Much less in modern times
During the decline of Chivalry, Art received indirectly an additional impulse from the movement of social decomposition which has been going on rapidly for the last five centuries. In this movement all mental and social influences gradually participated. Negativism, it is true, is not the proper province of Art; but the dogmas of Christianity were so oppressive to it, that its efforts to shake off the yoke were of great service to the cause of general emancipation. Dante’s incomparable work is a striking illustration of this anomalous combination of two contradictory influences. It was a situation unfavourable for art, because every aspect of life was rapidly changing and losing its character before there was time to idealize it. Consequently the poet had to create his own field artificially from ancient history, which supplied him with those fixed and definite modes of life which he could not find around him. Thus it was that for several centuries the Classical system became the sole source of esthetic culture; the result being that Art lost much of the originality and popularity which had previously belonged to it. That great masterpieces should have been produced at all under such unfavourable circumstances is the best proof of the spontaneous character of our esthetic faculties. The value of the Classical system has been for some time entirely exhausted; and now that the negative movement has reached its extreme limitsthere only remained one service (a service of great temporary importance) for Art to render, the idealization of Doubt itself. Such a phase of course admitted of but short duration. The best examples of it are the works of Byron and Goethe, the principle value of which has been, that they have initiated Protestant countries into the unrestricted freedom of thought which emanated originally from French philosophy.
Thus history shows that the esthetic development of Humanity has been the result of spontaneous tendencies rather than of systematic guidance. The mental conditions most favourable to it have never been fulfilled simultaneously with its social conditions. At the present time both are alike wanting. Yet there is no evidence that our esthetic faculties are on the decline. Not only has the growth of art proceeded in spite of every obstacle, but it has become more thoroughly incorporated into the life of ordinary men. In ancient times it was cultivated only by a small class. So little was it recognized as a component part of social organization, that it did not even enter into men’s imaginary visions of a future existence. But in the Middle Ages the simplest minds were encouraged to cultivate the sense of beauty as one of the purest delights of human life; and it was held out as the principal occupation of the celestial state. From that time all classes of European society have taken an increasing interest in these elevating pleasures, beginning with poetry, and thence passing to the special arts, especially music, the most social of all. The influence of artists, even when they had no real claim to the title, has been on the increase; until at last the anarchy of the present time has introduced them to political power, for which they are utterly unqualified.
Under Positivism the conditions will all be favourable. There will be fixed principles, and a nobler moral culture
All this would seem to show that the greatest epoch of Art has yet to come. In this respect, as in every other, the Past has but supplied the necessary materials for future reconstruction. What we have seen as yet is but a spontaneous and immature prelude; but in the manhood of our moral and mental powers, the culture of Art will proceed on principles as systematic as the culture of Science and of Industry, both of which at present are similarly devoid of organization. The regeneration of society will be incomplete until Art has been fully incorporated into the modern order. And to this result all our antecedents have been tending. To renew the esthetic movement so admirably begun in the Middle Ages, but interrupted by classical influences, will form a part of the great work which Positivism has undertaken, the completion and re-establishment of the Mediaeval structure upon a firmer intellectual basis. And when Art is once restored to its proper place, its future progress will be unchecked, because, as I shall now proceed to show, all the influences of the final order, spontaneous or systematic, will be in every respect favourable to it. If this can be made clear, the poetic capabilities of Positive Philosophy will require no further proof.
As being the only rallying point now possible for fixed convictions, without which life can have no definite or permanent character, Positivism is on this ground alone indispensable to all further development of modern Art. If the poet and his readers are alike devoid of such convictions, no idealization of life, whether personal, domestic, or social, is in any true sense possible. No emotions are fit subjects for Art unless they are felt deeply, and unless they come spontaneously to all.When society has no marked intellectual or moral feature, Art, which is its mirror, can have none either. And although the esthetic faculty is so innate in us that it never can remain inactive, yet its culture becomes in this case vague and objectless. The fact therefore that Positivism terminates the Revolution by initiating the movement of organic growth is of itself enough to prove its beneficial influence upon Art.
