The Works of Frederick Schiller Part 541

It is, I repeat, quite a different thing; and this difference is connected not only with the objects to which we may have to direct our judgment, but to the very criterion of our judgment. The same object can displease us if we appreciate it in a moral point of view, and be very attractive to us in the aesthetical point of view. But even if the moral judgment and the aesthetical judgment were both satisfied, this object would produce this effect on one and the other in quite a different way.

It is not morally satisfactory because it has an aesthetical value, nor has it an aesthetical value because it satisfies us morally. Let us take, as example, Leonidas and his devotion at Thermopylae. Judged from the moral point of view, this action represents to me the moral law carried out notwithstanding all the repugnance of instinct. Judged from the aesthetic point of view, it gives me the idea of the moral faculty, independent of every constraint of instinct. The act of Leonidas satisfies the moral sense, the reason; it enraptures the aesthetical sense, the imagination.

Whence comes this difference in the feelings in connection with the same object? I account for it thus:--

In the same way that our being consists of two principles and natures, so also and consequently our feelings are divided into two kinds, entirely different. As reasonable beings we experience a feeling of approbation or of disapprobation; as sensuous creatures we experience pleasure or displeasure. The two feelings, approbation and pleasure, repose on satisfaction: one on a satisfaction given to a requirement of reason-- reason has only requirements, and not wants. The other depends on a satisfaction given to a sensuous want--sense only knows of wants, and cannot prescribe anything. These two terms--requirements of reason, wants of the senses--are mutually related, as absolute necessity and the necessity of nature. Accordingly, both are included in the idea of necessity, but with this difference, that the necessity of reason is unconditional, and the necessity of sense only takes place under conditions. But, for both, satisfaction is a purely contingent thing.

Accordingly every feeling, whether of pleasure or approbation, rests definitively on an agreement between the contingent and the necessary.

If the necessary has thus an imperative character, the feeling experienced will be that of approbation. If necessity has the character of a want, the feeling experienced will be that of pleasure, and both will be strong in proportion as the satisfaction will be contingent.

Now, underlying every moral judgment there is a requirement of reason which requires us to act conformably with the moral law, and it is an absolute necessity that we should wish what is good. But as the will is free, it is physically an accidental thing that we should do in fact what is good. If we actually do it, this agreement between the contingent in the use of free will and the imperative demand of reason gives rise to our a.s.sent or approbation, which will be greater in proportion as the resistance of the inclinations made this use that we make of our free will more accidental and more doubtful. Every aesthetic judgment, on the contrary, refers the object to the necessity which cannot help willing imperatively, but only desires that there should be an agreement between the accidental and its own interest. Now what is the interest of imagination? It is to emanc.i.p.ate itself from all laws, and to play its part freely. The obligation imposed on the will by the moral law, which prescribes its object in the strictest manner, is by no means favorable to this need of independence. And as the moral obligation of the will is the object of the moral judgment, it is clear that in this mode of judging, the imagination could not find its interest. But a moral obligation imposed on the will cannot be conceived, except by supposing this same will absolutely independent of the moral instincts and from their constraint. Accordingly the possibility of the moral act requires liberty, and therefore agrees here in the most perfect manner with the interest of imagination. But as imagination, through the medium of its wants, cannot give orders to the will of the individual, as reason does by its imperative character, it follows that the faculty of freedom, in relation to imagination, is something accidental, and consequently that the agreement between the accidental and the necessary (conditionally necessary) must excite pleasure. Therefore, if we bring to bear a moral judgment on this act of Leonidas, we shall consider it from a point of view where its accidental character strikes the eye less than its necessary side. If, on the other hand, we apply the aesthetical judgment to it, this is another point of view, where its character of necessity strikes us less forcibly than its accidental character. It is a duty for every will to act thus, directly it is a free will; but the fact that there is a free will that makes this act possible is a favor of nature in regard to this faculty, to which freedom is a necessity. Thus an act of virtue judged by the moral sense--by reason--will give us as its only satisfaction the feeling of approbation, because reason can never find more, and seldom finds as much as it requires. This same act, judged, on the contrary, by the aesthetic sense--by imagination--will give us a positive pleasure, because the imagination, never requiring the end to agree with the demand, must be surprised, enraptured, at the real satisfaction of this demand as at a happy chance. Our reason will merely approve, and only approve, of Leonidas actually taking this heroic resolution; but that he could take this resolution is what delights and enraptures us.

