Nature has given to us two genii as companions in our life in this lower world. The one, amiable and of good companionship, shortens the troubles of the journey by the gayety of its plays. It makes the chains of necessity light to us, and leads us amidst joy and laughter, to the most perilous spots, where we must act as pure spirits and strip ourselves of all that is body, on the knowledge of the true and the practice of duty. Once when we are there, it abandons us, for its realm is limited to the world of sense; its earthly wings could not carry it beyond. But at this moment the other companion steps upon the stage, silent and grave, and with his powerful arm carries us beyond the precipice that made us giddy.
In the former of these genii we recognize the feeling of the beautiful, in the other the feeling of the sublime. No doubt the beautiful itself is already an expression of liberty. This liberty is not the kind that raises us above the power of nature, and that sets us free from all bodily influence, but it is only the liberty which we enjoy as men, without issuing from the limits of nature. In the presence of beauty we feel ourselves free, because the sensuous instincts are in harmony with the laws of reason. In presence of the sublime we feel ourselves sublime, because the sensuous instincts have no influence over the jurisdiction of reason, because it is then the pure spirit that acts in us as if it were not absolutely subject to any other laws than its own.
The feeling of the sublime is a mixed feeling. It is at once a painful state, which in its paroxysm is manifested by a kind of shudder, and a joyous state, that may rise to rapture, and which, without being properly a pleasure, is greatly preferred to every kind of pleasure by delicate souls. This union of two contrary sensations in one and the same feeling proves in a peremptory manner our moral independence. For as it is absolutely impossible that the same object should be with us in two opposite relations, it follows that it is we ourselves who sustain two different relations with the object. It follows that these two opposed natures should be united in us, which, on the idea of this object, are brought into play in two perfectly opposite ways. Thus we experience by the feeling of the beautiful that the state of our spiritual nature is not necessarily determined by the state of our sensuous nature; that the laws of nature are not necessarily our laws; and that there is in us an autonomous principle independent of all sensuous impressions.
The sublime object may be considered in two lights. We either represent it to our comprehension, and we try in vain to make an image or idea of it, or we refer it to our vital force, and we consider it as a power before which ours is nothing. But though in both cases we experience in connection with this object the painful feeling of our limits, yet we do not seek to avoid it; on the contrary we are attracted to it by an irresistible force. Could this be the case if the limits of our imagination were at the same time those of our comprehension? Should we be willingly called back to the feeling of the omnipotence of the forces of nature if we had not in us something that cannot be a prey of these forces. We are pleased with the spectacle of the sensuous infinite, because we are able to attain by thought what the senses can no longer embrace and what the understanding cannot grasp. The sight of a terrible object transports us with enthusiasm, because we are capable of willing what the instincts reject with horror, and of rejecting what they desire. We willingly allow our imagination to find something in the world of phenomena that passes beyond it; because, after all, it is only one sensuous force that triumphs over another sensuous force, but nature, notwithstanding all her infinity, cannot attain to the absolute grandeur which is in ourselves. We submit willingly to physical necessity both our well-being and our existence. This is because the very power reminds us that there are in us principles that escape its empire. Man is in the hands of nature, but the will of man is in his own hands.
Nature herself has actually used a sensuous means to teach us that we are something more than mere sensuous natures. She has even known how to make use of our sensations to put us on the track of this discovery--that we are by no means subject as slaves to the violence of the sensations. And this is quite a different effect from that which can be produced by the beautiful; I mean the beautiful of the real world, for the sublime itself is surpassed by the ideal. In the presence of beauty, reason and sense are in harmony, and it is only on account of this harmony that the beautiful has attraction for us. Consequently, beauty alone could never teach us that our destination is to act as pure intelligences, and that we are capable of showing ourselves such. In the presence of the sublime, on the contrary, reason and the sensuous are not in harmony, and it is precisely this contradiction between the two which makes the charm of the sublime--its irresistible action on our minds. Here the physical man and the moral man separate in the most marked manner; for it is exactly in the presence of objects that make us feel at once how limited the former is that the other makes the experience of its force. The very thing that lowers one to the earth is precisely that which raises the other to the infinite.