Art, indeed, would profit by any method of reorganization, whatever its nature. But the principle on which Positivism proposes to reconstruct is peculiarly favourable to its growth. The opinions and the modes of life to which that principle conducts are precisely those which are most essential to esthetic development.
A more esthetic system cannot be imagined than one which teaches that Feeling is the basis on which the unity of human nature rests; and which assigns as the grand object of man’s existence, progress in every direction, but especially moral progress. It may seem at first as if the tendency of the new philosophy was merely to make us more systematic. And systematization is assuredly indispensable; but the sole object of it is to increase our sympathy and our synergic activity by supplying that fixity of principle which alone can lead to energetic practice. By teaching that the highest happiness is to aid in the happiness of others, Positivism invites the poet to his noblest function, the culture of generous sympathies, a subject far more poetic than the passions of hatred and oppression which hitherto have been his ordinary theme. A system which regards such culture as the highest object cannot fail to incorporate Poetry as one of its essential elements, and to give to it a far higher position than it has ever held before. Science, although it be thesource from which the Positive system emanates, will be restricted to its proper function of supplying the objective basis for human prevision; thus giving to Art and Industry, which must always be the principal objects of our attention, the foundation they require. Positivism, substituting in every subject the relative point of view for the absolute, regarding, that is, every subject in its relation to Humanity, would not prosecute the study of the True beyond what is required for the development of the Good and the Beautiful. Beyond this point, scientific culture is a useless expenditure of time, and a diversion from the great end for which Man and Society exist. Subordinate as the ideal must ever be to the real, Art will yet exercise a most salutary influence upon Science, as soon as we cease to study Science in an absolute spirit. In the very simplest phenomena, after reaching the degree of exactness which our wants require, there is always a certain margin of liberty for the imagination; and advantage may very well be taken of this to make our conceptions more beautiful and so far more useful. Still more available is this influence of the Beautiful on the True in the highest subjects, those which directly concern Humanity. Minute accuracy being here more difficult and at the same time less important, more room is left for esthetic considerations. In representing the great historical types, for instance, Art has its place as well as Science. A society which devotes all its powers to making every aspect of life as perfect as possible, will naturally give preference to that kind of intellectual culture which is of all others the best calculated to heighten our sense of perfection.
Predisposing influence of Education
The tendency of Positivism to favour these the most energetic of our intellectual faculties and the most closelyrelated to our moral nature, is apparent throughout its educational system. The reader will have seen in the third chapter that in Positive education more importance is attached to Art than to Science, as the true theory of human development requires. Science intervenes only to put into systematic shape what Art, operating under the direct influence of affection, has spontaneously begun. As in the history of mankind esthetic development preceded scientific development, so it will be with the individual, whose education on the Positive method is but a reproduction of the education of the race. The only rational principle of our absurd classical system is its supposed tendency to encourage poetical training. The futility, however, of this profession is but too evident: the usual result of the system being to implant erroneous notions of all the fine arts, if not utter distaste for them. A striking illustration of its worthlessness is the idolatry with which for a whole century our French pedants regarded Boileau; a most skilful versifier, but of all our poets perhaps the least gifted with true poetic feeling. Positivist education will effect what classical education has attempted so imperfectly. It will familiarize the humblest working man or woman from childhood with all the beauties of the best poets; not those of his own nation merely, but of all the West. To secure the genuineness and efficiency of esthetic development, attention must first be given to the poets who depict our own modern society. Afterwards, as I have said, the young Positivist will be advised to complete his poetical course, by studying the poets who have idealized antiquity. But his education will not be limited to poetry, it will embrace the special arts of sound and form, by which the principal effects of poetry are reproduced with greater intensity. Thus the contemplationand meditation suggested by Art, besides their own intrinsic charm, will prepare the way for the exercise of similar faculties in Science. For with the individual, as with the species, the combination of images will assist the combination of signs: signs in their origin being images which have lost their vividness. As the sphere of Art includes every subject of human interest, we shall become familiarized, during the esthetic period of education, with the principal conceptions that are afterwards to be brought before us systematically in the scientific period. Especially will this be true of historical studies. By the time that the pupil enters upon them, he will be already familiar with poetic descriptions of the various social phases, and of the men who played a leading part in them.