This distinction between the two sorts of judgments becomes more evident still, if we take an example where the moral sense and the aesthetic sense p.r.o.nounce a different verdict. Suppose we take the act of Perigrinus Proteus burning himself at Olympia. Judging this act morally, I cannot give it my approbation, inasmuch as I see it determined by impure motives, to which Proteus sacrifices the duty of respecting his own existence. But in the aesthetic judgment this same act delights me; it delights me precisely because it testifies to a power of will capable of resisting even the most potent of instincts, that of self-preservation. Was it a moral feeling, or only a more powerful sensuous attraction, that silenced the instinct of self-preservation in this enthusiast. It matters little, when I appreciate the act from an aesthetic point of view. I then drop the individual, I take away the relation of his will to the law that ought to govern him; I think of human will in general, considered as a common faculty of the race, and I regard it in connection with all the forces of nature. We have seen that in a moral point of view, the preservation of our being seemed to us a duty, and therefore we were offended at seeing Proteus violate this duty.

In an aesthetic point of view the self-preservation only appears as an interest, and therefore the sacrifice of this interest pleases us. Thus the operation that we perform in the judgments of the second kind is precisely the inverse of that which we perform in those of the first. In the former we oppose the individual, a sensuous and limited being, and his personal will, which can be effected pathologically, to the absolute law of the will in general, and of unconditional duty which binds every spiritual being; in the second case, on the contrary, we oppose the faculty of willing, absolute volition, and the spiritual force as an infinite thing, to the solicitations of nature and the impediments of sense. This is the reason why the aesthetical judgment leaves us free, and delights and enraptures us. It is because the mere conception of this faculty of willing in an absolute manner, the mere idea of this moral apt.i.tude, gives us in itself a consciousness of a manifest advantage over the sensuous. It is because the mere possibility of emanc.i.p.ating ourselves from the impediments of nature is in itself a satisfaction that flatters our thirst for freedom. This is the reason why moral judgment, on the contrary, makes us experience a feeling of constraint that humbles us. It is because in connection with each voluntary act we appreciate in this manner, we feel, as regards the absolute law that ought to rule the will in general, in a position of inferiority more or less decided, and because the constraint of the will thus limited to a single determination, which duty requires of it at all costs, contradicts the instinct of freedom which is the property of imagination. In the former case we soared from the real to the possible, and from the individual to the species; in the latter, on the contrary, we descend from the possible to the real, and we shut up the species in the narrow limits of the individual. We cannot therefore be surprised if the aesthetical judgment enlarges the heart, while the moral judgment constrains and straitens it.

It results, therefore, from all that which precedes, that the moral judgment and the aesthetic, far from mutually corroborating each other, impede and hinder each other, because they impress on the soul two directions entirely opposite. In fact, this observance of rule which reason requires of us as moral judge is incompatible with the independence which the imagination calls for as aesthetic judge. It follows that an object will have so much the less aesthetic value the more it has the character of a moral object, and if the poet were obliged notwithstanding that to choose it, he would do well in treating of it, not to call the attention of our reason to the rule of the will, but that of our imagination to the power of the will. In his own interest it is necessary for the poet to enter on this path, for with our liberty his empire finishes. We belong to him only inasmuch as we look beyond ourselves; we escape from him the moment we re-enter into our innermost selves, and that is what infallibly takes place the moment an object ceases to be a phenomenon in our consideration, and takes the character of a law which judges us.

Even in the manifestation of the most sublime virtue, the poet can only employ for his own views that which in those acts belongs to force. As to the direction of the force, he has no reason to be anxious. The poet, even when he places before our eyes the most perfect models of morality, has not, and ought not to have, any other end than that of rejoicing our soul by the contemplation of this spectacle. Moreover, nothing can rejoice our soul except that which improves our personality, and nothing can give us a spiritual joy except that which elevates the spiritual faculty. But in what way can the morality of another improve our own personality, and raise our spiritual force? That this other one accomplishes really his duty results from an accidental use which he makes of his liberty, and which for that very reason can prove nothing to us. We only have in common with him the faculty to conform ourselves equally to duty; the moral power which he exhibits reminds us also of our own, and that is why we then feel something which upraises our spiritual force. Thus it is only the idea of the possibility of an absolutely free will which makes the real exercise of this will in us charming to the aesthetic feeling.

