The German Classics of the Nineteenth and Twentieth Centuries Volume V Part 7

By character we understand a unity of several forces, operating constantly to produce among them a certain equipoise and determinate proportion, to which, if undisturbed, a like equipoise in the symmetry of the forms corresponds. But if this vital Unity is to display itself in act and operation, this can only be when the forces, excited by some cause to rebellion, forsake their equilibrium. Every one sees that this is the case in the Pa.s.sions.

Here we are met by the well-known maxim of the theorists, which demands that Pa.s.sion should be moderated as far as possible, in its actual outburst, that beauty of Form may not be injured. But we think this maxim should rather be reversed, and read thus--that Pa.s.sion should be moderated by Beauty itself. For it is much to be feared that this desired moderation too may be taken in a negative sense--whereas, what is really requisite is to oppose to Pa.s.sion a positive force. For as Virtue consists, not in the absence of pa.s.sions, but in the mastery of the spirit over them, so Beauty is preserved, not by their removal or abatement, but by the mastery of Beauty over them.

The forces of Pa.s.sion must actually show themselves--it must be seen that they are prepared to rise in mutiny, but are kept down by the power of Character, and break against the forms of firmly-founded Beauty, as the waves of a stream that just fills, but cannot overflow its banks. Otherwise, this striving after moderation would resemble only the method of those shallow moralists, who, the more readily to dispose of Man, prefer to mutilate his nature; and who have so entirely removed every positive element from actions that the people gloat over the spectacle of great crimes, in order to refresh themselves at last with the view of something positive.

In Nature and Art the Essence strives first after actualization, or exhibition of itself in the Particular. Thus in each the utmost severity is manifested at the commencement; for without bound, the boundless could not appear; without severity, gentleness could not exist; and if unity is to be perceptible, it can only be through particularity, detachment, and opposition. In the beginning, therefore, the creative spirit shows itself entirely lost in the Form, inaccessibly shut up, and even in its grandeur still harsh. But the more it succeeds in uniting its entire fulness in one product, the more it gradually relaxes from its severity; and where it has fully developed the form, so as to rest contented and self-collected in it, it seems to become cheerful and begins to move in gentle lines. This is the period of its fairest maturity and blossom, in which the pure vessel has arrived at perfection; the spirit of Nature becomes free from its bonds, and feels its relationship to the soul. By a gentle morning blush stealing over the whole form, the coming soul announces itself; it is not yet present, but everything prepares for its reception by the delicate play of gentle movements; the rigid outlines melt and temper themselves into flexibility; a lovely essence, neither sensuous nor spiritual, but which cannot be grasped, diffuses itself over the form, and intwines itself with every outline, every vibration of the frame.

This essence, not to be seized, as we have already remarked, but yet perceptible to all, is what the language of the Greeks designated by the name _Charis_, ours as Grace.

Wherever, in a fully developed form, Grace appears, the work is complete on the side of Nature; nothing more is wanting; all demands are satisfied. Here, already, soul and body are in complete harmony; Body is Form, Grace is Soul, although not Soul in itself, but the Soul of Form, or the Soul of Nature.

Art may linger, and remain stationary at this point; for already, on one side at least, its whole task is finished. The pure image of Beauty arrested at this point is the G.o.ddess of Love.

But the beauty of the Soul in itself, joined to sensuous Grace, is the highest apotheosis of Nature.

The spirit of Nature is only in appearance opposed to the Soul; essentially, it is the instrument of its revelation; it brings about indeed the antagonism that exists in all things, but only that the one essence may come forth, as the utmost benignity, and the reconciliation of all the forces.

All other creatures are driven by the mere force of Nature, and through it maintain their individuality; in Man alone, as the central point, arises the soul, without which the world would be like the natural universe without the sun. The Soul in Man, therefore, is not the principle of individuality, but that whereby he raises himself above all egoism, whereby he becomes capable of self-sacrifice, of disinterested love, and (which is the highest) of the contemplation and knowledge of the Essence of things, and thus of Art.

In him it is no longer concerned about Matter nor has it immediate concern with it, but with the spirit only as the life of things.

Even while appearing in the body, it is yet free from the body, the consciousness of which hovers in the soul in the most beauteous shapes only as a light, undisturbing dream. It is no quality, no faculty, nor anything special of the sort; it knows not, but is Science; it is not good, but Goodness; it is not beautiful, as body even may be, but Beauty itself.