Relation of Art to Religion
And if Art is of such importance in the education of the young, it is no less important in the afterwork of education; the work of recalling men or classes of men to those high feelings and principles which, in the daily business of life, are so apt to be forgotten. In the solemnities, private or public, appointed for this purpose, Positivism will rely far more on impressions such as poetry can inspire, than on scientific explanations. Indeed the preponderance of Art over Science will be still greater than in education properly so called. The scientific basis of human conduct having been already laid down, it will not be necessary to do more than refer to it. The philosophic priesthood will in this case be less occupied with new conceptions, than with the enforcement of truth already known, which demands esthetic rather than scientific talent.
A vague presentiment of the proper function of Art in regulating public festivals was shown empirically by the Revolutionists. But all their attemptsin this direction proved notorious failures; a signal proof that politicians should not usurp the office of spiritual guides. The intention of a festival is to give public expression to deep and genuine feeling; spontaneousness therefore is its first condition. Hence it is a matter with which political rulers are incompetent to deal; and even the spiritual power should only act as the systematic organ of impulses which already exist. Since the decline of Catholicism we have had no festivals worthy of the name; nor can we have them until Positivism has become generally accepted. All that governments could do at present is to exhibit unmeaning and undignified shows before discordant crowds, who are themselves the only spectacles worth beholding. Indeed the usurpation of this function by government is in many cases as tyrannical as it is irrational; arbitrary formulas are often imposed, which answer to no pre-existing feeling whatever. Evidently the direction of festivals is a function which more than any other belongs exclusively to the spiritual power, since it is the spiritual power which regulates the tendencies of which these festivals are the manifestation. Here its work is essentially esthetic. A festival even in private, and still more in public life, is or should be a work of art; its purpose being to express certain feelings by voice or gesture, and to idealize them. It is the most esthetic of all functions, since it involves usually a complete combination of the four special arts, under the presidence of the primary art, Poetry. On this ground governments have in most cases been willing to waive their official authority in this matter, and to be largely guided by artistic counsel, accepting even the advice of painters and sculptors in the default of poets of real merit.
The esthetic tendencies of Positivism, withregard to institutions of this kind, are sufficiently evident in the worship of Woman, spoken of in the preceding chapter, and in the worship of Humanity, of which I shall speak more particularly afterwards. From these, indeed, most Positivist festivals, private or public, will originate. But this subject has been already broached, and will be discussed in the next chapter with as much detail as the limits of this introductory work allow.
While the social value of Art is thus enhanced by the importance of the work assigned to it, new and extensive fields for its operations are opened out by Positivism. Chief amongst these is History, regarded as a continuous whole; a domain at present almost untouched.
Idealization of historical types
Modern poets, finding little to inspire them in their own times, and driven back into ancient life by the classical system, have already idealized some of the past phases of Humanity. Our great Corneille, for instance, is principally remembered for the series of dramas in which he has so admirably depicted various periods of Roman history. In our own times where the historical spirit has become stronger, novelists, like Scott and Manzoni, have made similar though less perfect attempts to idealize later periods. Such examples, however, are but spontaneous and imperfect indications of the new field which Positivism now offers to the artist; a field which extends over the whole region of the Past and even of the Future. Until this vast domain had been conceived of as a whole by the philosopher, it would have been impossible to bring it within the compass of poetry. Now theological and metaphysical philosophers were prevented by the absolute spirit of their doctrines from understanding history in all its phases, and were totally incapable of idealizing them as theydeserved. Positivism, on the contrary, is always relative; and its principal feature is a theory of history which enables us to appreciate and become familiar with every mode in which human society has formed itself. No sincere Monotheist can understand and represent with fairness the life of Polytheists or Fetichists. But the Positivist poet, accustomed to look upon all past historical stages in their proper filiation, will be able so thoroughly to identify himself with all, as to awaken our sympathies for them, and revive the traces which each individual may recognize of corresponding phases in his own history. Thus we shall be able thoroughly to enter into the esthetic beauty of the Pagan creeds of Greece and Rome, without any of the scruples which Christians could not but feel when engaged on the same subject. In the Art of the Future all phases of the Past will be recalled to life with the same distinctness with which some of them have been already idealized by Homer and Corneille. And the value of this new source of inspiration is the greater that, at the same time that it is being opened out to the artist, the public is being prepared for its enjoyment. An almost exhaustless series of beautiful creations in epic or dramatic art may be produced, which, by rendering it more easy to comprehend and to glorify the Past in all its phases, will form an essential element, on the one hand, of our educational system, and on the other, of the worship of Humanity.
