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

necessary consequence. It may be said in general that without this third condition, even the truth of a painting cannot be recognized; for the similarity of circumstances, which ought to be fully evident, can alone justify our judgment on the similarity of the feelings, since it is only from the competition of external conditions and of internal conditions that the affective phenomenon results. To decide if we should have acted like Cato, we must before all things transport ourselves in thought to the external situation in which Cato was placed, and then only we are entitled to place our feelings alongside his, to pronounce if there is or is not likeness, and to give a verdict on the truth of these feelings.

A complete picture, as I understand it, is only possible by the concatenation of several separate ideas, and of several separate feelings, which are connected together as cause and effect, and which, in their sum total, form one single whole for our cognitive faculty. All these ideas, in order to affect us closely, must make an immediate impression on our senses; and, as the narrative form always weakens this impression, they must be produced by a present action. Thus, in order that a tragic picture may be complete, a whole series is required of particular actions, rendered sensuous and connected with the tragic action as to one whole.

4th. It is necessary, lastly, that the ideas we receive of suffering should act on us in a durable manner, to excite in us a high degree of emotion. The affection created in us by the suffering of another is to us a constrained state, from which we hasten to get free; and the illusion so necessary for pity easily disappears in this case. It is, therefore, a necessity to fasten the mind closely to these ideas, and not to leave it the freedom to get rid too soon of the illusion. The vividness of sudden ideas and the energy of sudden impressions, which in rapid succession affect our senses, would not suffice for this end. For the power of reaction in the mind is manifested in direct proportion to the force with which the receptive faculty is solicited, and it is manifested to triumph over this impression. Now, the poet who wishes to move us ought not to weaken this independent power in us, for it is exactly in the struggle between it and the suffering of our sensuous nature that the higher charm of tragic emotions lies. In order that the heart, in spite of that spontaneous force which reacts against sensuous affections, may remain attached to the impressions of sufferings, it is, therefore, necessary that these impressions should be cleverly suspended at intervals, or even interrupted and intercepted by contrary impressions, to return again with twofold energy and renew more frequently the vividness of the first impression. Against the exhaustion and languor that result from habit, the most effectual remedy is to propose new objects to the senses; this variety retempers them, and the gradation of impressions calls forth the innate faculty, and makes it employ a proportionately stronger resistance. This faculty ought to be incessantly occupied in maintaining its independence against the attacks of the senses, but it must not triumph before the end, still less must it succumb in the struggle. Otherwise, in the former case, suffering, and, in the latter, moral activity is set aside; while it is the union of these two that can alone elicit emotion. The great secret of the tragic art consists precisely in managing this struggle well; it is in this that it shows itself in the most brilliant light.

For this, a succession of alternate ideas is required: therefore a suitable combination is wanted of several particular actions corresponding with these different ideas; actions round which the principal action and the tragic impression which it is wished to produce through it unroll themselves like the yarn from the distaff, and end by enlacing our souls in nets, through which they cannot break. Let me be permitted to make use of a simile, by saying that the artist ought to begin by gathering up with parsimonious care all the separate rays that issue from the object by aid of which he seeks to produce the tragic effect that he has in view, and these rays, in his hands, become a lightning flash, setting the hearts of all on fire. The tyro casts suddenly and vainly all the thunderbolts of horror and fear into the soul; the artist, on the contrary, advances step by step to his end; he only strikes with measured strokes, but he penetrates to the depth of our soul, precisely because he has only stirred it by degrees.

If we now form the proper deductions from the previous investigation, the following will be the conditions that form bases of the tragic art. It is necessary, in the first place, that the object of our pity should belong to our own species - I mean belong in the full sense of the term and that the action in which it is sought to interest us be a moral action; that is, an action comprehended in the field of free-will. It is necessary, in the second place, that suffering, its sources, its degrees, should be completely communicated by a series of events chained together. It is necessary, in the third place, that the object of the passion be rendered present to our senses, not in a mediate way and by description, but immediately and in action. In tragedy art unites all these conditions and satisfies them.

According to these principles tragedy might be defined as the poetic imitation of a coherent series of particular events (forming a complete action): an imitation which shows us man in a state of suffering, and which has for its end to excite our pity.