Let us imagine a man endowed with all the virtues of which the union constitutes a fine character. Let us suppose a man who finds his delight in practising justice, beneficence, moderation, constancy, and good faith. All the duties whose accomplishment is prescribed to him by circumstances are only a play to him, and I admit that fortune favors him in such wise that none of the actions which his good heart may demand of him will be hard to him. Who would not be charmed with such a delightful harmony between the instincts of nature and the prescriptions of reason? and who could help admiring such a man? Nevertheless, though he may inspire us with affection, are we quite sure that he is really virtuous? Or in general that he has anything that corresponds to the idea of virtue? If this man had only in view to obtain agreeable sensations, unless he were mad he could not act in any other possible way; and he would have to be his own enemy to wish to be vicious. Perhaps the principle of his actions is pure, but this is a question to be discussed between himself and his conscience. For our part, we see nothing of it; we do not see him do anything more than a simply clever man would do who had no other god than pleasure. Thus all his virtue is a phenomenon that is explained by reasons derived from the sensuous order, and we are by no means driven to seek for reasons beyond the world of sense.
Let us suppose that this same man falls suddenly under misfortune. He is deprived of his possessions; his reputation is destroyed; he is chained to his bed by sickness and suffering; he is robbed by death of all those he loves; he is forsaken in his distress by all in whom he had trusted. Let us under these circumstances again seek him, and demand the practice of the same virtues under trial as he formerly had practised during the period of his prosperity. If he is found to be absolutely the same as before, if his poverty has not deteriorated his benevolence, or ingratitude his kindly offices of good-will, or bodily suffering his equanimity, or adversity his joy in the happiness of others; if his change of fortune is perceptible in externals, but not in his habits, in the matter, but not in the form of his conduct; then, doubtless, his virtue could not be explained by any reason drawn from the physical order; the idea of nature--which always necessarily supposes that actual phenomena rest upon some anterior phenomenon, as effects upon cause--this idea no longer suffices to enable us to comprehend this man; because there is nothing more contradictory than to admit that effect can remain the same when the cause has changed to its contrary. We must then give up all natural explanation or thought of finding the reason of his acts in his condition; we must of necessity go beyond the physical order, and seek the principle of his conduct in quite another world, to which the reason can indeed raise itself with its ideas, but which the understanding cannot grasp by its conceptions. It is this revelation of the absolute moral power which is subjected to no condition of nature, it is this which gives to the melancholy feeling that seizes our heart at the sight of such a man that peculiar, inexpressible charm, which no delight of the senses, however refined, could arouse in us to the same extent as the sublime.
Thus the sublime opens to us a road to overstep the limits of the world of sense, in which the feeling of the beautiful would forever imprison us. It is not little by little (for between absolute dependence and absolute liberty there is no possible transition), it is suddenly and by a shock that the sublime wrenches our spiritual and independent nature away from the net which feeling has spun round us, and which enchains the soul the more tightly because of its subtle texture. Whatever may be the extent to which feeling has gained a mastery over men by the latent influence of a softening taste, when even it should have succeeded in penetrating into the most secret recesses of moral jurisdiction under the deceptive envelope of spiritual beauty, and there poisoning the holiness of principle at its source--one single sublime emotion often suffices to break all this tissue of imposture, at one blow to give freedom to the fettered elasticity of spiritual nature, to reveal its true destination, and to oblige it to conceive, for one instant at least, the feeling of its liberty. Beauty, under the shape of the divine Calypso, bewitched the virtuous son of Ulysses, and the power of her charms held him long a prisoner in her island. For long he believed he was obeying an immortal divinity, whilst he was only the slave of sense; but suddenly an impression of the sublime in the form of Mentor seizes him; he remembers that he is called to a higher destiny--he throws himself into the waves, and is free.