We shall be still more convinced when we think how little the poetic force of impression which is awakened in us by an act or a moral character is dependent on their historic reality. The pleasure which we take in considering an ideal character will in no way be lessened when we come to think that this character is nothing more than a poetic fiction; for it is on the poetic truth, and not on historic truth, that every aesthetic impression of the feelings rest. Moreover, poetic truth does not consist in that this or that thing has effectually taken place, but in that it may have happened, that is to say, that the thing is in itself possible. Thus the aesthetic force is necessarily obliged to rest in the first place in the idea of possibility.

Even in real subjects, for which the actors are borrowed from history, it is not the reality of the simple possibility of the fact, but that which is guaranteed to us by its very reality which const.i.tutes the poetic element. That these personages have indeed existed, and that these events have in truth taken place, is a circ.u.mstance which can, it is true, in many cases add to our pleasure, but that which it adds to it is like a foreign addition, much rather unfavorable than advantageous to the poetical impression.

It was long thought that a great service was rendered to German poetry by recommending German poets to treat of national themes. Why, it was asked, did Greek poetry have so much power over the mind? Because it brought forward national events and immortalized domestic exploits. No doubt the poetry of the ancients may have been indebted to this circ.u.mstance for certain effects of which modern poetry cannot boast; but do these effects belong to art and the poet? It is small glory for the Greek genius if it had only this accidental advantage over modern genius; still more if it were necessary for the poets, in order to gain this advantage, to obtain it by this conformity of their invention with real history! It is only a barbarous taste that requires this stimulant of a national interest to be captivated by beautiful things; and it is only a scribbler who borrows from matter a force to which he despairs of giving a form.

Poetry ought not to take its course through the frigid region of memory; it ought never to convert learning into its interpreter, nor private interest its advocate with the popular mind. It ought to go straight to the heart, because it has come from the heart; and aim at the man in the citizen, not the citizen in the man.

Happily, true genius does not make much account of all these counsels that people are so anxious to give her with better intentions than competence. Otherwise, Sulzer and his school might have made German poetry adopt a very equivocal style. It is no doubt a very honorable aim in a poet to moralize the man, and excite the patriotism of the citizen, and the Muses know better than any one how well the arts of the sublime and of the beautiful are adapted to exercise this influence. But that which poetry obtains excellently by indirect means it would accomplish very badly as an immediate end. Poetry is not made to serve in man for the accomplishment of a particular matter, nor could any instrument be selected less fitted to cause a particular object to succeed, or to carry out special projects and details. Poetry acts on the whole of human nature, and it is only by its general influence on the character of a man that it can influence particular acts. Poetry can be for man what love is for the hero. It can neither counsel him, nor strike for him, nor do anything for him in short; but it can form a hero in him, call him to great deeds, and arm him with a strength to be all that he ought to be.

Thus the degree of aesthetical energy with which sublime feelings and sublime acts take possession of our souls, does not rest at all on the interest of reason, which requires every action to be really conformable with the idea of good. But it rests on the interest of the imagination, which requires conformity with good should be possible, or, in other terms, that no feeling, however strong, should oppress the freedom of the soul. Now this possibility is found in every act that testifies with energy to liberty, and to the force of the will; and if the poet meets with an action of this kind, it matters little where, he has a subject suitable for his art. To him, and to the interest we have in him, it is quite the same, to take his hero in one cla.s.s of characters or in another, among the good or the wicked, as it often requires as much strength of character to do evil conscientiously and persistently as to do good. If a proof be required that in our aesthetic judgments we attend more to the force than to its direction, to its freedom than to its lawfulness, this is sufficient for our evidence. We prefer to see force and freedom manifest themselves at the cost of moral regularity, rather than regularity at the cost of freedom and strength. For directly one of those cases offers itself, in which the general law agrees with the instincts which by their strength threaten to carry away the will, the aesthetic value of the character is increased, if he be capable of resisting these instincts. A vicious person begins to interest us as soon as he must risk his happiness and life to carry out his perverse designs; on the contrary, a virtuous person loses in proportion as he finds it useful to be virtuous. Vengeance, for instance, is certainly an ign.o.ble and a vile affection, but this does not prevent it from becoming aesthetical, if to satisfy it we must endure painful sacrifice. Medea slaying her children aims at the heart of Jason, but at the same time she strikes a heavy blow at her own heart, and her vengeance aesthetically becomes sublime directly we see in her a tender mother.

