Part 17

All this now becomes a simple consequence of the connection that has been made clear between desire and action. The cognoscitive spirit, when it apprehends and ideally remakes this connection, has, in enunciating it, also enunciated for the first time the couples of terms that we have already mentioned and that variously express the criterion of existence. To distinguish desires from actions is tantamount to distinguishing the unreal from the real, the existing from the unexisting, and to think the practical act is tantamount to thinking the concept of existence and of effectual reality. For the determination of the relation between desire and action, and only for that, the criterion of existence is not necessary, because that relation is itself that criterion. To say "this is a desire" means, "this does not exist"; to say "this is an action" means, "this exists." The desires are possibility; the resolutive and volitional act or action, is actuality. And it is also evident that existent and inexistent are not separable, as though the inexistent were heterogeneous to the existent; the inexistent exists in its way, as possibility is possible reality; the phantasm exists in the fancy and desire in the spirit that desires. Thus the posing of the one term is also the posing of the other, as correlative. What is repugnant and contradictory is the introduction of the one term into the other. This takes place, for instance, when in narrating the history, reality that has happened is mingled as one single thing with reality dreamed of or desired, and history is turned into _legend._

[Sidenote: _History as distinction between actions and desires, and art as indistinction._]

It can be said that history always represents actions, and in this is implicit that it represents at the same time also desires, but only in so far as it distinguishes them from actions: history, therefore, is perception and memory of perception, and in it fancies and imaginations are also perceived as such and arranged in their place. And it would also be possible to say that art represents only desires, and is therefore all fancy and never perception, all possible reality and never effectual reality. But since to art is wanting the distinctive criterion between desires and actions, it in truth represents actions as desires and desires as actions, the real as possible, and the possible as real; hence it would be more correct to say that art is on the near side of the possible and the real, it is pure of these distinctions, and is therefore pure imagination or _pure intuition._ Desires and actions are, we know, of the same stuff, and art assumes that stuff just as it is, careless of the new elaboration that it will receive in an ulterior grade of the spirit, which is indeed impossible without that first and merely fantastic elaboration. Likewise when art takes possession of historical material, it removes from it just the historical character, the critical elements, and by this very fact reduces it once more to mere intuition.

[Sidenote: _The purely fantastic and the imaginary._]

It must further be noted that the purely fantastic, which is the representation of a desire, must not be confounded with the mechanical combination of images, that can be made idly, for amusement, or for practical ends. This operation (analogous to that of the intellect upon the pure concepts and representations, when it arbitrarily combines them in the pseudo-concepts), is secondary and derivative; and it presupposes the first, which provides it with the material that it cuts up and combines. Nothing is more extraneous and repugnant to poetry than this artificial _imagining,_ precisely because it is external and repugnant to reality. Hence his would be a vain objection who should coldly and capriciously combine the most different images and ask for an explanation of the whole, with desire as the fundamental principle. Such combinations as these, since they do not belong to poetry, are void of real psychical content.

[Sidenote: _Art as lyrical or representation of feelings._]

But if the relation between desire and action be the ultimate reason for the distinction between art and history, and this distinction be the theoretical reflection of that real relation, the conception of art as representation of volitional facts, taken in their quite general and indeterminate nature, in which desire is as action and action as desire, reveals why art affirms itself as _representation of feeling,_ and why a work of art does not seem to possess and does not possess value, save from its _lyrical_ character and from the imprint of the artist's personality. The work of art that reasons or instructs as to things that have happened, and finds a substitute for intimate and lyrical connections in historical reasonings and connections, is justly and universally condemned as cold and ineffectual. We do not ask the artist for a philosophical system nor for a relation of facts (if all this is to be found in his work it is _per accidens),_ but for a dream of his own, for nothing but the expression of a world desired or abhorred, or partly desired and partly abhorred. If he make us live again in this dream the rapture of joy or the incubus of terror, in solemnity or in humility, in tragedy or in laughter, that suffices. Facts and concepts, and the question as to the metaphysical constitution of reality and how it has been developed in time, are all things that we shall ask of others.