The sublime, like the beautiful, is spread profusely throughout nature, and the faculty to feel both one and the other has been given to all men; but the germ does not develop equally; it is necessary that art should lend its aid. The aim of nature supposes already that we ought spontaneously to advance towards the beautiful, although we still avoid the sublime: for the beautiful is like the nurse of our childhood, and it is for her to refine our soul in withdrawing it from the rude state of nature. But though she is our first affection, and our faculty of feeling is first developed for her, nature has so provided, nevertheless, that this faculty ripens slowly and awaits its full development until the understanding and the heart are formed. If taste attains its full maturity before truth and morality have been established in our heart by a better road than that which taste would take, the sensuous world would remain the limit of our aspirations. We should not know, either in our ideas or in our feelings, how to pass beyond the world of sense, and all that imagination failed to represent would be without reality to us. But happily it enters into the plan of nature, that taste, although it first comes into bloom, is the last to ripen of all the faculties of the mind. During this interval, man has time to store up in his mind a provision of ideas, a treasure of principles in his heart, and then to develop especially, in drawing from reason, his feeling for the great and the sublime.
As long as man was only the slave of physical necessity, while he had found no issue to escape from the narrow circle of his appetites, and while he as yet felt none of that superior liberty which connects him with the angels, nature, so far as she is incomprehensible, could not fail to impress him with the insufficiency of his imagination, and again, as far as she is a destructive force, to recall his physical powerlessness. He is forced then to pass timidly towards one, and to turn away with affright from the other. But scarcely has free contemplation assured him against the blind oppression of the forces of nature--scarcely has he recognized amidst the tide of phenomena something permanent in his own being--than at once the coarse agglomeration of nature that surrounds him begins to speak in another language to his heart, and the relative grandeur which is without becomes for him a mirror in which he contemplates the absolute greatness which is within himself. He approaches without fear, and with a thrill of pleasure, those pictures which terrified his imagination, and intentionally makes an appeal to the whole strength of that faculty by which we represent the infinite perceived by the senses, in order if she fails in this attempt, to feel all the more vividly how much these ideas are superior to all that the highest sensuous faculty can give. The sight of a distant infinity--of heights beyond vision, this vast ocean which is at his feet, that other ocean still more vast which stretches above his head, transport and ravish his mind beyond the narrow circle of the real, beyond this narrow and oppressive prison of physical life. The simple majesty of nature offers him a less circumscribed measure for estimating its grandeur, and, surrounded by the grand outlines which it presents to him, he can no longer bear anything mean in his way of thinking. Who can tell how many luminous ideas, how many heroic resolutions, which would never have been conceived in the dark study of the imprisoned man of science, nor in the saloons where the people of society elbow each other, have been inspired on a sudden during a walk, only by the contact and the generous struggle of the soul with the great spirit of nature? Who knows if it is not owing to a less frequent intercourse with this sublime spirit that we must partially attribute the narrowness of mind so common to the dwellers in towns, always bent under the minutiae which dwarf and wither their soul, whilst the soul of the nomad remains open and free as the firmament beneath which he pitches his tent?
But it is not only the unimaginable or the sublime in quantity, it is also the incomprehensible, that which escapes the understanding and that which troubles it, which can serve to give us an idea of the super-sensuous infinity. As soon as this element attains the grandiose and announces itself to us as the work of nature (for otherwise it is only despicable), it then aids the soul to represent to itself the ideal, and imprints upon it a noble development. Who does not love the eloquent disorder of natural scenery to the insipid regularity of a French garden? Who does not admire in the plains of Sicily the marvellous combat of nature with herself--of her creative force and her destructive power? Who does not prefer to feast his eyes upon the wild streams and waterfalls of Scotland, upon its misty mountains, upon that romantic nature from which Ossian drew his inspiration--rather than to grow enthusiastic in this stiff Holland, before the laborious triumph of patience over the most stubborn of elements? No one will deny that in the rich grazing-grounds of Holland, things are not better ordered for the wants of physical man than upon the perfid crater of Vesuvius, and that the understanding which likes to comprehend and arrange all things, does not find its requirements rather in the regularly planted farm-garden than in the uncultivated beauty of natural scenery. But man has requirements which go beyond those of natural life and comfort or well-being; he has another destiny than merely to comprehend the phenomena which surround him.
