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

have adopted for the classification of the special senses, the principle of decreasing sociability. There are only two senses which can be called aesthetic; namely, Sight and Hearing: the others having no power of raising us to Idealization. The sense of smell can, it is true, enable us to associate ideas; but in man it exists too feebly for artistic effects. Hearing and Sight correspond to the two modes of natural language, voice and gesture. From the first arises the art of Music; the second, which however is less aesthetic, includes the three arts of form. These are more technical than Music; their field is not so wide, and moreover they stand at a greater distance from poetry; whereas Music remained for a long time identified with it. Another distinction is that the sense to which music appeals performs its function involuntarily; and this is one reason why the emotions which it calls forth are more spontaneous and more deep, though less definite, than in the case where it depends on the will whether we receive the impression or not. Again, the difference between them answers to the distinction of Time and Space. The art of sound represents succession; the arts of form, coexistence. On all these grounds music should certainly be ranked before the other special arts, as the second term of the aesthetic series. Its technical difficulties are exaggerated by pedants, whose interest it is to do so; in reality, special training is less needed for its appreciation, and even for its composition, than in the case of either painting or sculpture. Hence it is in every respect more popular and more social.

Of the three arts which appeal to the voluntary sense of sight, and which present simultaneous impressions, Painting, on the same principle of arrangement, holds the first rank, and Architecture the last; Sculpture being placed between them. Painting alone employs all the methods of visual expression, combining the effects of colour with those of form. Whether in public or private life, its sphere is wider than that of the other two. More technical skill is required in it than in music, and it is harder to obtain; but the difficulty is less than in Sculpture or in Architecture. These latter idealize less, and imitate more. Of the two, Architecture is the less aesthetic. It is far more dependent on technical processes; and indeed most of its productions are rather works of industry than works of art. It seldom rises above material beauty: moral beauty it can only represent by artifices, of which the meaning is often ambiguous. But the impressions conveyed by it are so powerful and so permanent, that it will always retain its place among the fine arts, especially in the case of great public buildings, which stand out as the most imposing record of each successive phase of social development. Never has the power of Architecture been displayed to greater effect than in our magnificent cathedrals, in which the spirit of the Middle Ages has been idealized and preserved for posterity. They exhibit in a most striking manner the property which Architecture possesses of bringing all the arts together into a common centre.

These brief remarks will illustrate the method adopted by the new philosophy in investigating a systematic theory of Art under all its statical aspects. We have now to speak of its action upon social life, whether in the final state of Humanity, or in the transitional movement through which that state is to be reached.

The Positive theory of history shows us at once, in spite of strong prejudices to the contrary, that up to the present time the progress achieved by Art has been, like that of Science and Industry, only preparatory; the conditions essential to its full development never having yet been combined.

Too much has been made of the aesthetic tendencies of the nations of antiquity, owing to the free scope that was given to Imagination in constructing their doctrines. In fact Polytheism, now that the belief in its principles exists no longer, has been regarded as simply a work of art. But the long duration of its principles would be sufficient proof that they were not created by the poets, but that they emanated from the philosophic genius of Humanity working spontaneously, as explained in my theory of human development, in the only way that was then possible. All that Art did for Polytheism was to perform its proper function of clothing it in a more poetic form. It is quite true that the peculiar character of Polytheistic philosophy gave greater scope for the development of Art than has been afforded by any subsequent system. It is to this portion of the theological period that we must attribute the first steps of aesthetic development, whether in society or in the individual. Yet Art was never really incorporated into the ancient order. Its free growth was impossible so long as it remained under the control of Theocracy, which made use of it as an instrument, but which, from the stationary character of its dogmas, shackled its operations. Moreover, the social life of antiquity was highly unfavourable to Art. The sphere of personal feelings and domestic affections was hardly open to it. Public life in ancient times had certainly more vigorous and more permanent features, and here there was a wider field. Yet even in such a case as that of Homer, we feel that he would hardly have spent his extraordinary powers upon descriptions of military life, had there been nobler subjects for his genius. The only grand aspect, viewed socially, that war could offer, the system of incorporation instituted by Rome after a succession of conquests, could not then be foreseen. When that period arrived, ancient history was drawing to a close, and the only poetical tribute to this nobler policy was contained in a few beautiful lines of Virgil’s Aeneid, ending with the remarkable expression,

Pacisque imponere morem.11

Medieval society, notwithstanding irrational prejudices to