Art requires the highest education; but little special instruction
Lastly, not only will the field for Art become wider, but its organs will be men of a higher stamp. The present system, in which the arts are cultivated by special classes, must be abolished, as being wholly alien to that synthetic spirit which always characterizes the highest poetic genius.
Real talent for Art cannot fail to be called outby the educational system of Positivism, which, though intended for the working classes, is equally applicable to all others. We can only idealize and portray what has become familiar to us; consequently poetry has always rested upon some system of belief, capable of giving a fixed direction to our thoughts and feelings. The greatest poets, from Homer to Corneille, have always participated largely in the best education of which their times admitted. The artist must have clear conceptions before he can exhibit true pictures. Even in these anarchic times, when the system of specialities is being carried to such an irrational extent, the so-called poets who imagine that they can themselves save the trouble of philosophical training, have in reality to borrow a basis of belief from some worn-out metaphysical or theological creed. Their special education, if it can be called so, consists merely in cultivating the talent for expression, and is equally injurious to their intellect and their heart. Incompatible with deep conviction of any kind, while giving mechanical skill in the technical department of Art, it impairs the far more important faculty of idealization. Hence it is that we are at present so deplorably over-stocked with verse-makers and literary men, who are wholly devoid of real poetic feeling, and are fit for nothing but to disturb society by their reckless ambition. As for the four special arts, the training for them at present given, being still more technical, is even more hurtful in every respect to the student whose education does not extend beyond it. On every ground, then, artists of whatever kind should begin their career with the same education as the rest of society. The necessity for such an education in the case of women has been already recognized; and it is certainly not less desirable for artists and poets.
Indeed, so esthetic is the spirit of Positive education,that no special training for Art will be needed, except that which is given spontaneously by practice. There is no other profession which requires so little direct instruction; the tendency of it in Art being to destroy originality, and to stifle the fire of genius with technical erudition. Even for the special arts no professional education is needed. These, like industrial arts, should be acquired by careful practice under the guidance of good masters. The notorious failure of public institutions established for the purpose of forming musicians and painters, makes it unnecessary to dwell further upon this point. Not to speak of their injurious effects upon character, they are a positive impediment to true genius. Poets and artists, then, require no education beyond that which is given to the public, whose thoughts and emotions it is their office to represent. Its want of speciality makes it all the more fit to develop and bring forward real talent. It will strengthen the love of all the fine arts simultaneously; for the connexion between them is so intimate that those who make it a boast that their talent is for one of them exclusively will be strongly suspected of having no real vocation for any. All the greatest masters, modern no less than ancient, have shown this universality of taste. Its absence in the present day is but a fresh proof that esthetic genius does not and cannot exist in times like these, when Art has no social purpose and rests on no philosophic principles. If even amateurs are expected to enjoy Art in all its forms, is it likely that composers of real genius will restrict their admiration to their own special mode of idealization and expression?
Artists as a class will disappear. Their function will be appropriated by the philosophic priesthood
Positivism, then, while infusing a profoundly esthetic spirit into general education, would suppress all special schools of Art on the ground that theyimpede its true growth, and simply promote the success of mediocrities. When this principle is carried out to its full length, we shall no longer have any special class of artists. The culture of Art, especially of poetry, will be a spontaneous addition to the functions of the three classes which constitute the moral power of society.