In the first instance, it is true, in a work of art, the soul of the artist is seen as invention in the detail, and in the total result as the unity that hovers over the work in serene stillness. But the Soul must be visible in objective representation, as the primeval energy of thought, in portraitures of human beings, altogether filled by an idea, by a n.o.ble contemplation; or as indwelling, essential Goodness.

Each of these finds its distinct expression even in the completest repose, but a more living one where the Soul can reveal itself in activity and antagonism; and since it is by the pa.s.sions mainly that the peace of life is interrupted, it is the generally received opinion that the beauty of the Soul shows itself especially in its quiet supremacy amid the storm of the pa.s.sions.

But here an important distinction is to be made. For the Soul must not be called upon to moderate those pa.s.sions which are only an outbreak of the lower spirits of Nature, nor can it be displayed in ant.i.thesis with these; for where calm considerateness is still in contention with them, the Soul has not yet appeared; they must be moderated by una.s.sisted Nature in Man, by the might of the Spirit. But there are cases of a higher sort, in which not a single force alone, but the intelligent Spirit itself breaks down all barriers--cases, indeed, where even the Soul is subjected by the bond that connects it with sensuous existence, to pain, which should be foreign to its divine nature; where Man feels himself hard fought and attacked in the root of his existence, not by mere powers of Nature, but by moral forces; where innocent error hurries him into crime, and thus into misery; where deep-felt injustice excites to rebellion the holiest feelings of humanity.

This is the case in all situations, truly, and, in a high sense, tragic, such as the Tragedy of the ancients brings before our eyes.

Where blindly pa.s.sionate forces are aroused, the collected Spirit is present as the guardian of Beauty; but if the Spirit itself be carried away, as by an irresistible might, what power shall watch over and protect sacred beauty? Or, if even the soul partic.i.p.ate in the struggle, how shall it save itself from pain and from desecration?

Arbitrarily to restrain the power of pain, of feeling in revolt, would be to sin against the very meaning and aim of Art, and would betray a want of feeling and soul in the artist himself.

Already therein, that Beauty, based on grand and firmly established forms, has become Character, Art has provided the means of displaying without injury to symmetry the whole intensity of Feeling. For where Beauty rests on mighty forms, as upon immovable pillars, even a slight change in its relations, scarcely touching the form, causes us to infer the great force that was necessary in order to provide it. Still more does Grace sanctify pain. It is the essential nature of Grace that it does not know itself; but not being wilfully acquired, it also cannot be wilfully lost. When intolerable anguish, when even madness, sent by avenging G.o.ds, takes away consciousness and reason, Grace stands as a protecting demon by the suffering person, and prevents it from manifesting anything unseemly, anything discordant to Humanity, but sees to it that, if the person falls, it falls at least a pure and unspotted victim.

Although not yet the Soul itself, but its forebodings only, Grace accomplishes by natural means what the Soul does by a divine power, in transforming pain, torpor, even death itself, into Beauty.

Yet Grace, which thus maintained itself in the extremest adversity, would be dead, without its transfiguration by the Soul. But what expression can belong to the Soul in this situation? It delivers itself from pain, and comes forth conquering, not conquered, by relinquishing its connection with sensuous existence.

It is for the natural Spirit to exert its energies for the preservation of sensuous existence; the Soul enters not into this contest, but its presence moderates even the storms of painfully-struggling life. Outward force can take away only outward goods, but not reach the Soul; it can tear asunder a temporal bond, not dissolve the eternal one of a truly divine love. Not hard and unfeeling, nor giving up love itself, on the contrary the Soul displays in pain this love alone, as the sentiment that outlasts sensuous existence, and thus raises itself above the ruins of outward life or fortune in divine glory.

It is this expression of the Soul that the creator of the Niobe has presented to us. All the means by which Art tempers even the Terrible, are here made use of. Mightiness of form, sensuous Grace, nay, even the nature of the subject-matter itself, soften the expression, through this, that Pain, transcending all expression, annihilates itself, and Beauty, which it seemed impossible to preserve from destruction when alive, is protected from injury by the commencing torpor.

But what would it all be without the Soul, and how does this manifest itself?

We see on the countenance of the mother, not grief alone for the already prostrated flower of her children; not alone deadly anxiety for the preservation of those yet remaining, and of the youngest daughter, who has fled for safety to her bosom; nor resentment against the cruel deities; least of all, as is pretended, cool defiance-all these we see, indeed, but not these alone; for, through grief, anxiety, and resentment streams, like a divine light, eternal love, as that which alone remains; and in this is preserved the mother, as one who was not, but now is a mother, and who remains united with the beloved ones by an eternal bond.