In this sense the aesthetic judgment has more of truth than is ordinarily believed. The vices which show a great force of will evidently announce a greater apt.i.tude for real moral liberty than do virtues which borrow support from inclination; seeing that it only requires of the man who persistently does evil to gain a single victory over himself, one simple upset of his maxims, to gain ever after to the service of virtue his whole plan of life, and all the force of will which he lavished on evil.

And why is it we receive with dislike medium characters, whilst we at times follow with trembling admiration one which is altogether wicked?

It is evident, that with regard to the former, we renounce all hope, we cannot even conceive the possibility of finding absolute liberty of the will; whilst with the other, on the contrary, each time he displays his faculties, we feel that one single act of the will would suffice to raise him up to the fullest height of human dignity.

Thus, in the aesthetic judgment, that which excites our interest is not morality itself, but liberty alone; and moral purity can only please our imagination when it places in relief the forces of the will. It is then manifestly to confound two very distinct orders of ideas, to require in aesthetic things so exact a morality, and, in order to stretch the domain of reason, to exclude the imagination from its own legitimate sphere.

Either it would be necessary to subject it entirely, then there would be an end to all aesthetic effect; or it would share the realm of reason, then morality would not gain much. For if we pretend to pursue at the same time two different ends, there would be risk of missing both one and the other. The liberty of the imagination would be fettered by too great respect for the moral law; and violence would be done to the character of necessity which is in the reason, in missing the liberty which belongs to the imagination.

ON GRACE AND DIGNITY.

The Greek fable attributes to the G.o.ddess of beauty a wonderful girdle which has the quality of lending grace and of gaining hearts in all who wear it. This same divinity is accompanied by the Graces, or G.o.ddesses of grace. From this we see that the Greeks distinguished from beauty grace and the divinities styled the Graces, as they expressed the ideas by proper attributes, separable from the G.o.ddess of beauty. All that is graceful is beautiful, for the girdle of love winning attractions is the property of the G.o.ddess of Cnidus; but all beauty is not of necessity grace, for Venus, even without this girdle, does not cease to be what she is.

However, according to this allegory, the G.o.ddess of beauty is the only one who wears and who lends to others the girdle of attractions. Juno, the powerful queen of Olympus, must begin by borrowing this girdle from Venus, when she seeks to charm Jupiter on Mount Ida [Pope's "Iliad," Book XIV. v. 220]. Thus greatness, even clothed with a certain degree of beauty, which is by no means disputed in the spouse of Jupiter, is never sure of pleasing without the grace, since the august queen of the G.o.ds, to subdue the heart of her consort, expects the victory not from her own charms but from the girdle of Venus.

But we see, moreover, that the G.o.ddess of beauty can part with this girdle, and grant it, with its quality and effects, to a being less endowed with beauty. Thus grace is not the exclusive privilege of the beautiful; it can also be handed over, but only by beauty, to an object less beautiful, or even to an object deprived of beauty.

If these same Greeks saw a man gifted in other respects with all the advantages of mind, but lacking grace, they advised him to sacrifice to the Graces. If, therefore, they conceived these deities as forming an escort to the beauty of the other s.e.x, they also thought that they would be favorable to man, and that to please he absolutely required their help.

