The Aesthetical Essays by Friedrich Schiller (the lemonade war series .txt) 📖

who plays with his own image in the world of sense. Thus love consoles and dilates the heart, whilst esteem strains it; because here there is nothing which could limit the heart and compress its impulses, there being nothing higher than absolute greatness; and sensibility, from which alone hinderance could come, is reconciled, in the breast of beauty and of grace, with the ideas even of the mind. Love has but to descend; esteem aspires with effort towards an object placed above it. This is the reason that the wicked love nothing, though they are obliged to esteem many things. This is why the well-disposed man can hardly esteem without at once feeling love for the object. Pure spirit can only love, but not esteem; the senses know only esteem, but not love.

The culpable man is perpetually a prey to fear, that he may meet in the world of sense the legislator within himself; and sees an enemy in all that bears the stamp of greatness, of beauty, and of perfection: the man, on the contrary, in whom a noble soul breathes, knows no greater pleasure than to meet out of himself the image or realization of the divine that is in him; and to embrace in the world of sense a symbol of the immortal friend he loves. Love is at the same time the most generous and the most egotistical thing in nature; the most generous, because it receives nothing and gives all - pure mind being only able to give and not receive; the most egotistical, for that which he seeks in the subject, that which he enjoys in it, is himself and never anything else.

But precisely because he who loves receives from the beloved object nothing but that which he has himself given, it often happens that he gives more than he has received.

The exterior senses believe to have discovered in the object that which the internal sense alone contemplates in it, in the end believing what is desired with ardor, and the riches belonging to the one who loves hide the poverty of the object loved. This is the reason why love is subject to illusion, whilst esteem and desire are never deceived. As long as the super-excitement of the internal senses overcomes the internal senses, the soul remains under the charm of this Platonic love, which gives place only in duration to the delights enjoyed by the immortals. But as soon as internal sense ceases to share its visions with the exterior sense, these take possession of their rights and imperiously demand that which is its due - matter. It is the terrestrial Venus who profits by the fire kindled by the celestial Venus, and it is not rare to find the physical instinct, so long sacrificed, revenge itself by a rule all the more absolute. As external sense is never a dupe to illusion, it makes this advantage felt with a brutal insolence over its noble rival; and it possesses audacity to the point of asserting that it has settled an account that the spiritual nature had left under sufferance.

Dignity prevents love from degenerating into desire, and grace, from esteem turning into fear. True beauty, true grace, ought never to cause desire. Where desire is mingled, either the object wants dignity, or he who considers it wants morality in his sentiments. True greatness ought never to cause fear. If fear finds a place, you may hold for certain either that the object is wanting in taste and grace, or that he who considers it is not at peace with his conscience.

Attraction, charm, grace: words commonly employed as synonyms, but which are not, or ought not to be so, the idea they express being capable of many determinations, requiring different designations.

There is a kind of grace which animates, and another which calms the heart. One touches nearly the sphere of the senses, and the pleasure which is found in these, if not restrained by dignity, would easily degenerate into concupiscence; we may use the word attraction [Reiz] to designate this grace. A man with whom the feelings have little elasticity does not find in himself the necessary force to awaken his affections: he needs to borrow it from without and to seek from impressions which easily exercise the phantasy, by rapid transition from sentiment to action, in order to establish in himself the elasticity he had lost. It is the advantage that he will find in the society of an attractive person, who by conversation and look would stir his imagination and agitate this stagnant water.

The calming grace approaches more nearly to dignity, inasmuch as it manifests itself through the moderation which it imposes upon the impetuosity of the movements. It is to this the man addresses himself whose imagination is over-excited; it is in this peaceful atmosphere that the heart seeks repose after the violence of the storm. It is to this that I reserve especially the appellation of grace. Attraction is not incompatible with laughter, jest, or the sting of raillery; grace agrees only with sympathy and love.

Dignity has also its degrees and its shades. If it approaches grace and beauty, it takes the name of nobleness; if, on the contrary, it inclines towards the side of fear, it becomes haughtiness.

The utmost degree of grace is ravishing charm. Dignity, in its highest form, is called majesty. In the ravishing we love our Ego, and we feel our being fused with the object. Liberty in its plenitude and in its highest enjoyment tends to the complete destruction of liberty, and the excitement of the mind to the delirium of the voluptuousness of the senses. Majesty, on the contrary, proposes to us a law, a moral ideal, which constrains us to turn back our looks upon ourselves. God is there, and the sentiment we have of His presence makes us bend our eyes upon the ground. We forget all that is without ourselves, and we feel but the heavy burden of our own existence.