Under theocracy, the system by which the evolution of human society was inaugurated, the speculative class absorbed all functions except those relating to the common business of life. No distinction was made between esthetic and scientific talent. Their separation took place afterwards: and though it was indispensable to the full development of both, yet it forms no part of the permanent order of society, in which the only well-marked division is that between Theory and Practice. Ultimately all theoretic faculties will be again combined even more closely than in primitive times. So long as they are dispersed, their full influence on practical life cannot be realized. Only it was necessary that they should remain dispersed until each constituent element had attained a sufficient degree of development. For this preliminary growth the long period of time that has elapsed since the decline of theocracy was necessary. Art detached itself from the theoretical system before Science, because its progress was more rapid, and from its nature it was more independent. The priesthood had lost its hold of Art, as far back as the time of Homer: but it still continued to be the depositary of science, until it was superseded at first by philosophers strictly so called, afterwards by mathematicians and astronomers. So it was that Art first, and subsequently Science, yielded to the specializing system which, though normal for Industry, is in their case abnormal. It stimulated the growth ofour speculative faculties at the time of their escape from the yoke of theocracy: but now that the need for it no longer exists, it is the principal obstacle to the final order, towards which all their partial developments have been tending. To recombine these special elements on new principles is at present the primary condition of social regeneration.
Looking at the two essential functions of the spiritual power, education and counsel, it is not difficult to see that what they require is a combination of poetic feeling with scientific insight. We look for a measure of both these qualities in the public; therefore men who are devoid of either of them cannot be fit to be its spiritual guides. That they take the name of philosophers in preference to that of poets, is because their ordinary duties are more connected with Science than with Art but they ought to be equally interested in both. Science requires systematic teaching, whereas Art is cultivated spontaneously, with the exception of the technical branches of the special arts. It must be remembered that the highest esthetic functions are not such as can be performed continuously. It is only works of rare excellence which are in the highest sense useful: these, once produced, supply an unfailing source of idealization and expression for our emotions, whether in public or in private. It is enough, if the interpreter of these works and his audience have been so educated as to appreciate what is perfect, and reject mediocrity. Organs of unusual power will arise occasionally, as in former times, from all sections of society, whenever the need of representing new emotions may be felt. But they will come more frequently from the philosophic class in whose character, when it is fully developed, Sympathy will be as prominent a feature as System.
Identity of esthetic and scientific genius
There is, in truth, no organic distinction between scientific and poetic genius. The difference lies merely in their combinations of thought, which are concrete and ideal in the one case, abstract and real in the other. Both employ analysis at starting; both alike aim ultimately at synthesis. The erroneous belief in their incompatibility proceeds merely from the absolute spirit of metaphysical philosophy, which so often leads us to mistake a transitory phase for the permanent order. If it is the fact, as appears, that they have never been actually combined in the same person, it is merely because the two functions cannot be called into action at the same moment. A state of society that calls for great philosophical efforts cannot be favourable to poetry, because it involves a new elaboration of first principles; and it is essential to Art that these should have been already fixed. This is the reason why in history we find periods of esthetic growth succeeding periods of great philosophical change, but never co-existing. If we look at instances of great minds who were never able to find their proper sphere, we see at once that had they risen at some other time, they might have cultivated either poetry or philosophy, as the case might be, with equal success. Diderot would no doubt have been a great poet in a time more favourable to art; and Goethe, under different political influences, might have been an eminent philosopher. All scientific discoverers in whom the inductive faculty has been more active than the deductive, have given manifest proof of poetic capacity. Whether the powers of invention take an abstract or a concrete direction, whether they are employed in discovering truth or in idealizing it, the cerebral function is always essentially the same. The difference is merely in the objects aimed at; and as these alternate accordingto the circumstances of the time, they cannot both be pursued simultaneously. The remarkably synthetic character of Buffon’s genius may be looked on historically as an instance of fusion of the scientific and esthetic spirit. Bossuet is even a more striking instance of a mind equally capable of the deepest philosophy and of the sublimest poetry, had the circumstances of his life given him a more definite impulse in either direction.
It is then not unreasonable to expect, notwithstanding the opinion usually maintained, that the philosophical class will furnish poets of the highest rank when the time calls for them. To pass from scientific thought to esthetic thought will not be difficult for minds of the highest order; for in such minds there is always a natural inclination towards the work which is most urgently required by their age. To meet the technical conditions of the arts of sound and form, it will be necessary to provide a few special masters, who, in consideration of the importance of their services to general education, will be looked upon as accessory members of 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 esthetic 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 esthetic faculty. They will not be actively engaged in esthetic 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 mostpowerful minds among them will become poets in the common sense of the word. As the work of Co-ordination 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.