But what then is grace, if it be true that it prefers to unite with beauty, yet not in an exclusive manner? What is grace if it proceeds from beauty, but yet produces the effects of beauty, even when beauty is absent. What is it, if beauty can exist indeed without it, and yet has no attraction except with it? The delicate feeling of the Greek people had marked at an early date this distinction between grace and beauty, whereof the reason was not then able to give an account; and, seeking the means to express it, it borrowed images from the imagination, because the understanding could not offer notions to this end. On this score, the myth of the girdle deserves to fix the attention of the philosopher, who, however, ought to be satisfied to seek ideas corresponding with these pictures when the pure instinctive feeling throws out its discoveries, or, in other words, with explaining the hieroglyphs of sensation. If we strip off its allegorical veil from this conception of the Greeks, the following appears the only meaning it admits.

Grace is a kind of movable beauty, I mean a beauty which does not belong essentially to its subject, but which may be produced accidentally in it, as it may also disappear from it. It is in this that grace is distinguished from beauty properly so called, or fixed beauty, which is necessarily inherent in the subject itself. Venus can no doubt take off her girdle and give it up for the moment to Juno, but she could only give up her beauty with her very person. Venus, without a girdle, is no longer the charming Venus, without beauty she is no longer Venus.

But this girdle as a symbol of movable beauty has this particular feature, that the person adorned with it not only appears more graceful, but actually becomes so. The girdle communicates objectively this property of grace, in this contrasting with other articles of dress, which have only subjective effects, and without modifying the person herself, only modify the impression produced on the imagination of others. Such is the express meaning of the Greek myth; grace becomes the property of the person who puts on this girdle; she does more than appear amiable, it is so in fact.

No doubt it may be thought that a girdle, which after all is only an outward, artificial ornament, does not prove a perfectly correct emblem to express grace as a personal quality. But a personal quality that is conceived at the same time as separable from the subject, could only be represented to the senses by an accidental ornament which can be detached from the person, without the essence of the latter being affected by it.

Thus the girdle of charms operates not by a natural effect (for then it would not change anything in the person itself) but by a magical effect; that is to say, its virtue extends beyond all natural conditions. By this means, which is nothing more, I admit, than an expedient, it has been attempted to avoid the contradiction to which the mind, as regards its representative faculty, is unavoidably reduced, every time it asks an expression from nature herself, for an object foreign to nature and which belongs to the free field of the ideal. If this magic girdle is the symbol of an objective property which can be separated from its subject without modifying in any degree its nature, this myth can only express one thing--the beauty of movement, because movement is the only modification that can affect an object without changing its ident.i.ty.

The beauty of movement is an idea that satisfies the two conditions contained in the myth which now occupies us. In the first place, it is an objective beauty, not entirely depending upon the impression that we receive from the object, but belonging to the object itself. In the second place, this beauty has in itself something accidental, and the object remains identical even when we conceive it to be deprived of this property. The girdle of attractions does not lose its magic virtue in pa.s.sing to an object of less beauty, or even to that which is without beauty; that is to say, that a being less beautiful, or even one which is not beautiful, may also lay claim to the beauty of movement. The myth tells us that grace is something accidental in the subject in which we suppose it to be. It follows that we can attribute this property only to accidental movements. In an ideal of beauty the necessary movements must be beautiful, because inasmuch as necessary they form an integral part of its nature; the idea of Venus once given, the idea of this beauty of necessary movements is that implicitly comprised in it; but it is not the same with the beauty of accidental movements; this is an extension of the former; there can be a grace in the voice, there is none in respiration.