In the same manner as for the observant traveller, the strange wildness of nature is so attractive in physical nature--thus, and for the same reason, every soul capable of enthusiasm finds even in the regrettable anarchy found in the moral world a source of singular pleasure. Without doubt he who sees the grand economy of nature only from the impoverished light of the understanding; he who has never any other thought than to reform its defiant disorder and to substitute harmony, such a one could not find pleasure in a world which seems given up to the caprice of chance rather than governed according to a wise ordination, and where merit and fortune are for the most part in opposition. He desires that the whole world throughout its vast space should be ruled like a house well regulated; and when this much-desired regularity is not found, he has no other resource than to defer to a future life, and to another and better nature, the satisfaction which is his due, but which neither the present nor the past afford him. On the contrary, he renounces willingly the pretension of restoring this chaos of phenomena to one single notion; he regains on another side, and with interest, what he loses on this side. Just this want of connection, this anarchy, in the phenomena, making them useless to the understanding, is what makes them valuable to reason. The more they are disorderly the more they represent the freedom of nature. In a sense, if you suppress all connection, you have independence. Thus, under the idea of liberty, reason brings back to unity of thought that which the understanding could not bring to unity of notion. It thus shows its superiority over the understanding, as a faculty subject to the conditions of a sensuous order. When we consider of what value it is to a rational being to be independent of natural laws, we see how much man finds in the liberty of sublime objects as a set-off against the checks of his cognitive faculty. Liberty, with all its drawbacks, is everywhere vastly more attractive to a noble soul than good social order without it--than society like a flock of sheep, or a machine working like a watch. This mechanism makes of man only a product; liberty makes him the citizen of a better world.
It is only thus viewed that history is sublime to me. The world, as a historic object, is only the strife of natural forces; with one another and with man's freedom. History registers more actions referable to nature than to free will; it is only in a few cases, like Cato and Phocion, that reason has made its power felt. If we expect a treasury of knowledge in history how we are deceived! All attempts of philosophy to reconcile what the moral world demands with what the real world gives is belied by experience, and nature seems as illogical in history as she is logical in the organic kingdoms.
But if we give up explanation it is different. Nature, in being capricious and defying logic, in pulling down great and little, in crushing the noblest works of man, taking centuries to form--nature, by deviating from intellectual laws, proves that you cannot explain nature by nature's laws themselves, and this sight drives the mind to the world of ideas, to the absolute.
But though nature as a sensuous activity drives us to the ideal, it throws us still more into the world of ideas by the terrible. Our highest aspiration is to be in good relations with physical nature, without violating morality. But it is not always convenient to serve two masters; and though duty and the appetites should never be at strife, physical necessity is peremptory, and nothing can save men from evil destiny. Happy is he who learns to bear what he cannot change! There are cases where fate overpowers all ramparts, and where the only resistance is, like a pure spirit, to throw freely off all interest of sense, and strip yourself of your body. Now this force comes from sublime emotions, and a frequent commerce with destructive nature. Pathos is a sort of artificial misfortune, and brings us to the spiritual law that commands our soul. Real misfortune does not always choose its time opportunely, while pathos finds us armed at all points. By frequently renewing this exercise of its own activity the mind controls the sensuous, so that when real misfortune comes, it can treat it as an artificial suffering, and make it a sublime emotion. Thus pathos takes away some of the malignity of destiny, and wards off its blows.
