It was at this same period that opposition became clearly marked between those accustomed "à juger par le sentiment" and those used to "raisonner par principes."[29] The Frenchman, Du Bos, author of Réflexions critiques sur la poésie et la peinture (1719), upholds the theory of feeling; according to him art is simply a self-abandonment "aux impressions que les objets étrangers font sur nous," setting aside all reflective labour. He laughs at those philosophers who deny the force of imagination, and Malebranche's eloquent discourse founded on this denial draws from Du Bos the remark, "c'est à notre imagination qu'il parle contre l'abus de l'imagination." He refuses to see any intellectual nucleus in the productions of the arts, saying that art consists not in instruction but in style: nor is he too respectful towards the probable: he says he finds himself unable to set limits between it and the marvellous, and leaves to "born poets" the task of thus miraculously uniting opposites. For Du Bos there is no criterion of art save feeling, which he calls a "sixième sens," against which dispute is vain since in such matters popular opinion invariably wins the day over the dogmatic pronouncements of artists and men of letters: all the ingenious conceits of the greatest metaphysicians, though unimpeachable in themselves, will not in the slightest degree diminish the lustre of poetry or despoil it of one single attraction. Attempts to discredit Ariosto and Tasso in the eyes of Italians were as vain as those made against the Cid in France. Other people's arguments can never persuade us of the contrary of what we feel.[29] These notions were adopted by many French writers: for example Cartaut de la Villate[30] observes, "Le grand talent d'un écrivain qui veut plaire, est de tourner ses réflexions en sentiments;" and Trublet, "C'est un principe sûr, que la poésie doit être une expression de sentiment."[30] Nor were the English slow in emphasizing the concept of "emotion" in their theories of literature.
Tendency to unite these terms.
In the writings of this period imagination was often identified with wit, wit with taste, taste with feeling, and feeling with first apprehensions or imagination;[31] we have already noted that taste is sometimes critical and sometimes productive: this fusion, identification and subordination of terms apparently distinct shows how they gravitate round one single concept.
Difficulties and contradictions in their definition.
A German critic, one of the very few who have sought to penetrate the darkness surrounding the origins of modern Æsthetic, considers the concept of taste (which we owe, he thinks, to Gracian) "the most important æsthetic doctrine which remained for modern times to discover."[32] But without going so far as to say that taste is the chief doctrine of the science, and the foundation of all the rest, instead of only a particular doctrine, and without recapitulating what we have already said of Gracian's relation to the theory of taste, it is well to repeat that taste, wit, imagination, feeling, and so on, instead of new concepts scientifically grasped, were simply new words corresponding to vague impressions: at most they were problems, not concepts: apprehensions of ground still to be conquered, not yet annexed and brought into subjection. It must not be forgotten that the very men who made use of these terms could scarcely grope after the ideas they suggested without falling back into the old traditions, the only ones on which they had an intellectual grasp. To them the new words were shades, not bodies: when they tried to embrace them their arms returned empty to their own breasts.
Wit and intellect.
Certainly wit differs to a certain extent from intellect. Yet Pellegrini and Tesauro, with other writers of treatises, never fail to point out that intellectual truth lies at the root of wit. Trevisano defines it as "an internal virtue of the soul which invents methods for expressing and executing its own concepts: it is recognizable now in the arrangement of things we invent, now in the clear expression of them: sometimes in cunning reconciliations of matters seemingly opposed, sometimes in tracing analogies but faintly discernible." To sum up, one must not "allow the actions of wit to go unaccompanied by those of intellect," or even by those of practical morality.[33] More ingenuously Muratori says, "Wit is that virtue and active force with which the intellect is able to assemble, unite and discover the similarities, relations and reasons of things."[34] In this manner wit, after having been distinguished from intellect, eventually becomes a part or a manifestation of it. By a somewhat different path the same conclusion is reached by Alexander Pope when he counsels that wit be reined in like a mettlesome horse, and observes:
For wit and judgement often are at strife,
Though meant each other's aid like man and wife.[35]
Taste and intellectual judgement.