A General View of Positivism - Auguste Comte (the snowy day read aloud TXT) 📗

the new spiritual power. But even here the tendency to specialities will be materially restricted. This exceptional position will only be given to men of sufficient aesthetic power to appreciate all the fine arts; and they should be capable of practising at least the three arts of form simultaneously, as was done by Italian painters in the sixteenth century.

As an ordinary rule, it is only by their appreciation and power of explaining ideal Art in all its forms that our philosophers will exhibit their aesthetic faculty. They will not be actively engaged in aesthetic functions, except in the arrangement of public festivals. But when the circumstances of the time are such as to call for great epic or dramatic works, which implies the absence of any philosophical question of the first importance, the most powerful minds among them will become poets in the common sense of the word. As the work of Coordination and that of Idealization will for the future alternate with greater rapidity, we might conceive them, were man’s life longer, performed by the same organ. But the shortness of life, and the necessity of youthful vigour for all great undertakings, excludes this hypothesis. I only mention it to illustrate the radical identity of two forms of mental activity which are often supposed incompatible.

An additional proof of the aesthetic capacity of the moderating power in works of less difficulty, but admitting of greater frequency, will be furnished by its feminine element. In the special arts, or at least in the arts of form, but little can be expected of them, because these demand more technical knowledge than they can well acquire, and, moreover, the slow process of training would spoil the spontaneousness which is so admirable in them. But for all poetic composition which does not require intense or prolonged effort, women of genius are better qualified than men. This they should consider as their proper department intellectually, since their nature is not well adapted for the discovery of scientific truth. When women have become more systematically associated with the general movement of society under the influence of the new system of education, they will do much to elevate that class of poetry which relates to personal feelings and to domestic life. Women are already better judges of such poetry than men; and there is no reason why they should not excel them in composing it. For the power of appreciating and that of producing are in reality identical; the difference is in degree only, and it depends greatly upon culture. The only kind of composition which seems to me to be beyond their power is epic or dramatic poetry in which public life is depicted. But in all its other branches, poetry would seem their natural field of study; and one which, regarded always as an exceptional occupation, is quite in keeping with the social duties assigned to them. The affections of our home life cannot be better portrayed than by those in whom they are found in their purest form, and who, without training, combine talent and expression with the tendency to idealize. Under a more perfect organization, then, of the aesthetic world than prevails at present, the larger portion of poetical and perhaps also of musical productions, will pass into the hands of the more loving sex. The advantage of this will be that the poetry of private life will then rise to that high standard of moral purity of which it so peculiarly admits, but which our coarser sex can never attain without struggles which injure its spontaneity. The simple grace of Lafontaine and the delicate sweetness of Petrarch will then be found united with deeper and purer sympathies, so as to raise lyrical poetry to a degree of perfection that has never yet been attained.

The popular element of the spiritual power has not so well marked an aptitude for art, since the active nature of their occupations hardly admits of the same degree of intellectual life. But there is a minor class of poems, where energy of character and freedom from worldly cares are the chief sources of inspiration, for which working men are better adapted than women, and far more so than philosophers. When Positivist education has extended sufficiently to the People of the West, poets and musicians will spontaneously arise, as in many cases they have already risen, to give expression to its own special aspirations. But independently of what may be due to individual efforts, the People as a whole has an indirect but most important influence upon the Progress of Art, from the fact of being the principal source of language.

Such, then, is the position which Art will finally assume in the Positive system. There will be no class at present, exclusively devoted to it, with the exception of a few special masters. But there will be a general education, enabling every class to appreciate all the modes of idealization, and encouraging their culture among the three elements which constitute the moral force of society and which are excluded from political government. Among these there will be a division of aesthetic labour. Poetry descriptive of public life will emanate from the philosophic class. The poetry of personal or domestic life will be written by women or working men, according as affection or energy may be the source of inspiration. Thus the form of mental activity most appropriate to Humanity will be more specially developed among those classes in which the various features of our nature are most prominently exhibited. The only classes who cannot participate in this pleasant task are those whose life is occupied by considerations of power or wealth, and whose enjoyment of Art, though heightened by the education which they in common with others will receive, must remain essentially passive. Our idealizing powers will henceforth be directly concentrated on a work of the highest social importance, the purification of our moral nature. The speciality by which so much of the natural charm of Art was lost