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No difference of intensity.

The difference is extensive

For the same reason, it cannot be admitted that intuition, which is generally called artistic, differs from ordinary intuition as to intensity. This would be the case if it were to operate differently on the same matter. But since artistic

function is more widely distributed in different fields, but yet does not differ in method from ordinary intuition, the difference between the one and the other is not intensive but extensive. The intuition of the simplest popular love-song, which says the same thing, or very nearly, as a declaration of love such as issues at every moment from the lips of thousands of ordinary men, may be intensively perfect in its poor simplicity, although it be extensively so much more limited than the complex intuition of a love-song by Leopardi.

The whole difference, then, is quantitative, and empirical, and as such, indifferent to philosophy, scientia qualitatum. Certain men have a greater aptitude, a more frequent inclination fully to express certain complex states of the soul. These men are known in ordinary language as artists. Some very complicated and difficult expressions are more rarely achieved and these are called works of art. The limits of the expressions and intuitions that are called art, as opposed to those that are vulgarly called not-art, are empirical and

impossible to define. If an epigram be art, why not a single word? If a story; why not the occasional note of the journalist? If a landscape, why not a topographical sketch? The teacher of philosophy in Molière's comedy was right: "whenever we speak we create prose.' But there will always be scholars like Monsieur Jourdain, astonished at having created prose for forty years without knowing it, and who will have difficulty in persuading themselves that when they call their servant John to bring their slippers, they have spoken nothing less than-prose.

We must hold firmly to our identification, because among the principal reasons which have prevented Esthetic, the science of art, from revealing the true nature of art, its real roots in human nature, has been its separation from the general spiritual life, the having made of it a sort of special function or aristocratic circle. No one is astonished when he learns from physiology that every cellule is an organism and every organism a cellule or synthesis of cellules. No one is astonished at finding in a lofty mountain the same chemical elements that compose a small stone or fragment. There is not one physiology of small animals and one of large animals; nor is

Artistic

genius.

there a special chemical theory of stones as distinct from mountains. In the same way, there is not a science of lesser intuition distinct from a science of greater intuition, nor one of ordinary intuition distinct from artistic intuition. There is but one Esthetic, the science of intuitive or expressive knowledge, which is the aesthetic or artistic fact. And this Esthetic is the true analogy of Logic. Logic includes, as facts of the same nature, the formation of the smallest and most ordinary concept and the most complicated scientific and philosophical system.

Nor can we admit that the word genius or artistic genius, as distinct from the non-genius of the ordinary man, possesses more than a quantitative signification. Great artists are said. to reveal us to ourselves. But how could this be possible, unless there be identity of nature between their imagination and ours, and unless the difference be only one of quantity? It were well to change poeta nascitur into homo nascitur poeta: some men are born great poets, some small. The cult and superstition of the genius has arisen from this quantitative difference having been taken as a difference of quality. It has been forgotten that genius is not something that has fallen from heaven, but humanity itself. The man of genius,

who poses or is represented as distant from humanity, finds his punishment in becoming or appearing somewhat ridiculous. Examples of this are the genius of the romantic period and the superman of our time.

But it is well to note here, that those who claim unconsciousness as the chief quality of an artistic genius, hurl him from an eminence far above humanity to a position far below it. Intuitive or artistic genius, like every form of human activity, is always conscious; otherwise it would be blind mechanism. The only thing that may be wanting to the artistic genius is the reflective consciousness, the superadded consciousness of the historian or critic, which is not essential to artistic genius.

form in

The relation between matter and form, or Content and between content and form, as it is generally Esthetic. called, is one of the most disputed questions in Esthetic. Does the æsthetic fact consist of content alone, or of form alone, or of both together? This question has taken on various meanings, which we shall mention, each in its place. But when these words are taken as signifying what we have above defined, and matter is understood as emotivity not æsthetically elaborated, that is to say, impressions, and form

elaboration, intellectual activity and expression, then our meaning cannot be doubtful. We must, therefore, reject the thesis that makes the æsthetic fact to consist of the content alone (that is, of the simple impressions), in like manner with that other thesis, which makes it to consist of a junction between form and content, that is, of impressions plus expressions. In the aesthetic fact, the æsthetic activity is not added to the fact of the impressions, but these latter are formed and elaborated by it. The impressions reappear as it were in expression, like water put into a filter, which reappears the same and yet different on the other side. The æsthetic fact, therefore, is form, and nothing but form.

From this it results, not that the content is something superfluous (it is, on the contrary, the necessary point of departure for the expressive fact); but that there is no passage between the quality of the content and that of the form. It has sometimes been thought that the content, in order to be æsthetic, that is to say, transformable into form, should possess some determinate or determinable quality. But were that so, then form and content, expression and impression, would be the same thing. It is true

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