The origin of all our faculties of expression is invariably esthetic; for we do not express till after we have felt strongly. Feeling had, in primitive times at all events, far more to do with these faculties than Thought, being a far stronger stimulant to external demonstration. Even in the most highly wrought languages, where, in consequence of social requirements, reason has to a great extent encroached upon emotion, we see evidence of this truth. There is a musical element in the most ordinary conversation. Listening carefully to a lecture on the most abstruse mathematical problem, we shall hear intonations which proceed obviously from the heart rather than the head, and which are indications of character even in the most unimpassioned speaker. Biology at once explains this law, by teaching that the stimulus to the muscles used in expression, whether vocal or gesticulatory, comes principally from the affective region of the brain; the specu-region being too inert to produce muscular contraction for which there is no absolute necessity. Accordingly, Sociology regards every language as containing in its primitive elements all that is spontaneous and universal in the esthetic development of Humanity; enough, that is, to satisfy the general need of communicating emotion. In this common field the special arts commence, and they ultimately widen it. But the operation is the same in its nature, whether carried on by popular instinct or by individuals. The final result is always more dependent on feeling than on reason, even in times like these, when the intellect has risen in revolt against the heart. Song, therefore, comes before Speech; Painting before Writing; because the first things we express are those which move our feelings most. Subsequently the necessities of social life oblige us to employ more frequently, and ultimately to develop, those elements in painting or in song, which relate to our practical wants and to our speculative faculties so far as they are required for supplying them; these forming the topics of ordinary communication. Thus the emotion from which the sign had originally proceeded becomes gradually effaced; the practical object is alone thought of, and expression becomes more rapid and less emphatic. The process goes on until at last the sign is supposed to have originated in arbitrary convention; though, if this were the case, its universal and spontaneous adoption would be inexplicable. Such, then, is the sociological theory of Language, on which I shall afterwards dwell more fully. I connect it with the whole class of esthetic functions, from which in the lower animals it is not distinguished. For no animal idealizes its song or gesture so far as to rise to anything that can properly be called Art.
Classification of the arts on the principle of decreasing generality, and increasing intensity
To complete our examination of the philosophy of Art, statically viewed, we have now only to speak of the order in which the various arts should be classified. Placed as Art is, midway between Theory and Practice, it is classified on the same principle, the principle, that is of decreasing generality, which I have long ago shown to be applicable to all Positive classifications of whatever kind. We have already obtained from it a scale of the Beautiful, answering in most points to that which was first laid down for the True, and which we applied afterwards to the Good. By following it in the present instance, we shall be enabled to range the arts in the order of their conception and succession, as was done in my Treatise on Positive Philosophy for the various branches of Science and Industry.
The arts, then, should be classified by the decreasing generality and the increasing intensity, which involves also increasing technicality, of their modes of expression. In its highest term the esthetic scale connects itself with the scientific scale; and in its lowest with the industrial scale. This is in conformity with the position assigned to Art intermediate between Philosophy and Practical life. Art never becomes disconnected from human interests; but as it becomes less general and more technical, its relation with our higher attributes becomes less intimate, and it is more dependent on inorganic Nature, so that at last the kind of beauty depicted by it is merely material.
Poetry
On these principles of classification we must give the first place to Poetry properly so called, as being the most general and least technical of the arts, and as being the basis on which all the rest depend. The impressions which it produces are less intense than those of the rest, but its sphere is evidently wider, since it embraces every side of our existence, whether individual, domestic, or social. Poetry, like the special arts, has a closer relation with actions and impulses than with thoughts. Yet the most abstract conceptions are not excluded from its sphere; for not merely can it improve the language in which they are expressed, but it may add to their intrinsic beauty. It is, on the whole, the most popular of all the arts, both on account of its wider scope, and also because, its instruments of expression being taken directly from ordinary language, it is more generally intelligible than any other. True, in the highest kind of poetry versification is necessary; but this cannot be called a special art. The language of Poetry, although distinct in form, is in reality nothing but the language of common men more perfectly expressed. The only technical element in it, prosody, is easily acquired by a few days’ practice. A proof of the identity of the language of Poetry with that of common life, is the fact that no poet has ever been able to write with effect in a foreign or a dead language. And not only is this noblest of Arts more comprehensive, more spontaneous, more popular than the rest, but it surpasses them in that which is the characteristic feature of all art, Ideality. Poetry is the art which idealizes the most, and imitates the least. For these reasons it has always held the first place among the arts; a view which will be strengthened in proportion as we attach greater importance to idealization and less to mere expression. In expression it is inferior to the other arts, which represent such subjects as fall within their compass with greater intensity. But it is from Poetry that these subjects are usually borrowed.
Music
The first term of the series being thus determined, the other arts may at once be ranked according to the degree of their affinity with Poetry. Let us begin by distinguishing the different senses to which they appeal; and we shall find that our series proceeds on the principle which biologists, since Gall’s time, have adopted for the classification of the special senses, the principle of decreasing sociability. There are only two senses which can be called esthetic; namely, Sight and Hearing: the others having no power of raising us to Idealization. The sense of smell can, it is true, enable us to associate ideas; but in man it exists too feebly for artistic effects. Hearing and Sight correspond to the two modes of natural language, voice and gesture. From the first arises the art of Music; the second, which however is less esthetic, includes the three arts of form. These are more technical than Music; their field is not so wide, and moreover they stand at a greater distance from poetry; whereas Music remained for a long time identified with it. Another distinction is that the sense to which music appeals performs its function involuntarily; and this is one reason why the emotions which it calls forth are more spontaneous and more deep, though less definite, than in the case where it depends on the will whether we receive the impression or not. Again, the difference between them answers to the distinction of Time and Space. The art of sound represents succession; the arts of form, co-existence. On all these grounds music should certainly be ranked before the other special arts, as the second term of the esthetic series. Its technical difficulties are exaggerated by pedants, whose interest it is to do so; in reality, special training is less needed for its appreciation, and even for its composition, than in the case of either painting or sculpture. Hence it is in every respect more popular and more social.
Painting
Sculpture
Architecture
Of the three arts which appeal to the voluntary sense of sight, and which present simultaneous impressions, Painting, on the same principle of arrangement, holds the first rank, and Architecture the last; Sculpture being placed between them. Painting alone employs all the methods of visual expression, combining the effects of colour with those of form. Whether in public or private life, its sphere is wider than that of the other two. More technical skill is required in it than in music, and it is harder to obtain; but the difficulty is less than in Sculpture or in Architecture. These latter idealize less, and imitate more. Of the two, Architecture is the less esthetic. It is far more dependent on technical processes; and indeed most of its productions are rather works of industry than works of art. It seldom rises above material beauty: moral beauty it can only represent by artifices, of which the meaning is often ambiguous. But the impressions conveyed by it are so powerful and so permanent, that it will always retain its place among the fine arts, especially in the case of great public buildings, which stand out as the most imposing record of each successive phase of social development. Never has the power of Architecture been displayed to greater effect than in our magnificent cathedrals, in which the spirit of the Middle Ages has been idealized and preserved for posterity. They exhibit in a most striking manner the property which Architecture possesses of bringing all the arts together into a common centre.