Away then with that false theory which supposes falsely a harmony binding well being and well doing. Let evil destiny show its face. Our safety is not in blindness, but in facing our dangers. What can do so better than familiarity with the splendid and terrible evolution of events, or than pictures showing man in conflict with chance; evil triumphant, security deceived--pictures shown us throughout history, and placed before us by tragedy? Whoever passes in review the terrible fate of Mithridates, of Syracuse, and Carthage, cannot help keeping his appetite in check, at least for a time, and, seeing the vanity of things, strive after that which is permanent. The capacity of the sublime is one of the noblest aptitudes of man. Beauty is useful, but does not go beyond man. The sublime applies to the pure spirit. The sublime must be joined to the beautiful to complete the aesthetic education, and to enlarge man's heart beyond the sensuous world.
Without the beautiful there would be an eternal strife between our natural and rational destiny. If we only thought of our vocation as spirits we should be strangers to this sphere of life. Without the sublime, beauty would make us forget our dignity. Enervated--wedded to this transient state, we should lose sight of our true country. We are only perfect citizens of nature when the sublime is wedded to the beautiful.
Many things in nature offer man the beautiful and sublime. But here again he is better served at second-hand. He prefers to have them ready-made in art rather than seek them painfully in nature. This instinct for imitation in art has the advantage of being able to make those points essential that nature has made secondary. While nature suffers violence in the organic world, or exercises violence, working with power upon man, though she can only be aesthetical as an object of pure contemplation, art, plastic art, is fully free, because it throws off all accidental restrictions and leaves the mind free, because it imitates the appearance, not the reality of objects. As all sublimity and beauty consists in the appearance, and not in the value of the object, it follows that art has all the advantages of nature without her shackles.
THE PATHETIC.
The depicting of suffering, in the shape of simple suffering, is never the end of art, but it is of the greatest importance as a means of attaining its end. The highest aim of art is to represent the super-sensuous, and this is effected in particular by tragic art, because it represents by sensible marks the moral man, maintaining himself in a state of passion, independently of the laws of nature. The principle of freedom in man becomes conscious of itself only by the resistance it offers to the violence of the feelings. Now the resistance can only be measured by the strength of the attack. In order, therefore, that the intelligence may reveal itself in man as a force independent of nature, it is necessary that nature should have first displayed all her power before our eyes. The sensuous being must be profoundly and strongly affected, passion must be in play, that the reasonable being may be able to testify his independence and manifest himself in action.
It is impossible to know if the empire which man has over his affections is the effect of a moral force, till we have acquired the certainty that it is not an effect of insensibility. There is no merit in mastering the feelings which only lightly and transitorily skim over the surface of the soul. But to resist a tempest which stirs up the whole of sensuous nature, and to preserve in it the freedom of the soul, a faculty of resistance is required infinitely superior to the act of natural force. Accordingly it will not be possible to represent moral freedom, except by expressing passion, or suffering nature, with the greatest vividness; and the hero of tragedy must first have justified his claim to be a sensuous being before aspiring to our homage as a reasonable being, and making us believe in his strength of mind.
Therefore the pathetic is the first condition required most strictly in a tragic author, and he is allowed to carry his description of suffering as far as possible, without prejudice to the highest end of his art, that is, without moral freedom being oppressed by it. He must give in some sort to his hero, as to his reader, their full load of suffering, without which the question will always be put whether the resistance opposed to suffering is an act of the soul, something positive, or whether it is not rather a purely negative thing, a simple deficiency.
The latter case is offered in the purer French tragedy, where it is very rare, or perhaps unexampled, for the author to place before the reader suffering nature, and where generally, on the contrary, it is only the poet who warms up and declaims, or the comedian who struts about on stilts. The icy tone of declamation extinguishes all nature here, and the French tragedians, with their superstitious worship of decorum, make it quite impossible for them to paint human nature truly. Decorum, wherever it is, even in its proper place, always falsifies the expression of nature, and yet this expression is rigorously required by art. In a French tragedy, it is difficult for us to believe that the hero ever suffers, for he explains the state of his soul, as the coolest man would do, and always thinking of the effect he is making on others, he never lets nature pour forth freely. The kings, the princesses, and the heroes of Corneille or Voltaire never forget their rank even in the most violent excess of passion; and they part with their humanity much sooner than with their dignity. They are like those kings and emperors of our old picture-books, who go to bed with their crowns on.
