Benedetto croce aesthetics pdf to excel

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But so long as ugliness and turpitude exist in nature and impose themselves upon the artist, to prevent the expression of these things also is impossible; and when it has arisen, factum infectum fieri nequit. We speak thus entirely from the æsthetic point of view, and of pure criticism of art.

We are not concerned to estimate the damage which the criticism of "choice" does to artistic production, with the prejudices which it produces or maintains among the artists themselves, and with the conflict to which it gives rise between artistic impulse and critical demands.

For us, the will is, as generally understood, that activity of the spirit which differs from the merely theoretical contemplation of things, and is productive, not of knowledge, but of actions. . If we pass from the consideration of big books to a short sentence, the error or inaccuracy of such a contention will leap to the eyes.

Rising gradually to the more complex forms of action, for example to the political, how could we will anything politically good or bad without knowing the real conditions of society, and consequently the means and expedients to be adopted? Are they visual? The so-called concept of the[Pg 28] individual is always a universal or general concept, full of characteristics, supremely full, if you like, but however full it be, incapable of attaining to that individuality to which historical knowledge, as æsthetic knowledge, alone attains.

To show how the content of history comes to be distinguished from that of art in the narrow sense, we must recall what has already been observed as to the ideal character of the intuition or first perception, in which all is real and therefore nothing is real.

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There can be no doubt of the great value of Croce's work as an educative influence, and if we are to judge of a philosophical system by its action on others, then we must place the Philosophy of the Spirit very high. Certainly, the practical man has no need of a philosophical system in order to act, but in the spheres where he does act, he starts from intuitions and concepts which are perfectly clear to him.

. These observations are all obvious. G. Sulzer—K. But what could such a spatial function be, a simple arrangement that should arrange even time? Great thinkers have sometimes donned the ill-fitting cloak of the philosophy of history, and notwithstanding the covering, they have attained philosophical truths of the greatest magnitude.

THE THEORY OF THE LIMITS OF THE ARTS 449

The limits of the arts in Lessing—Arts of space and arts of time—Limits and classifications of the arts in later philosophy: Herder and Kant—Schelling, Solger—Schopenhauer, Herbart—Weisse, Zeising, Vischer—M. This index and these labels (themselves expressions) suffice for small needs and small actions.

But since this confusion ends by being offensive to common sense, it has more frequently been attenuated or concealed with a phraseology apparently designed at once to confuse and to distinguish them. For indeed he deceives no one, since he gives form to what is already in his soul. W. Solger—Fancy and imagination—Art, practice and religion—G.

A man who absorbs the subject of a picture or poem does not have it before him as a series of impressions, some of which have prerogatives and precedence over the others. The so-called natural sciences indeed themselves recognize that they are surrounded by limitations, and these limitations are nothing but historical and intuitive data.