[Sidenote: _Identity of ingenuous reality and feeling._]

It may seem that in this way the field of art has been much restricted and the ingenuous representation of the real excluded from it. But this ingenuous representation is just the representation of reality as dream. For reality is nothing (as we henceforth know) than becoming, possibility that passes into actuality, desire that becomes action, from which desire springs forth again unsatiated. The artist who represents it ingenuously, produces the lyric for this very reason. For him there is no necessity to reach it from without, as a new element: if he do this, he is a bad artist, and will be blamed as a hunter of emotions, emphatic, convulsive, wearisomely sentimental, forcedly jocose, an introducer of his own caprice into the coherence of the work, a confounder of his empirical with his artistic personality, which exists in the empirical individual, but is not equivalent to it. The feeling that the true artist portrays is that of things, _lacrymae rerum_; and by the identity of feeling and volition, of volition and reality already demonstrated in the Philosophy of the practical, things are themselves that feeling. The characteristic that Schelling and Schopenhauer noted in music, of reproducing, not indeed the ideas, but the ideal rhythm of the universe, and of objectifying the will itself, belongs equally to all the other forms of art, because it is the essence itself of Art, or of pure intuition.

[Sidenote: _Artists and the will._]

An obvious confirmation of this theory is also the empirical observation often made, that the men who lose themselves in desires are rather poets than men of action, dreamers rather than actors; and in respect to this, that poets who seem to have the soul overflowing with energetic plans, magnanimous loves, and fierce hatreds are the most incapable in the field of action, and the worst of captains in practical struggles; because those plans, those loves and hates, are not will, but desires, and desires already weakened as such, because they are no longer in process of volitional synthetization, but have become the objects of contemplation and of dream. He who reads the biographies of artists, or has dealings with artists in daily life, almost always has the impression that their gusts of passion are nothing but poetry _about to break forth,_ as a green bud that opens and breaks the brown sheath. And if this process be painful, that is because every travail of birth is painful. One sees, indeed, how everything generally ends _par des chansons._ A fine poem and the sufferer is calm again.

[Sidenote: _Actions and myths._]

This also explains why individual actions and practical collective movements are accompanied with hopes, beliefs, and _myths._ These have no logical or historical truth, but it is on the other hand impossible to criticize them, because they are not error, but fantastic projection of the state of soul of individuals and groups of individuals in action, and testify to the existence of desires ready to transform themselves into will and action. Utopias are poetry, they are not practical acts; but beneath that poetry there is always the reality of a desire that is a factor of future history. Hence it also happens that poets are thought of as _seers,_ when the utopia of to-day becomes the reality of the morrow. The Utopian and semi-poetic Address of the Italian patriots to the Directory of June 18, 1799,[1] the not less Utopian Proclamation of Rimini of 1815, the song of Manzoni, in which rang out the fateful verse,

We shall not be free if we are not one,

will become, for the Italians of 1860, effective action and _historical event._

[Sidenote: _Art as the pure representation of becoming and the artistic form of thought._]

Pure intuition, ingenuous representation of reality, representation of feeling, lyricism and personal intonation, are then all equivalent formulæ, all of them definitions of the æsthetic activity and of art. And it would be superfluous to repeat that art thus characterized remains the concrete form of the superior theoretical grades of the spirit. In fact, logical thought or concept is also volition, owing to the unity of the spirit, and the representation of such volition is the logos made flesh, the concept that incorporates itself in language, palpitating with the drama of its becoming. What word of man is there that is not personally and lyrically coloured, whether he communicate the truth of science or narrate the incidents of life? And how could we deny a place among the dramas that agitate human life and art portrays, to that drama of dramas, which is the drama of thought and of the historical comprehension of the real?

[1] B. Croce, _Relazioni dei patrioti napoletani col Direttorio e col Consolato e l' idea dell' unità italiana,_ Napoli, 1902, pp. 69-73.

VII

HISTORICAL ANNOTATIONS

[Sidenote: _The problem of freedom._]

