Aesthetic as Science of Expression and General LinguisticCroce, Benedetto
Philosophy
Aesthetic as Science of Expression and General Linguistic
Croce, Benedetto
Aesthetics; Language and languages -- Philosophy; Philosophy
Others maintain that animals, or certain animals, think or reason
without speaking. Now as to how, whether, and what animals think,
whether they be rudimentary, half-savage men resisting civilization,
rather than physiological machines, as the old spiritualists would have
it, are questions that do not concern us here. When the philosopher
talks of animal, brutal, impulsive, instinctive nature and the like, he
does not base himself on conjectures as to these facts concerning dogs
or cats, lions or ants; but upon observations of what is called animal
and brutal in man: of the boundary or animal basis of what we feel in
ourselves. If individual animals, dogs or cats, lions or ants, possess
something of the activity of man, so much the better, or so much the
worse for them. This means that as regards them also we must talk, not
of their nature as a whole, but of its animal basis, as being perhaps
larger and more strong than the animal basis of man. And if we suppose
that animals think, and form concepts, what is there in the line of
conjecture to justify the admission that they do so without
corresponding expressions? The analogy with man, the knowledge of the
spirit, human psychology, which is the instrument of all our conjectures
as to animal psychology, would oblige us to suppose that if they think
in any way, they also have some sort of speech.
It is from human psychology, that is, literary psychology, that comes
the other objection, to the effect that the concept can exist without
the word, because it is true that we all know books that are _well
thought and badly written_: that is to say, a thought which remains
thought _beyond_ the expression, _notwithstanding_ the imperfect
expression. But when we talk of books well thought and badly written, we
cannot mean other than that in those books are parts, pages, periods or
propositions well thought out and well written, and other parts (perhaps
the least important) ill thought out and badly written, not truly
thought out and therefore not truly expressed. Where Vico's _Scienza
nuova_ is really ill written, it is also ill thought out. If we pass
from the consideration of big books to a short proposition, the error or
the imprecision of this statement will be recognized at once. How could
a proposition be clearly thought and confusedly written out?
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