What a difference from the Greeks and those of the moderns who have been inspired with their spirit in poetry! Never does the Greek poet blush at nature; he leaves to the sensuous all its rights, and yet he is quite certain never to be subdued by it. He has too much depth and too much rectitude in his mind not to distinguish the accidental, which is the principal point with false taste, from the really necessary; but all that is not humanity itself is accidental in man. The Greek artist who has to represent a Laocoon, a Niobe, and a Philoctetes, does not care for the king, the princess, or the king's son; he keeps to the man. Accordingly the skilful statuary sets aside the drapery, and shows us nude figures, though he knows quite well it is not so in real life. This is because drapery is to him an accidental thing, and because the necessary ought never to be sacrificed to the accidental. It is also because, if decency and physical necessities have their laws, these laws are not those of art. The statuary ought to show us, and wishes to show us, the man himself; drapery conceals him, therefore he sets that aside, and with reason.
The Greek sculptor rejects drapery as a useless and embarrassing load, to make way for human nature; and in like manner the Greek poet emancipates the human personages he brings forward from the equally useless constraint of decorum, and all those icy laws of propriety, which put nothing but what is artificial in man, and conceal nature in it. Take Homer and the tragedians; suffering nature speaks the language of truth and ingenuousness in their pages, and in a way to penetrate to the depths of our hearts. All the passions play their part freely, nor do the rules of propriety compress any feeling with the Greeks. The heroes are just as much under the influence of suffering as other men, and what makes them heroes is the very fact that they feel suffering strongly and deeply, without suffering overcoming them. They love life as ardently as others; but they are not so ruled by this feeling as to be unable to give up life when the duties of honor or humanity call on them to do so. Philoctetes filled the Greek stage with his lamentations; Hercules himself, when in fury, does not keep under his grief. Iphigenia, on the point of being sacrificed, confesses with a touching ingenuousness that she grieves to part with the light of the sun. Never does the Greek place his glory in being insensible or indifferent to suffering, but rather in supporting it, though feeling it in its fulness. The very gods of the Greeks must pay their tribute to nature, when the poet wishes to make them approximate to humanity. Mars, when wounded, roars like ten thousand men together, and Venus, scratched by an iron lance, mounts again to Olympus, weeping, and cursing all battles.
This lively susceptibility on the score of suffering, this warm, ingenuous nature, showing itself uncovered and in all truth in the monuments of Greek art, and filling us with such deep and lively emotions--this is a model presented for the imitation of all artists; it is a law which Greek genius has laid down for the fine arts. It is always and eternally nature which has the first rights over man; she ought never to be fettered, because man, before being anything else, is a sensuous creature. After the rights of nature come those of reason, because man is a rational, sensuous being, a moral person, and because it is a duty for this person not to let himself be ruled by nature, but to rule her. It is only after satisfaction has been given in the first place to nature, and after reason in the second place has made its rights acknowledged, that it is permitted for decorum in the third place to make good its claims, to impose on man, in the expression of his moral feelings and of his sensations, considerations towards society, and to show in it the social being, the civilized man. The first law of the tragic art was to represent suffering nature. The second law is to represent the resistance of morality opposed to suffering.
Affection, as affection, is an unimportant thing; and the portraiture of affection, considered in itself, would be without any aesthetic value; for, I repeat it, nothing that only interests sensuous nature is worthy of being represented by art. Thus not only the affections that do nothing but enervate and soften man, but in general all affections, even those that are exalted, ecstatic, whatever may be their nature, are beneath the dignity of tragic art.