I. For the reasons stated in their place, a history of the concept of freedom would end by becoming almost a general history of philosophy. Denied in different ways in the mechanistic and deterministic conceptions (from the Stoics to Spinoza), and in the theological and arbitraristic (from Epicurus to St. Augustine and the mystics), that concept afterwards continually assumed a more and more conciliatory form; an indication that the question must be put in an altogether different way. This movement culminated in the Kantian theory, in which freedom, defended against the psychologists, is withdrawn from natural causality and affirmed _a priori,_ as causality by means of freedom; but, at the same time, Kant did not succeed in fully justifying it, owing to his failure in the solution of the antitheses, the defect of the Kantian philosophy, which never really became a system. The embarrassments and absurdities to which the unsolved antithesis between liberty and causality gives rise, are sufficiently exemplified in a proposition to be found in the _Critique of Practical Reason_: "It would be possible to foresee what man will do in the future, if we possessed all the facts; yet he would be perfectly free."[1] But notwithstanding these contradictions and embarrassments, the energetic affirmation of the principle of freedom by Kant (which had an altogether special certitude in Kant, in respect to the other two postulates of the practical reason, God and immortality, from which in this respect it was distinguished) helped to make prevalent the conviction of the impossibility of eliminating that concept or of escaping from it, and made of it the field of battle, where the fortunes of philosophy were decided. The problem of the freedom of willing is really solved or near to a solution, in those philosophies which do not fatigue themselves with it as a particular problem, but treat of it as something to be understood of itself, provided there be a non-mechanistic conception of reality, such as would not need special defence. This happens, not only with sentimentalists and mystics such as Jacobi and Schleiermacher, but also and above all in the Hegelian philosophy. Perhaps no philosopher has been less occupied with the problem of liberty than Hegel, just because he was always occupied with it. The will is free (he contents himself with saying); freedom is the fundamental determination of the will, as gravity is of matter; thus as gravity is matter itself, so is freedom the will. Hegel consequently saw true in the contest between arbitrarism and determinism, recognizing in determinism the merit of having given its value to the content, the datum, in opposition to the certainty of abstract auto-determination, so that freedom understood as free will is considered to be illusion. Free will is both determined and indetermined.[2] But how Hegel could conciliate this theory of freedom with the mechanistic concept of nature that persists in him is another question. His failure to attain to this conciliation was perhaps among the reasons that made his profound solution of the antithesis between determinism and indeterminism seem a vain playing with words.

After Hegel, a return was made to the Kantian doctrine, variously modified, in which is posited, now a double causality, now a composition of diverging forces, now a double point of view, now two worlds, the one included in the other and dominated, the one by the principle of the conservation of energy, the other by that of increase. Such contradictory doctrines are to be found for example in Lotze and Wundt, to the latter of whom belongs the formula that the causal explanation is certainly to be applied to spiritual facts, but _a parte post,_ not _a parte ante_[3] The philosophy of Bergson represents in a certain way a return to the sound idealistic view, which declares that the dilemma of determinism and indeterminism is surpassed.[4]

[Sidenote: _The doctrine of evil._]

II. The conception of the relation between bad and good, as reality opposed to reality, is mythological and religious (Parseeism, Manichæism, Jewish-Christian doctrine of the devil, etc.). But evil had already begun to reveal itself to the philosophical reflection of the ancients as the unreal, the not being; and this is explicitly affirmed in Neoplatonism. It was not, however, possible to understand this function of unreality, real in its way, without a general dialectical conception, which became very slowly mature. Without a dialectic conception, evil, conceived as unreality, becomes mere illusion, not so much a moment of the real as an equivocation of man philosophizing. This is clearly to be seen in Spinoza, who opposes the full laws of reality to the narrow laws of human nature, saying: _Quidquid nobis in natura ridiculum, absurdum aut malum videtur, id inde venit quod res tantum ex parte novimus, totiusque naturae ordinem et cohaerentium maxima ex parte ignoramus, et quod omnia ex usu nostrae rationis dirigi volumus, cum tamen id, quod malum esse dictat, non malum sit respectu ordinis et legum universae naturae; sed tantum solius nostrae naturae legum respectu._ For indeed, if evil, error and wickedness were something that had essence, God, who is the cause of all that has essence (continues Spinoza), would also be the cause of evil, of error, and of wickedness. But this is not so, because evil is nothing real. _Neronis matricidium_ (he observes) _quatenus aliquid positivum comprehendebat, scelus non erat: nam facinus externum fecit, simulque intentionem ad trucidendam matrem Orestes habuit, et tamen, saltem ita uti Nero, non accusatur. Quodnam ergo Neronis scelus? Non aliud quam quod hoc facinore ostendit se ingratum, immisericordem ac inobedientem esse. Certum autem est, nihil horum aliquid essentiae exprimere, et idcirco Deum eorum non fuisse catisam, licet causa actus et intentionis Neronis fuerit_[5] But Spinoza was not able to determine in what sense Nero was really ungrateful, implacable, and disobedient, nor in what way such a judgment could be justified, owing to his idea of Substance, not as subject, spirit, activity, but as cause.