Every one acknowledges that greatness, purity, and goodness of Soul have also their sensuous expressions. But how is this conceivable, unless the principle that acts in Matter be itself cognate and similar to Soul?

For the representation of the Soul there are again gradations in Art, according as it is joined with the merely Characteristic, or in visible union with the Charming and Graceful.

Who perceives not already, in the tragedies of aeschylus, the presence of that lofty morality which is predominant in the works of Sophocles?

But in the former it is enveloped in a bitter rind, and pa.s.ses less into the whole work, since the bond of sensuous Grace is still wanting. But out of this severity, and the still rude charms of earlier Art, could proceed the grace of Sophocles, and with it the complete fusion of the two elements, which leaves us doubtful whether it is more moral or sensuous Grace that enchants us in the works of this poet.

The same is true of the plastic productions of the early and severe style, in comparison with the gentleness of the later.

If Grace, besides being the transfiguration of the spirit of Nature, is also the medium of connection between moral Goodness and sensuous Appearance, it is evident how Art must tend from all points toward it as its centre. This Beauty, which results from the perfect interpenetration of moral Goodness and sensuous Grace, seizes and enchants us when we meet it, with the force of a miracle. For, whilst the spirit of Nature shows itself everywhere else independent of the Soul, and, indeed, in a measure opposed to it, here, it seems, as if by voluntary accord, and the inward fire of divine love, to melt into union with it; the remembrance of the fundamental unity of the essence of Nature and the essence of the Soul comes over the beholder with sudden clearness--the conviction that all antagonism is only apparent, that Love is the bond of all things, and pure Goodness the foundation and substance of the whole Creation.

Here Art, as it were, transcends itself, and again becomes means only.

On this summit sensuous Grace becomes in turn only the husk and body of a higher life; what was before a whole is treated as a part, and the highest relation of Art and Nature is reached in this--that it makes Nature the medium of manifesting the soul which it contains.

But though in this blossoming of Art, as in the blossoming of the vegetable kingdom, all the previous stages are repeated, yet, on the other hand, we may see in what various directions Art can proceed from this centre. Especially does the difference in nature of the two forms of Plastic Art here show itself most strongly. For Sculpture, representing its ideas by corporeal things, seems to reach its highest point in the complete equilibrium of Soul and Matter--if it give a preponderance to the latter it sinks below its own idea--but it seems altogether impossible for it to elevate the Soul at the expense of Matter, since it must thereby transcend itself. The perfect sculptor indeed, as Winckelmann remarks apropos of the Belvedere Apollo, will use no more material than is needful to accomplish his spiritual purpose; but also, on the other hand, he will put into the Soul no more energy than is at the same time expressed in the material; for precisely upon this, fully to embody the spiritual, depends his art. Sculpture, therefore, can reach its true summit only in the representation of those natures in whose const.i.tution it is implied that they actually embody all that is contained in their Idea or Soul; thus only in divine natures. So that Sculpture, even if no Mythology had preceded it, would of itself have come upon G.o.ds, and have invented such if it found none.

Moreover as the Spirit, on this lower platform, has again the same relation to Matter that we have ascribed to the Soul (being the principle of activity and motion, as Matter is that of rest and inaction), the law that regulates Expression and Pa.s.sion must be a fundamental principle of its nature.

But this law must be applicable not only to the lower pa.s.sions, but also equally to those higher and G.o.dlike pa.s.sions, if it is permitted so to call them, by which the Soul is affected in rapture, in devotion, in adoration. Hence, since from these pa.s.sions the G.o.ds alone are exempt, Sculpture is inclined from this side also to the imaging of divine natures.

The nature of Painting, however, seems to differ entirely from that of Sculpture. For the former represents objects, not like the latter, by corporeal things, but by light and color, through a medium therefore itself incorporeal and in a measure spiritual. Painting, moreover, gives out its productions nowise as the things themselves, but expressly as pictures. From its very nature therefore it does not lay as much stress on the material as Sculpture, and seems indeed for this reason, while exalting the material above the spirit, to degrade itself more than Sculpture in a like case; on the other hand to be so much more justified in giving a clear preponderance to the Soul.

