The Philosophy of the Practical: Economic and Ethic

by Benedetto Croce

The concept of existentiality in history.

But if this distinction between art and history be precisely determined gnoseologically, when it has been said that in history the predicate of existentiality is added to mere representation (and, therefore, all the other predicates connected with the case, referring to the various forms of existence), and that therefore, the representative and artistic form of history contains in itself rational and philosophical method as precedent, yet there always remains the ulterior philosophical problem: What is the origin of that predicate of reality or existentiality on which all the others lean? We have already demonstrated that it was altogether inadmissible to derive it from a mysterious faculty called Faith, or to consider it as the apprehension of something extraneous to the spirit in universal, as a datum or position. And we also stated that if the spirit recognize its existence, yet it cannot attain to the criterion elsewhere than from itself; which criterion was nothing but the first reflection of the spirit upon the practical activity itself, giving rise to the duplication of reality that has happened and reality only desired, or of reality and irreality, of existing and inexisting.

Its origin in the Philosophy of the practical: action and the existing, desires and the unexisting.

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.

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.

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.

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.