my youth it had haunted me. As an undergraduate at Oxford I had caught the exquisite cadence of Walter Pater's speech, as it came from his very lips, or rose like the perfume of some exotic flower from the ribbed pages of the Renaissance. INTRODUCTION 2 Aesthetic as Science of Expression and General Linguistic Seeming to solve the riddle of the Sphinx, he solved it not—only delighted with pure pleasure of poetry and of subtle thought as he led one along the pathways of his Enchanted Garden, where I shall always love to tread. Oscar Wilde, too, I had often heard at his best, the most brilliant talker of our time, his wit flashing in the spring sunlight of Oxford luncheon−parties as now in his beautiful writings, like the jewelled rapier of Mercutio. But his works, too, will be searched in vain by the seeker after definite aesthetic truth. With A.C. Swinburne I had sat and watched the lava that yet flowed from those lips that were kissed in youth by all the Muses. Neither from him nor from J.M. Whistler's brilliant aphorisms on art could be gathered anything more than the exquisite pleasure of the moment: the monochronos haedonae. Of the great pedagogues, I had known, but never sat at the feet of Jowett, whom I found far less inspiring than any of the great men above mentioned. Among the dead, I had studied Herbert Spencer and Matthew Arnold, Schopenhauer,
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