The soft emotions, only producing tenderness, are of the nature of the agreeable, with which the fine arts are not concerned. They only caress the senses, while relaxing and creating languidness, and only relate to external nature, not at all to the inner nature of man. A good number of our romances and of our tragedies, particularly those that bear the name of dramas--a sort of compromise between tragedy and comedy--a good number also of those highly-appreciated family portraits, belong to this class. The only effect of these works is to empty the lachrymal duct, and soothe the overflowing feelings; but the mind comes back from them empty, and the moral being, the noblest part of our nature, gathers no new strength whatever from them. "It is thus," says Kant, "that many persons feel themselves edified by a sermon that has nothing edifying in it." It seems also that modern music only aims at interesting the sensuous, and in this it flatters the taste of the day, which seeks to be agreeably tickled, but not to be startled, nor strongly moved and elevated. Accordingly we see music prefer all that is tender; and whatever be the noise in a concert-room, silence is immediately restored, and every one is all ears directly a sentimental passage is performed. Then an expression of sensibility common to animalism shows itself commonly on all faces; the eyes are swimming with intoxication, the open mouth is all desire, a voluptuous trembling takes hold of the entire body, the breath is quick and full, in short, all the symptoms of intoxication appear. This is an evident proof that the senses swim in delight, but that the mind or the principle of freedom in man has become a prey to the violence of the sensuous impression. Real taste, that of noble and manly minds, rejects all these emotions as unworthy of art, because they only please the senses, with which art has nothing in common.
But, on the other hand, real taste excludes all extreme affections, which only put sensuousness to the torture, without giving the mind any compensation. These affections oppress moral liberty by pain, as the others by voluptuousness; consequently they can excite aversion, and not the emotion that would alone be worthy of art. Art ought to charm the mind and give satisfaction to the feeling of moral freedom. This man who is a prey to his pain is to me simply a tortured animate being, and not a man tried by suffering. For a moral resistance to painful affections is already required of man--a resistance which can alone allow the principle of moral freedom, the intelligence, to make itself known in it.
If it is so, the poets and the artists are poor adepts in their art when they seek to reach the pathetic only by the sensuous force of affection and by representing suffering in the most vivid manner. They forget that suffering in itself can never be the last end of imitation, nor the immediate source of the pleasure we experience in tragedy. The pathetic only has aesthetic value in as far as it is sublime. Now, effects that only allow us to infer a purely sensuous cause, and that are founded only on the affection experienced by the faculty of sense, are never sublime, whatever energy they may display, for everything sublime proceeds exclusively from the reason.
I imply by passion the affections of pleasure as well as the painful affections, and to represent passion only, without coupling with it the expression of the super-sensuous faculty which resists it, is to fall into what is properly called vulgarity; and the opposite is called nobility. Vulgarity and nobility are two ideas which, wherever they are applied, have more or less relation with the super-sensuous share a man takes in a work. There is nothing noble but what has its source in the reason; all that issues from sensuousness alone is vulgar or common. We say of a man that he acts in a vulgar manner when he is satisfied with obeying the suggestions of his sensuous instinct; that he acts suitably when he only obeys his instinct in conformity with the laws; that he acts nobly when he obeys reason only, without having regard to his instincts. We say of a physiognomy that it is common when it does not show any trace of the spiritual man, the intelligence; we say it has expression when it is the mind which has determined its features: and that it is noble when a pure spirit has determined them. If an architectural work is in question we qualify it as common if it aims at nothing but a physical end; we name it noble if, independently of all physical aim, we find in it at the same time the expression of a conception.
Accordingly, I repeat it, correct taste disallows all painting of the affections, however energetic, which rests satisfied with expressing physical suffering and the physical resistance opposed to it by the subject, without making visible at the same time the superior principle of the nature of man, the presence of a super-sensuous faculty. It does this in virtue of the principle developed farther back, namely, that it is not suffering in itself, but only the resistance opposed to suffering, that is pathetic and deserving of being represented. It is for this reason that all the absolutely extreme degrees of the affections are forbidden to the artist as well as to the poet. All of these, in fact, oppress the force that resists from within or rather, all betray of themselves, and without any necessity of other symptoms, the oppression of this force, because no affection can reach this last degree of intensity as long as the intelligence in man makes any resistance.