But all this beauty in accidental movements--is it necessarily grace? It is scarcely necessary to notice that the Greek fable attributes grace exclusively to humanity. It goes still further, for even the beauty of form it restricts within the limits of the human species, in which, as we know, the Greeks included also their G.o.ds. But if grace is the exclusive privilege of the human form, none of the movements which are common to man with the rest of nature can evidently pretend to it. Thus, for example, if it were admitted that the ringlets of hair on a beautiful head undulate with grace, there would also be no reason to deny a grace of movement to the branches of trees, to the waves of the stream, to the ears of a field of corn, or to the limbs of animals. No, the G.o.ddess of Cnidus represents exclusively the human species; therefore, as soon as you see only a physical creature in man, a purely sensuous object, she is no longer concerned with him. Thus, grace can only be met with in voluntary movements, and then in those only which express some sentiment of the moral order. Those which have as principle only animal sensuousness belong only, however voluntary we may suppose them to be, to physical nature, which never reaches of itself to grace. If it were possible to have grace in the manifestations of the physical appet.i.tes and instincts, grace would no longer be either capable or worthy to serve as the expression of humanity. Yet it is humanity alone which to the Greek contains all the idea of beauty and of perfection. He never consents to see separated from the soul the purely sensuous part, and such is with him that which might be called man's sensuous nature, which it is equally impossible for him to isolate either from his lower nature or from his intelligence. In the same way that no idea presents itself to his mind without taking at once a visible form, and without his endeavoring to give a bodily envelope even to his intellectual conceptions, so he desires in man that all his instinctive acts should express at the same time his moral destination. Never for the Greek is nature purely physical nature, and for that reason he does not blush to honor it; never for him is reason purely reason, and for that reason he has not to tremble in submitting to its rule. The physical nature and moral sentiments, matter and mind, earth and heaven, melt together with a marvellous beauty in his poetry. Free activity, which is truly at home only in Olympus, was introduced by him even into the domain of sense, and it is a further reason for not attaching blame to him if reciprocally he transported the affections of the sense into Olympus. Thus, this delicate sense of the Greeks, which never suffered the material element unless accompanied by the spiritual principle, recognizes in man no voluntary movement belonging only to sense which did not at the same time manifest the moral sentiment of the soul. It follows that for them grace is one of the manifestations of the soul, revealed through beauty in voluntary movements; therefore, wherever there is grace, it is the soul which is the mobile, and it is in her that beauty of movement has its principle. The mythological allegory thus expresses the thought, "Grace is a beauty not given by nature, but produced by the subject itself."

Up to the present time I have confined myself to unfolding the idea of grace from the Greek myth, and I hope I have not forced the sense: may I now be permitted to try to what result a philosophical investigation on this point will lead us, and to see if this subject, as so many others, will confirm this truth, that the spirit of philosophy can hardly flatter itself that it can discover anything which has not already been vaguely perceived by sentiment and revealed in poetry?

Without her girdle, and without the Graces, Venus represents the ideal of beauty, such as she could have come forth from the hands of nature, and such as she is made without the intervention of mind endowed with sentiment and by the virtue alone of plastic forces. It is not without reason that the fable created a particular divinity to represent this sort of beauty, because it suffices to see and to feel in order to distinguish it very distinctly from the other, from that which derives its origin from the influence of a mind endowed with sentiments.

This first beauty, thus formed by nature solely and in virtue of the laws of necessity, I shall distinguish from that which is regulated upon conditions of liberty, in calling it, if allowed, beauty of structure (architectonic beauty). It is agreed, therefore, to designate under this name that portion of human beauty which not only has as efficient principle the forces and agents of physical nature (for we can say as much for every phenomenon), but which also is determined, so far as it is beauty solely, by the forces of this nature.

Well-proportioned limbs, rounded contours, an agreeable complexion, delicacy of skin, an easy and graceful figure, a harmonious tone of voice, etc., are advantages which are gifts of nature and fortune: of nature, which predisposed to this, and developed it herself; of fortune, which protects against all influence adverse to the work of nature.

Venus came forth perfect and complete from the foam of the sea. Why perfect? because she is the finished and exactly determined work of necessity, and on that account she is neither susceptible of variety nor of progress. In other terms, as she is only a beautiful representation of the various ends which nature had in view in forming man, and thence each of her properties is perfectly determined by the idea that she realizes; hence it follows that we can consider her as definitive and determined (with regard to its connection with the first conception) although this conception is subject, in its development, to the conditions of time.

The architectonic beauty of the human form and its technical perfection are two ideas, which we must take good care not to confound. By the latter, the ensemble of particular ends must be understood, such as they co-ordinate between themselves towards a general and higher end; by the other, on the contrary, a character suited to the representation of these ends, as far as these are revealed, under a visible form, to our faculty of seeing and observing. When, then, we speak of beauty, we neither take into consideration the justness of the aims of nature in themselves, nor formally, the degree of adaptation to the principles of art which their combination could offer. Our contemplative faculties hold to the manner in which the object appears to them, without taking heed to its logical const.i.tution. Thus, although the architectonic beauty, in the structure of man, be determined by the idea which has presided at this structure, and by the ends that nature proposes for it, the aesthetic judgment, making abstraction of these ends, considers this beauty in itself; and in the idea which we form of it, nothing enters which does not immediately and properly belong to the exterior appearance.

