R. G. Collingwood quotes

I have already said that a thing which 'exists in a person's head' and nowhere else is alternatively called an imaginary thing. The actual making of the tune is therefore alternatively called the making of an imaginary tune. This is a case of creation, just as much as the making of a plan or a disturbance, and for the same reasons, which it would be tedious to repeat. Hence the making of a tune is an instance of imaginative creation. The same applies to the making of a poem, or a picture, or any other work of art. (R. G. Collingwood)

The word art has in ordinary usage three senses. First, it means the creation of objects or the pursuit of activities called works of art, by people called artists; these works being distinguished from other objects and acts not merely as human products, but as products intended to be beautiful. Secondly, it means the creation of objects or the pursuit of activities called artificial as opposed to natural; that is to say objects created or activities pursued by human beings consciously free to control their natural impulses and to organize their life in a plan. Thirdly, it means that frame of mind which we call artistic, the frame of mind in which we are aware of beauty.

R. G. Collingwood

Time, as succession of past, present and future, really has its being totum simul for the thought of a spectator, and this justifies its ‘spatialized' presentation as a line of which we can see the whole at once.

R. G. Collingwood

The essence of this conception is.. the idea of a community as governing itself by fostering the free expression of all political opinions that take shape within it, and finding some means of reducing this multiplicity of opinions to a unity.

R. G. Collingwood

The general conception here maintained is not new; it is one already familiar from the works of Coleridge, Croce and many others; it is the view that art is at bottom neither more nor less than imagination.

R. G. Collingwood

The real is the present, conceived not as a mathematical point between the present and the past, but as the union of present and past in a duration or permanence that is at the same time change. Thus the past as past and the future as future do not exist at all, but are purely ideal; the past as living in the present and the future as germinating in the present are wholly real and indeed are just the present itself. It is because of the presence of these two elements in the present... that the present is a concrete and changing reality and not an empty mathematical point.

R. G. Collingwood

In actual history, events overlap; you cannot, except by a confessed fiction, state the point at which the event called the Middle Ages ends and the event called the Modern Period begins.

R. G. Collingwood

For I do not think of aesthetic theory as an attempt to investigate and expound eternal verities concerning the nature of an eternal object called Art, but as an attempt to reach, by thinking, the solution of certain problems arising out of the situation in which artists find themselves here and now. Everything written in this book has been written in the belief that is has a practical bearing, direct or indirect, upon the condition of art in England in 1937, and in the hope that artists primarily, and secondarily persons whose interest in art is lively and sympathetic, will find something of use to them.

R. G. Collingwood

The ideal and the real are not mutually exclusive. A thing may be ideal and also real.

R. G. Collingwood

If it is asked why Socrates permits certain forms of art to be retained in the ideal state instead of consistently banishing all alike, the answer is surely obvious: these are, in the opinion of Socrates, the forms which art will take in the hands of men who understand its true nature.

R. G. Collingwood

One of Collingwood's earliest attempts to define the aesthetic essence of art. His aim, he writes in the preface, is to state a general conception of art and develop its consequences. His conception is one already familiar through the writings of others -- "that art is as bottom neither more nor less than imagination" -- but from his observation he goes on to outline the various distinctions between subordinate conceptions of art, and to attempt to demonstrate their place in the general conception, and the place of both in life. He urges that the meaningfulness of art cannot be torn from the imaginative setting in which it is embedded, and that we must attempt to explain the process by which an artist reaches a particular point of view on reality. (R. G. Collingwood)

We can now return to the distinction between language and symbolism. A symbol is language and yet not language. A mathematical or logical or any other kind of symbol is invented to serve a purpose purely scientific; it is supposed to have no emotional expressiveness whatever. But when once a particular symbolism has been taken into use and mastered, it reacquires the emotional expressiveness of language proper. Every mathematician knows this. At the same time, the emotions which mathematicians find expressed in their symbols are not emotions in general, they are the peculiar emotions belonging to mathematical thinking.

R. G. Collingwood

The chief business of seventeenth-century philosophy was to reckon with seventeenth-century science... the chief business of twentieth-century philosophy is to reckon with twentieth-century history.

R. G. Collingwood

Language in its original imaginative form maybe said to have expressiveness, but no meaning. About such language we cannot distinguish between what the speaker says and what he means... Language in its intellectualized form has both expressiveness and meaning. As language, it expressed a certain emotion. As symbolism, it refers beyond that emotion to the thought whose emotional charge it is... The progressive intellectualization of language, its progressive conversion by the work of grammar and logic into a scientific symbolism, thus represents not a progressive drying-up of emotion, but its progressive articulation and specialization. We are not getting away from an emotional atmosphere into a dry, rational atmosphere; we are acquiring new emotions and new means of expressing them.

R. G. Collingwood