Women’s poetry
An additional proof of the esthetic 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 beyondtheir 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 esthetic 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.
People’s poetry
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 butmost 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 esthetic 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 will cease, and the moral dangers of a life exclusively devoted to the faculty of expression, will exist no longer.
Value of Art in the present crisis
I have now shown the position which Art will occupy in the social system as finally constituted. I have yet to speak of its influence in the actual movement ofregeneration which Positivism is inaugurating. We have already seen that each of the three classes who participate in this movement, assumes functions similar to those for which it is ultimately destined; performing them in a more strenuous, though less methodic way. This is obviously true of the philosophic class who head the movement; nor is it less true of the proletariate, from whom it derives its vigour, or of women, whose support gives it a moral sanction. It is, therefore, at first sight probable that the same will hold good of the esthetic conditions which are necessary to the completeness of these three functions of the social organism. On closer examination we shall find that this is the case.
Construction of normal types on the basis furnished by philosophy
The principal function of Art is to construct types on the basis furnished by Science. Now this is precisely what is required for inaugurating the new social system. However perfectly its first principles may be elaborated by thinkers, they will still be not sufficiently definite for the practical result. Systematic study of the Past can only reveal the Future in general outline. Even in the simpler sciences perfect distinctness is impossible without overstepping the limits of actual proof. Still more, therefore, in Sociology will the conclusions of Science fall always far short of that degree of precision and clearness, without which no principle can be thoroughly popularized. But at the point where Philosophy must always leave a void, Poetry steps in and stimulates to practical action. In the early periods of Polytheism, Poetry repaired the defects of the system viewed dogmatically. Its value will be even greater in idealizing a system founded, not upon imagination, but upon observation of fact. In the next chapter I shall dwell at greater length on the service which Poetry will render in representingthe central conception of Positivism. It will be easy to apply the same principle to other cases.
Pictures of the Future of Man
In his efforts to accomplish this object, the Positivist poet will naturally be led to form prophetic pictures of the regeneration of Man, viewed in every aspect that admits of being ideally represented. And this is the second service which Art will render to the cause of social renovation; or rather it is an extension of the first. Systematic formation of Utopias will in fact become habitual; on the distinct understanding that, as in every other branch of art, the ideal shall be kept in subordination to the real. The unlimited license which is apparently given to Utopias by the unsettled character of the time is in reality a bar to their practical influence, since even the wildest dreamers shrink from extravagance that oversteps the ordinary conditions of mental sanity. But when it is once understood that the sphere of Imagination is simply that of explaining and giving life to the conclusions of Reason, the severest thinkers will welcome its influence; because so far from obscuring truth, it will give greater distinctness to it than could be given by Science unassisted. Utopias have, then, their legitimate purpose, and Positivism will strongly encourage their formation. They form a class of poetry which, under sound sociological principles, will prove of material service in leading the people of the West towards the normal state. Each of the five modes of Art may participate in this salutary influence; each in its own way may give a foretaste of the beauty and greatness of the new life that is now offered to the individual, to the family, and to society.
Contrasts with the past
From this second mode in which Art assists the great work of reconstruction we pass naturally to a third, which at the presenttime is of equal importance. To remove the spell under which the Western nations are still blinded to the Future by the decayed ruins of the Past, all that is necessary is to bring these ruins into comparison with the prophetic pictures of which we have been speaking. Since the decline of Catholicism in the fourteenth century, Art has exhibited a critical spirit alien to its true nature, which is essentially synthetic. Henceforth it is to be constructive rather than critical; yet this is not incompatible with the secondary object of contending against opinions, and still more against modes of life, which ought to have died out with the Catholic system, or with the revolutionary period which followed it. But resistance to some of the most deeply-rooted errors of the Past will not interfere with the larger purpose of Positivist Art. No direct criticism will be needed. Whether against theological or against metaphysical dogmas, argument is henceforth needless, even in a philosophical treatise, much more so in poetry. All that is needed is simple contrast, which in most cases would be implied rather than expressed, of the procedure of Positivism and Catholicism in reference to similar social and moral problems. The scientific basis of such a contrast, is already furnished; it is for Art to do the rest, since the appeal should be to Feeling rather than to Reason. At the close of the last chapter I mentioned the principal case in which this comparison would have been of service, the introduction, namely, of Positivism to the two Southern nations. It was the task that I had marked out for my saintly fellow-worker, for it is one in which the esthetic powers of women would be peculiarly available.
