We have finally
reached a time, when Wolffians are not just content to explicate what
their master said and defend his views from attacks, but also attempt to develop
his ideas to their own direction. It was aesthetics, a matter that
Wolff himself had left almost completely unnoticed, which was the
first new field to be tackled by German philosophers.
Johann
Jakob Bodmer's appreciation of Wolff is evident even from the name of
his planned book series on poetry, Vernünfftige Gedancken
und Urtheile von den Beredsamkeit. The
series was meant to study the topic from various angles, and while
the first book, Von dem Einfluss und Gebrauche der
Einbildungs-Krafft; Zur Ausbesserung des Geschmackes: Oder Genaue
Untersuchung Aller Arten Bescreihbungen,
concentrated on imagination, the later books were meant to consider
e.g. wit, taste and sublime. As far as I know, the first book of the
projected series was also the only one ever written.
Bodmer in his old age |
The Wolffian
leanings of Bodmer are especially revealed by his attempt to situate
aesthetics within the context of Wolffian cosmotheology. World was
meant by God as something to be studied by rational entities, that
is, human beings were meant to investigate the works of nature and thus see
the glory of its Creator. The first means by which humans get in
contact with world are senses, but with these we can merely come to
know what is directly before us.
What is at least
required for a more complex knowledge is the capacity of imagination,
which at that time meant not just a capacity for creativity, but
referred to all mental activities in which the object is not
necessarily present to our senses – the object may then well be
something that has existed and that we are only recollecting. Indeed,
it is not complete fictions imagination should try to convey, but
real things that do not happen to be present to our senses at the
moment.
Art, for Bodmer, is
then a matter of imitation – rather conservative view from modern
perspective. Among the different types of artists, poet then ranks
higher in Bodmer's view than painter or sculptor. While fine arts in
general are based on visual sensations, to which in sculpture tactile
sensations are added, poetic descriptions can use the whole range of
sensations and emotions to convey the likeness of an object. Poet
should even be master of all arts and skills, knowing everything from
anything, Bodmer concludes.
Bodmer's criterion
for good art and especially good poetry is then its capacity to evoke
realistic ideas of things it describes. The majority of the book
presents then examples of poetry, evaluated with this criterion. It
seems clear that Bodmer is clearly wanting in decent German poetic
works: when one has to elevate Brockes, rather repetitive writer of
poems evoking teleological reasoning over and over again,
as an example of what Germans can do at their best. Bodmer himself
has to confess that while German language has evocative vocabulary for
describing nature, in affairs of culture one must turn to Latin,
Italian and French poets - especially Pierre Corneille appears to have been a favourite of Bodmer's.
While then
especially many of the German works quoted by Bodmer feel rather
artificial, Bodmer's own evaluations seem also rather misplaced. We
might think it rather trite, if a writer compares lips of a woman to
Red Sea, but it feels somewhat strange to condemn the lines
containing this comparison, because Red Sea isn't actually red at
all. Yet, it falls perfectly in line with Bodmer's naturalistic ideal
of poetry. Thus, he is often disparaging unnecessary use of wit and
prefers writings that reveal actual experience of things described.
In case of human emotions, he praises writers who have clearly, for
instance, suffered the sorrow of a lost wife.
Red Sea, not that red actually |
When giving guide
lines for poems describing human behaviour, Bodmer also touches on
some quaint philosophical notions. Physiognomy or the idea of the
character of a person showing through one's appearance is familiaralready from Wolff's writings and Bodmer himself mentions Wolff as a great source for future poets
for finding good descriptions of the external effects of human
emotions. Another rather old-fashioned idea is the notion of national
characteristics determined partly by natural environment, partly by
mores and customs of the nation – this is probably something that
we will see in more detail with later German philosophers.
So much for
Bodmerian aesthetics for now, next it is finally time to begin
Wolff's Latin works.
Ei kommentteja:
Lähetä kommentti