Where it aims at the highest it will indeed enn.o.ble the pa.s.sions by Character, or moderate them by Grace, or manifest in them the power of the Soul: but on the other hand it is precisely those higher pa.s.sions, depending on the relationship of the Soul with a Supreme Being, that are entirely suited to the nature of Painting. Indeed, while Sculpture maintains an exact balance between the force whereby a thing exists outwardly and acts in Nature and that by virtue of which it lives inwardly and as Soul, and excludes mere suffering even from Matter, Painting may soften in favor of the Soul the characteristicness of the force and activity in Matter, and transform it into resignation and endurance, making it apparent that Man becomes more generally susceptible to the inspirations of the Soul, and to higher influences in general.

This diametrical difference explains of itself not only the necessary predominance of Sculpture in the ancient, and of Painting in the modern world (since in the former the tone of mind was thoroughly plastic, whereas the latter makes even the Soul the pa.s.sive instrument of higher revelations); but this also is evident--that it is not enough to strive after the Plastic in form and manner of representation, but that it is requisite, before all, to think and to feel plastically, that is, antiquely.

And as the deviation of Sculpture into the picturesque is destructive to Art, so the narrowing down of Painting to the conditions and forms belonging to Sculpture is an arbitrarily imposed limitation. For while Sculpture, like gravitation, acts toward one point, it is permitted to Painting, as to light, to fill all s.p.a.ce with its creative energy.

This unlimited universality of Painting is demonstrated by History itself, and by the examples of the greatest masters, who, without injury to the essential character of their art, have developed to perfection each particular stage by itself, so that we can find also in the history of Art the same sequence that may be pointed out in its nature--not indeed in exact order of time, but yet substantially. For thus is represented in Michelangelo the oldest and mightiest epoch of liberated Art, that in which it displays its yet uncontrolled strength in gigantic progeny; as in the fables of the symbolic Fore-world, the Earth, after the embrace of Ura.n.u.s, brought forth at first t.i.tans and heaven-storming giants before the mild reign of the serene G.o.ds began.

Thus the painting of the Last Judgment, with which, as the sum of his art, that giant spirit filled the Sistine Chapel, seems to remind us more of the first ages of the Earth and its products, than of its last. Attracted toward the most hidden abysses of organic, particularly of the human form, he shuns not the Terrible; nay, he seeks it purposely, and startles it from its repose in the dark workshops of Nature. Want of delicacy, grace, pleasingness, he balances by the extremest energy; and if he excites horror by his representations, it is the terror that, according to fable, the ancient G.o.d Pan spreads around him when he suddenly appears in the a.s.semblies of men.

It is the method of Nature to produce the extraordinary by isolation and the exclusion of opposed qualities. Thus, it was necessary that, in Michelangelo, earnestness and the deep significant energy of Nature should prevail, rather than a sense of the grace and sensibility that belong to the Soul, in order to display the extreme of pure plastic force in the painting of modern times.

After the earlier violence and the vehement impulse of birth is a.s.suaged, the spirit of Nature is transfigured into Soul, and Grace is born. This point Art reached, after Leonardo da Vinci, in Correggio, in whose works the sensuous Soul is the active principle of Beauty.

As the modern fable of Psyche closes the circle of the old mythology; so Painting, by giving a preponderance to the Soul, attained a new, though not a higher step of Art.

This Guido Reni strove after, and became the proper painter of the Soul. Such seems to us to be the necessary interpretation of his whole endeavor, often uncertain, and, in many of his works, losing itself in the vague.

This is shown, as, perhaps, in few of his other pictures, in the masterpiece that is offered to the admiration of all in the great collection of our king.

In the figure of the heavenward-ascending Virgin, all harshness and sternness are effaced, even to the last trace; and, indeed, does not Painting itself seem in it to soar upward, transfigured on its own pinions, as the liberated Psyche delivered from the severity of Form?

Here nothing outward remains, with separate natural force; everything expresses receptivity and still endurance, even the perishable flesh, the character of which the Italian language designates by the term _morbidezza_, altogether unlike that with which Raphael invests the descending Queen of Heaven, as she appears to the adoring pope and a saint.

Though the remark be well-founded, that the original of Guido's female heads is the Niobe of antiquity, yet the ground of this similarity is surely no mere intentional imitation; perhaps a like aim led to like means.

As the Florentine Niobe is an extreme in Sculpture, and the representation in it of the Soul, so this well-known picture is an extreme in Painting, which here ventures to lay aside even the requisite of shade and the obscure, and to work almost with pure Light.