Selected Writings on Aesthetics, edited and translated by Gregory Martin Moore, offers an essential gateway into the intellectual world of one of the most pivotal and, yet in many ways, underappreciated figures in the history of Western thought. Herder, a contemporary of the Enlightenment’s most illustrious philosophers, uniquely bridges the domains of aesthetics, anthropology, history, and language, contributing significantly to each while forging a path that diverges from the dominant Kantian trajectory that later defined modern philosophy. The collection presents a curated selection of Herder’s works on aesthetics, many of which appear in English for the first time, thereby unveiling the depths of his engagement with the arts and the human experience of beauty, creativity, and expression.
Herder’s approach to aesthetics cannot be understood in isolation but must be seen as part of his broader philosophical endeavour to understand humanity in its fullness—historically, culturally, and linguistically. The volume, therefore, not only serves as an exploration of Herder’s ideas on art and beauty but also as a window into his holistic vision of human nature. As a thinker profoundly influenced by his teachers, most notably Kant and Johann Georg Hamann, Herder strived to reconcile the dichotomies that characterized the Enlightenment, particularly the tension between reason and emotion, science and art, universality and particularity. His work in aesthetics, as revealed in this collection, is an attempt to harmonize these oppositions and to establish aesthetics as a critical element in the philosophical understanding of humanity.
Herder’s writings featured in this volume range from his early essays, deeply infused with the intellectual currents of the mid-eighteenth century, to his later, more mature reflections, where he distances himself from his early influences and articulates his original contributions to aesthetic theory. His critique of Enlightenment rationalism, as exemplified in his critical engagement with Kant, is particularly noteworthy. Herder rejects the reduction of human experience to mere rationality, advocating instead for a philosophy that embraces the full spectrum of human faculties—sensibility, imagination, and reason—each playing a crucial role in our encounter with art and beauty. This integrative approach is evident throughout the selected texts, whether Herder is discussing the psychological and physiological underpinnings of aesthetic perception, the classification of the arts, or the moral implications of artistic creation.
One of the highlights of this volume is the inclusion of substantial portions of Herder’s Kritische Wälder (“Critical Forests”), a work that remains largely untranslated and underexplored in English-speaking scholarship. In this text, Herder embarks on a detailed and rigorous critique of contemporary aesthetic theories, challenging the limitations of neoclassical doctrines and the emerging Kantian aesthetics. Herder’s “Critical Forests” is a masterpiece of philosophical reflection, combining an encyclopaedic knowledge of classical and contemporary art with a profound sensitivity to the historical and cultural contexts that shape artistic expression. His critique of the notion that art can be reduced to universal principles or detached from the lived experiences of specific communities anticipates later developments in hermeneutics and cultural theory, positioning Herder as a precursor to thinkers such as Schleiermacher and Dilthey.
Moreover, the volume sheds light on Herder’s engagement with the classical tradition, particularly his reflections on the significance of Greek art and its reception in modern Europe. Herder’s admiration for the Greeks is tempered by a critical awareness of the dangers of uncritical imitation. He argues for an appreciation of Greek art that recognizes its historical specificity and warns against the imposition of Greek aesthetic norms on modern art, which must reflect the sensibilities and experiences of its own time and place. This insistence on the historical and cultural embeddedness of art is a recurring theme in Herder’s aesthetics, one that resonates with his broader philosophical commitment to the idea that all human expression is shaped by its context.
Herder’s thoughts on Shakespeare also stand out as a significant contribution to the aesthetic discourse of his time. In contrast to the neoclassical critics who found Shakespeare lacking in decorum and adherence to classical rules, Herder celebrates the English playwright’s genius for capturing the richness and diversity of human life. For Herder, Shakespeare’s plays are not just artistic creations but also profound explorations of the human condition, reflecting the complex interplay of historical, social, and psychological forces. Herder’s defence of Shakespeare is part of his broader argument for a more inclusive and pluralistic understanding of art, one that values originality and the capacity of art to express the unique spirit of different peoples and epochs.
The volume also touches upon Herder’s reflections on the relationship between art and morality, a topic that preoccupied many of his contemporaries. Herder challenges the notion that art should serve didactic purposes or adhere to moral prescriptions, arguing instead that the value of art lies in its ability to expand our understanding of the world and our empathy for others. Art, for Herder, is a form of sensuous cognition, a way of knowing that complements and enriches the abstract reasoning of philosophy. This view of art as a means of moral and intellectual development aligns with Herder’s broader philosophical project, which seeks to integrate the various dimensions of human experience into a coherent and holistic vision of the good life.
Gregory Martin Moore’s translation and editorial work are commendable, making Herder’s complex and often challenging prose accessible to modern readers without sacrificing the richness and nuance of the original texts. The introduction provides valuable context for understanding Herder’s aesthetics, situating his work within the broader landscape of eighteenth-century thought and highlighting its relevance to contemporary debates in philosophy and art theory. Moore’s notes and commentary further enhance the reader’s engagement with the texts, offering insights into Herder’s references, allusions, and the historical background of his arguments.
Johann Gottfried Herder: Selected Writings on Aesthetics is an indispensable resource for scholars and students of philosophy, literature, and art history. It not only illuminates the aesthetic dimensions of Herder’s thought but also underscores the centrality of aesthetics to his overall philosophical vision. By bringing Herder’s writings on aesthetics into greater prominence, this volume invites readers to reconsider the development of modern aesthetics and to appreciate the depth and originality of Herder’s contributions to the field. Herder emerges from these pages not merely as a transitional figure between Enlightenment and Romanticism but as a thinker of profound significance whose ideas continue to resonate in contemporary discussions about art, culture, and the nature of human experience.
Simon Gros 
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