Majesty belongs to what is holy. A man capable of giving us an idea of holiness possesses majesty, and if we do not go so far as to kneel, our mind at least prostrates itself before him. But the mind recoils at once upon the slightest trace of human imperfection which he discovers in the object of his adoration, because that which is only comparatively great cannot subdue the heart.

Power alone, however terrible or without limit we may suppose it to be, can never confer majesty. Power imposes only upon the sensuous being; majesty should act upon the mind itself, and rob it of its liberty. A man who can pronounce upon me a sentence of death has neither more nor less of majesty for me the moment I am what I ought to be. His advantage over me ceases as soon as I insist on it. But he who offers to me in his person the image of pure will, before him I would prostrate myself, if it is possible, for all eternity.

Grace and dignity are too high in value for vanity and stupidity not to be excited to appropriate them by imitation. There is only one means of attaining this: it is to imitate the moral state of which they are the expression. All other imitation is but to ape them, and would be recognized directly through exaggeration.

Just as exaggeration of the sublime leads to inflation, and affectation of nobleness to preciosity, in the same manner affectation of grace ends in coquetry, and that of dignity to stiff solemnity, false gravity.

There where true grace simply used ease and provenance, affected grace becomes effeminacy. One is content to use discreetly the voluntary movements, and not thwart unnecessarily the liberty of nature; the other has not even the heart to use properly the organs of will, and, not to fall into hardness and heaviness, it prefers to sacrifice something of the aim of movement, or else it seeks to reach it by cross ways and indirect means. An awkward and stiff dancer expends as much force as if he had to work a windmill; with his feet and arms he describes lines as angular as if he were tracing figures with geometrical precision; the affected dancer, on the other hand, glides with an excess of delicacy, as if he feared to injure himself on coming in contact with the ground, and his feet and hands describe only lines in sinuous curves. The other sex, which is essentially in possession of true grace, is also that one which is more frequently culpable of affected grace, but this affectation is never more distasteful than when used as a bait to desire. The smile of true grace thus gives place to the most repulsive grimace; the fine play of look, so ravishing when it displays a true sentiment, is only contortion; the melodious inflections of the voice, an irresistible attraction from candid lips, are only a vain cadence, a tremulousness which savors of study: in a word, all the harmonious charms of woman become only deception, an artifice of the toilet.

If we have many occasions to observe the affected grace in the theatre and in the ball-room, there is also often occasion of studying the affected dignity in the cabinet of ministers and in the study-rooms of men of science (notably at universities). True dignity is content to prevent the domination of the affections, to keep the instinct within just limits, but there only where it pretends to be master in the involuntary movements; false dignity regulates with an iron sceptre even the voluntary movements, it oppresses the moral movements, which were sacred to true dignity, as well as the sensual movements, and destroys all the mimic play of the features by which the soul gleams forth upon the face. It arms itself not only against rebel nature, but against submissive nature, and ridiculously seeks its greatness in subjecting nature to its yoke, or, if this does not succeed, in hiding it. As if it had vowed hatred to all that is called nature, it swathes the body in long, heavy-plaited garments, which hide the human structure; it paralyzes the limbs in surcharging them with vain ornaments, and goes even the length of cutting the hair to replace this gift of nature by an artificial production. True dignity does not blush for nature, but only for brute nature; it always has an open and frank air; feeling gleams in its look; calm and serenity of mind is legible upon the brow in eloquent traits. False gravity, on the contrary, places its dignity in the lines of its visage; it is close, mysterious, and guards its features with the care of an actor; all the muscles of its face are tormented, all natural and true expression disappears, and the entire man is like a sealed letter.

But false dignity is not always wrong to keep the mimic play of its features under sharp discipline, because it might betray more than would be desired, a precaution true dignity has not to consider. True dignity wishes only to rule, not to conceal nature; in false dignity, on the contrary, nature rules the more powerfully within because it is controlled outwardly. [Art can make use of a proper solemnity. Its object is only to prepare the mind for something important. When the poet is anxious to produce a great impression he tunes the mind to receive it.]


ON THE NECESSARY LIMITATIONS IN THE USE OF BEAUTY OF FORM.


The abuse of the beautiful and the encroachments of imagination, when, having only the casting vote, it seeks to grasp the law-giving sceptre, has done great injury alike in life and in science. It is therefore highly expedient to examine very closely the bounds that