We are, then, not obliged to say that the dignity of man and of his condition heightens the beauty of his structure. The idea we have of his dignity may influence, it is true, the judgment that we form on the beauty of his structure; but then this judgment ceases to be purely aesthetic. Doubtless, the technical const.i.tution of the human form is an expression of its destiny, and, as such, it ought to excite our admiration; but this technical const.i.tution is represented to the understanding and not to sense; it is a conception and not a phenomenon.

The architectonic beauty, on the contrary, could never be an expression of the destiny of man, because it addresses itself to quite a different faculty from that to which it belongs to p.r.o.nounce upon his destiny.

If, then, man is, amongst all the technical forces created by nature, that to whom more especially we attribute beauty, this is exact and true only under one condition, which is, that at once and upon the simple appearance he justifies this superiority, without the necessity, in order to appreciate it, that we bring to mind his humanity. For, to recall this, we must pa.s.s through a conception; and then it would no longer be the sense, but the understanding, that would become the judge of beauty, which would imply contradiction. Man, therefore, cannot put forward the dignity of his moral destiny, nor give prominence to his superiority as intelligence, to increase the price of his beauty. Man, here, is but a being thrown like others into s.p.a.ce--a phenomenon amongst other phenomena. In the world of sense no account is made of the rank he holds in the world of ideas; and if he desires in that to hold the first place, he can only owe it to that in him which belongs to the physical order.

But his physical nature is determined, we know, by the idea of his humanity; from which it follows that his architectonic beauty is so also mediately. If, then he is distinguished by superior beauty from all other creatures of the sensuous world, it is incontestable that he owes this advantage to his destiny as man, because it is in it that the reason is of the differences which in general separate him from the rest of the sensuous world. But the beauty of the human form is not due to its being the expression of this superior destiny, for if it were so, this form would necessarily cease to be beautiful, from the moment it began to express a less high destiny, and the contrary to this form would be beautiful as soon as it could be admitted that it expresses this higher destination. However, suppose that at the sight of a fine human face we could completely forget that which it expresses, and put in its place, without chancing anything of its outside, the savage instincts of the tiger, the judgment of the eyesight would remain absolutely the same, and the tiger would be for it the chef-d'oeuvre of the Creator.

The destiny of man as intelligence contributes, then, to the beauty of his structure only so far as the form that represents this destiny, the expression that makes it felt, satisfies at the same time the conditions which are prescribed in the world of sense to the manifestations of the beautiful; which signifies that beauty ought always to remain a pure effect of physical nature, and that the rational conception which had determined the technical utility of the human structure cannot confer beauty, but simply be compatible with beauty.

It could be objected, it is true, that in general all which is manifested by a sensuous representation is produced by the forces of nature, and that consequently this character cannot be exclusively an indication of the beautiful. Certainly, and without doubt, all technical creations are the work of nature; but it is not by the fact of nature that they are technical, or at least that they are so judged to be. They are technical only through the understanding, and thus their technical perfection has already its existence in the understanding, before pa.s.sing into the world of sense, and becoming a sensible phenomenon. Beauty, on the contrary, has the peculiarity, that the sensuous world is not only its theatre, but the first source from whence it derives its birth, and that it owes to nature not only its expression, but also its creation. Beauty is absolutely but a property of the world of sense; and the artist, who has the beautiful in view, would not attain to it but inasmuch as he entertains this illusion, that his work is the work of nature.

In order to appreciate the technical perfection of the human body, we must bear in mind the ends to which it is appropriated; this being quite unnecessary for the appreciation of its beauty. Here the senses require no aid, and of themselves judge with full competence; however they would not be competent judges of the beautiful, if the world of sense (the senses have no other object) did not contain all the conditions of beauty and was therefore competent to produce it. The beauty of man, it is true, has for mediate reason the idea of his humanity, because all his physical nature is founded on this idea; but the senses, we know, hold to immediate phenomena, and for them it is exactly the same as if this beauty were a simple effect of nature, perfectly independent.