In this, the third of its temporary functions, Positivist Art approximates to its normal character. We have spoken of its idealization of the Future, but here it will idealize the Past also. Positivism cannotbe accepted until it has rendered the fullest and most scrupulous justice to Catholicism. Our poets, so far from detracting from the moral and political worth of the mediaeval system, will begin by doing all the honour to it that is consistent with philosophical truth, as a prelude to the still higher beauty of the system which supersedes it. It will be the inauguration of their permanent office of restoring the Past to life. For it is equally in the interest of systematic thought and of social sympathy that the relation of the Past to the Future should be deeply impressed upon all.
But these three steps towards the incorporation of Art into the final order, though not far distant, cannot be taken immediately. They presuppose a degree of intellectual preparation which is not yet reached either by the public or by its esthetic teachers. The present generation under which, in France, the great revolution is now peacefully entering upon its second phase, may diffuse Positivism largely, not merely amongst qualified thinkers, but among the people of Paris, who are entrusted with the destinies of Western Europe, and among women of nobler nature. The next generation, growing up in the midst of this movement, may, before the expiration of a century from the date of the Convention, complete spontaneously the moral and mental inauguration of the new system, by exhibiting the new esthetic features which Humanity in her regenerate condition will assume.
Let us now sum up the conclusions of this chapter. We have found Positive Philosophy peculiarly favourable to the continuous development of all the fine arts. A doctrine which encourages Humanity to strive for perfection of every kind, cannot but foster and assimilate that form of mental activity by which our sense of perfection is so highly stimulated. It controls the Ideal, indeed, by systematicstudy of the Real; but only in order to furnish it with an objective basis, and so to secure its coherence and its moral value. Placed on this footing, our esthetic faculties are better adapted than the scientific, both to the nature and range of our understanding, and also to that which is the object of all intellectual effort, the organization of human unity. For they are more immediately connected with Feeling, on which the unity of our nature must rest. Next to direct culture of the heart, it is in ideal Art that we shall find the best assistance in our efforts to become more loving and more noble.
Logically, Art should have a salutary influence upon our intellectual faculties, because it familiarizes us from childhood with the features by which all constructive efforts of man should be characterized. Science has for a long time preferred the analytic method, whereas Art, even in these times of anarchy, always aims at Synthesis, which is the final goal of all intellectual activity. Even when Art, contrary to its nature, undertakes to destroy, it cannot do its work, whatever it be, without constructing. Thus, by implanting a taste and faculty for ideal construction, Art enables us to build with greater effect than ever upon the more stubborn soil of reality.
On all these grounds Art, in the Positive system, is made the primary basis of general education. In a subsequent stage education assumes a more scientific character, with the object of supplying systematic notions of the external world. But in after life Art resumes its original position. There the ordinary functions of the spiritual power will be esthetic rather than scientific. The three elements of which the modifying power is composed will become spontaneously the organs of idealization, a function which will henceforth never be dissociated from the power of philosophic synthesis.
Such a combination implies that the new philosophers shall have a true feeling for all the fine arts. In ordinary times passive appreciation of them will suffice; but there will occasionally be periods where philosophic effort ceases to be necessary, and which call rather for the vigour of the poet; and at these times the more powerful minds among them should be capable of rising to the loftiest creative efforts. Difficult as the condition may be, it is essential to the full degree of moral influence of which their office admits and which their work requires. The priest of Humanity will not have attained his full measure of superiority over the priest of God, until, with the intellect of the Philosopher, he combines the enthusiasm of the Poet, as well as the tenderness of Woman, and the People’s energy.