Kant did not succeed in understanding the nature of evil; for him good and evil were "the categories of freedom,"[6] and the view of Fichte who makes the radical evil to be _vis inertiae,_ laziness (_Trägheit,_) which is in nature and in man as nature,[7] represents progress in respect to the Kantian position. But only with the Hegelian dialectical view of evil, understood as negation, is evil at the same time given its right place; and its unreality, contradiction, which is no longer the product of illusion of thought, but of things themselves, in intimate contradiction with one another, if it be a blemish, is shown to be the blemish, not of human thought, but of reality.[8]

[Sidenote: _Decision and freedom._]

III. Free will, too, is not considered as a quality and character of complete liberty, but as its negation, will as contradiction, in the Hegelian philosophy. It was preceded in this respect, not only by Kant, but also by Descartes. Descartes wrote of the decision of indifference: _Cette indifférence que je sens lorsque je ne suis point porté vers un côté plutôt que vers un autre par le poids d'aucune raison est le plus bas degré de ma liberté, et fait plutôt paraître un défaut dans la connaissance qu'une perfection dans la volonté: car si je connaissais toujours clairement ce qui est vrai et ce qui est bon, je ne serais jamais en peine de délibérer quel jugement et quel choix je devrais faire; et ainsi je serais entièrement libre, sans jamais être indifférent._[9]

Among the false formulæ of the _freedom of choice_ can be mentioned that of Rosmini, who calls it _bilateral_ freedom, or that of performing or not performing a given action.[10] But since the spirit cannot be reduced to complete passivity, not to perform a given action is equivalent to performing a different one; and if this other action that presents itself before us be also not willed by us, then it will be another, and so on. Thus it is not a question of bilaterality, but of multiplicity of tendencies: not of the choice between two volitions, but of the synthesis of many appetites in one, which is the will or freedom.

[Sidenote: _Conscience and responsibility_]

We may mention the disputes that have been preserved in the _Memorabilia_ as to the greater responsibility of him who knows more (or wills more), as compared with him who knows less (or wills less), as to whether he that acts voluntarily be more unjust than he who acts involuntarily (ὁ ἑκὼν ἤ ὁ ἄκων). In this connection it is to be observed that he who voluntarily does not write or read well is certainly more grammatical than he who reads and writes ill through ignorance; and therefore that he who commits injustice while knowing what is just, is more just than he who commits it because he does not know what is just; and that he is better, who says what is false when he knows what is true, than he who says what is false, not knowing what is true. The dispute leads to the celebration of knowledge of self, or, as we should say, of knowing and possessing oneself.[11]

These thoughts are discussed anew in the _Hippias minor,_ where the multiple difficulties are placed in relief and a conclusion reached that does not even satisfy those who propose it.[12] It is henceforward clear that the question must be solved in the sense that he who is conscious of sinning is certainly a sinner, whereas he who is not conscious of so doing, does not sin at all; but this being even incapable of sinning is in itself a sin, and places the man who is in such a condition yet a degree lower. In the polemic of Pascal with the Jesuits--who maintained that in order to sin it was necessary to be conscious of one's own infirmity and of the suitable remedy, the wish to be healed and to ask it of God--the Jesuits were theoretically on the side of reason. _Croira-t-on, sur votre parole_ (wrote Pascal), _que ceux qui sont plongés dans l'avarice, dans l'impudicité, dans les blasphèmes, dans le duel, dans la vengeance, dans les vols, dans les sacrilèges, aient véritablement le désir d'embrasser la chasteté, l'humilité et les autres vertus chrétiennes?_ Nevertheless, it is inevitably so, if those acts of theirs are to be judged to be vices (and if they really are so). Hegel places himself on the side of Pascal, who accepts and refers to the following argument and reduction to the absurd: _Ils seront tous damnés ces demi-pécheurs qui ont quelque amour pour la vertu. Mais pour ces francs-pécheurs, sans mélange, pleins et achevés, l'enfer ne les tient pas: ils ont trompé le diable à force de s'y abandonner._[13]

A reduction to the absurd which is not such: because the formula given as absurd expresses at bottom a very simple truth, which Hegel too stated in his own way, when he said that it was necessary to prefer self-will, evil, the erring Spirit, to the innocence of plants and animals, or of Nature.[14]

[Sidenote: _The concept of duty._]

IV. A classical example of the disputes as to the principle of the Philosophy of the practical, arising from the consideration of this principle in its empirical formulations, can be furnished from the polemic of Herbart against Kant on the subject of _duty._ Herbart demonstrated that duty is not an original but a derived concept, and that it appears only when there is disagreement between the practical _ideas_ and the _will_.[15] But it would be possible to demonstrate with the same method that the practical ideas are derived concepts, because they do indeed presuppose the moral will, from the manifestations of which they are constituted by means of abstraction. Herbart was in the right against Kant, but he afterwards let the axe fall on his own feet. The hard formula of the imperative preferred by Kant had already been combated by Frederick Schiller, who accentuated the moment of pleasure, sympathy and enthusiasm in the good action.

[Sidenote: _Repentance and remorse._]