From what we have said, up to the present time, it would appear that the beautiful can offer absolutely no interest to the understanding, because its principle belongs solely to the world of sense, and amongst all our faculties of knowledge it addresses itself only to our senses. And in fact, the moment that we sever from the idea of the beautiful, as a foreign element, all that is mixed with the idea of technical perfection, almost inevitably, in the judgment of beauty, it appears that nothing remains to it by which it can become the object of an intellectual pleasure. And nevertheless, it is quite as incontestable that the beautiful pleases the understanding, as it is beyond doubt that the beautiful rests upon no property of the object that could not be discovered but by the understanding.

To solve this apparent contradiction, it must be remembered that the phenomena can in two different ways pa.s.s to the state of objects of the understanding and express ideas. It is not always necessary that the understanding draws these ideas from phenomena; it can also put them into them. In the two cases, the phenomena will be adequate to a rational conception, with this simple difference, that, in the first case, the understanding finds it objectively given, and to a certain extent only receives it from the object because it is necessary that the idea should be given to explain the nature and often even the possibility of the object; whilst in the second case, on the contrary, it is the understanding which of itself interprets, in a manner to make of it the expression of its idea, that which the phenomenon offers us, without any connection with this idea, and thus treats by a metaphysical process that which in reality is purely physical. There, then, in the a.s.sociation of the idea with the object there is an objective necessity; here, on the contrary, a subjective necessity at the utmost. It is unnecessary to say that, in my mind, the first of these two connections ought to be understood of technical perfection, the second, of the beautiful.

As then in the second case it is a thing quite contingent for the sensuous object that there should or should not be outside of it an object which perceives it--an understanding that a.s.sociates one of its own ideas with it, consequently, the ensemble of these objective properties ought to be considered as fully independent of this idea; we have perfectly the right to reduce the beautiful, objectively, to the simple conditions of physical nature, and to see nothing more in beauty than effect belonging purely to the world of sense. But as, on the other side, the understanding makes of this simple fact of the world of sense a transcendent usage, and in lending it a higher signification inasmuch as he marks it, as it were, with his image, we have equally the right to transport the beautiful, subjectively, into the world of intelligence.

It is in this manner that beauty belongs at the same time to the two worlds--to one by the right of birth, to the other by adoption; it takes its being in the world of sense, it acquires the rights of citizenship in the world of understanding. It is that which explains how it can be that taste, as the faculty for appreciating the beautiful, holds at once the spiritual element and that of sense; and that these two natures, incompatible one with the other, approach in order to form in it a happy union. It is this that explains how taste can conciliate respect for the understanding with the material element, and with the rational principle the favor and the sympathy of the senses, how it can enn.o.ble the perceptions of the senses so as to make ideas of them, and, in a certain measure, transform the physical world itself into a domain of the ideal.

At all events, if it is accidental with regard to the object, that the understanding a.s.sociates, at the representation of this object, one of its own ideas with it, it is not the less necessary for the subject which represents it to attach to such a representation such an idea. This idea, and the sensuous indication which corresponds to it in the object, ought to be one with the other in such relation, that the understanding be forced to this a.s.sociation by its own immutable laws; the understanding then must have in itself the reason which leads it to a.s.sociate exclusively a certain phenomenon with a certain determined idea, and, reciprocally, the object should have in itself the reason for which it exclusively provokes that idea and not another. As to knowing what the idea can be which the understanding carries into the beautiful, and by what objective property the object gifted with beauty can be capable of serving as symbol to this idea, is then a question much too grave to be solved here in pa.s.sing, and I reserve this examination for an a.n.a.lytical theory of the beautiful.

The architectonic beauty of man is then, in the way I have explained it, the visible expression of a rational conception, but it is so only in the same sense and the same t.i.tle as are in general all the beautiful creations of nature. As to the degree, I agree that it surpa.s.ses all the other beauties; but with regard to kind, it is upon the same rank as they are, because it also manifests that which alone is perceptible of its subject, and it is only when we represent it to ourselves that it receives a super-sensuous value.