I say first that it is the imitation of an action; and this idea of imitation already distinguishes tragedy from the other kinds of poetry, which only narrate or describe. In tragedy particular events are presented to our imagination or to our senses at the very time of their accomplishment; they are present, we see them immediately, without the intervention of a third person. The epos, the romance, simple narrative, even in their form, withdraw action to a distance, causing the narrator to come between the acting person and the reader. Now what is distant and past always weakens, as we know, the impressions and the sympathetic affection; what is present makes them stronger. All narrative forms make of the present something past; all dramatic form makes of the past a present.

Secondly, I say that tragedy is the imitation of a succession of events, of an action. Tragedy has not only to represent by imitation the feelings and the affections of tragic persons, but also the events that have produced these feelings, and the occasion on which these affections are manifested. This distinguishes it from lyric poetry, and from its different forms, which no doubt offer, like tragedy, the poetic imitation of certain states of the mind, but not the poetic imitation of certain actions. An elegy, a song, an ode, can place before our eyes, by imitation, the moral state in which the poet actually is - whether he speaks in his own name, or in that of an ideal person - a state determined by particular circumstances; and up to this point these lyric forms seem certainly to be incorporated in the idea of tragedy; but they do not complete that idea, because they are confined to representing our feelings. There are still more essential differences, if the end of these lyrical forms and that of tragedy are kept in view.

I say, in the third place, that tragedy is the imitation of a complete action. A separate event, though it be ever so tragic, does not in itself constitute a tragedy. To do this, several events are required, based one on the other, like cause and effect, and suitably connected so as to form a whole; without which the truth of the feeling represented, of the character, etc. - that is, their conformity with the nature of our mind, a conformity which alone determines our sympathy - will not be recognized. If we do not feel that we ourselves in similar circumstances should have experienced the same feelings and acted in the same way, our pity would not be awakened. It is, therefore, important that we should be able to follow in all its concatenation the action that is represented to us, that we should see it issue from the mind of the agent by a natural gradation, under the influence and with the concurrence of external circumstances. It is thus that we see spring up, grow, and come to maturity under our eyes, the curiosity of Oedipus and the jealousy of Iago. It is also the only way to fill up the great gap that exists between the joy of an innocent soul and the torments of a guilty conscience, between the proud serenity of the happy man and his terrible catastrophe; in short, between the state of calm, in which the reader is at the beginning, and the violent agitation he ought to experience at the end.

A series of several connected incidents is required to produce in our souls a succession of different movements which arrest the attention, which, appealing to all the faculties of our minds, enliven our instinct of activity when it is exhausted, and which, by delaying the satisfaction of this instinct, do not kindle it the less. Against the suffering of sensuous nature the human heart has only recourse to its moral nature as counterpoise. It is, therefore, necessary, in order to stimulate this in a more pressing manner, for the tragic poet to prolong the torments of sense, but he must also give a glimpse to the latter of the satisfaction of its wants, so as to render the victory of the moral sense so much the more difficult and glorious. This twofold end can only be attained by a succession of actions judiciously chosen and combined to this end.

In the fourth place, I say that tragedy is the poetic imitation of an action deserving of pity, and, therefore, tragic imitation is opposed to historic imitation. It would only be a historic imitation if it proposed a historic end, if its principal object were to teach us that a thing has taken place, and how it took place. On this hypothesis it ought to keep rigorously to historic accuracy, for it would only attain its end by representing faithfully that which really took place. But tragedy has a poetic end, that is to say, it represents an action to move us, and to charm our souls by the medium of this emotion. If, therefore, a matter being given, tragedy treats it conformably with this poetic end, which is proper to it, it becomes, by that very thing, free in its imitation. It is a right - nay, more, it is an obligation - for tragedy to subject historic truth to the laws of poetry; and to treat its matter in conformity with requirements of this art. But as it cannot attain its end, which is emotion, except on the condition of a perfect conformity with the laws of nature, tragedy is, notwithstanding its freedom in regard to history, strictly subject to the laws of natural truth, which, in opposition to the truth of history, takes the name of poetic truth. It may thus be understood how much poetic truth may lose, in many cases by a strict observance of historic truth, and, reciprocally, how much it may gain by even a very serious alteration of truth according to history. As the tragic poet, like poets in general, is only subject to the laws of poetic