Then another question presents itself. How is this principle of resistance, this super-sensuous force, manifested in the phenomenon of the affections? Only in one way, by mastering or, more commonly, by combating affection. I say affection, for sensuousness can also fight, but this combat of sensuousness is not carried on with the affection, but with the cause that produces it; a contest which has no moral character, but is all physical, the same combat that the earthworm, trodden under foot, and the wounded bull engage in, without thereby exciting the pathetic. When suffering man seeks to give an expression to his feelings, to remove his enemy, to shelter the suffering limb, he does all this in common with the animals, and instinct alone takes the initiative here, without the will being applied to. Therefore, this is not an act that emanates from the man himself, nor does it show him as an intelligence. Sensuous nature will always fight the enemy that makes it suffer, but it will never fight against itself.
On the other hand, the contest with affection is a contest with sensuousness, and consequently presupposes something that is distinct from sensuous nature. Man can defend himself with the help of common sense and his muscular strength against the object that makes him suffer; against suffering itself he has no other arms than those of reason.
These ideas must present themselves to the eye in the portraiture of the affections, or be awakened by this portraiture in order that the pathetic may exist. But it is impossible to represent ideas, in the proper sense of the word, and positively, as nothing corresponds to pure ideas in the world of sense. But they can be always represented negatively and in an indirect way if the sensuous phenomenon by which they are manifested has some character of which you would seek in vain the conditions in physical nature. All phenomena of which the ultimate principle cannot be derived from the world of sense are an indirect representation of the upper-sensuous element.
And how does one succeed in representing something that is above nature without having recourse to supernatural means? What can this phenomenon be which is accomplished by natural forces--otherwise it would not be a phenomenon--and yet which cannot be derived from physical causes without a contradiction? This is the problem; how can the artist solve it?
It must be remembered that the phenomena observable in a man in a state of passion are of two kinds. They are either phenomena connected simply with animal nature, and which, therefore, only obey the physical law, without the will being able to master them, or the independent force in him being able to exercise an immediate influence over them. It is the instinct which immediately produces these phenomena, and they obey blindly the laws of instinct. To this kind belong, for example, the organs of the circulation of the blood, of respiration, and all the surface of the skin. But, moreover, the other organs, and those subject to the will, do not always await the decision of the will; and often instinct itself sets them immediately in play, especially when the physical state is threatened with pain or with danger. Thus, the movements of my arm depend, it is true, on my will; but if I place my hand, without knowing it, on a burning body, the movement by which I draw it back is certainly not a voluntary act, but a purely instinctive phenomenon. Nay more, speech is assuredly subject to the empire of the will, and yet instinct can also dispose of this organ according to its whim, and even of this and of the mind, without consulting beforehand the will, directly a sharp pain, or even an energetic affection, takes us by surprise. Take the most impassible stoic and make him see suddenly something very wonderful, or a terrible and unexpected object. Fancy him, for example, present when a man slips and falls to the bottom of an abyss. A shout, a resounding cry, and not only inarticulate, but a distinct word will escape his lips, and nature will have acted in him before the will: a certain proof that there are in man phenomena which cannot be referred to his person as an intelligence, but only to his instinct as a natural force.
But there is also in man a second order of phenomena, which are subject to the influence and empire of the will, or which may be considered at all events as being of such a kind that will might always have prevented them, consequently phenomena for which the person and not instinct is responsible. It is the office of instinct to watch with a blind zeal over the interests of the senses; but it is the office of the person to hold instinct in proper bounds, out of respect for the moral law. Instinct in itself does not hold account of any law; but the person ought to watch that instinct may not infringe in any way on the decrees of reason. It is therefore evident that it is not for instinct alone to determine unconditionally all the phenomena that take place in man in the state of affection, and that on the contrary the will of man can place limits to instinct. When instinct only determines all phenomena in man, there is nothing more that can recall the person; there is only a physical creature before you, and consequently an animal; for every physical creature subject to the sway of instinct is nothing else. Therefore, if you wish to represent the person itself, you must propose to yourself in man certain phenomena that have been determined in opposition to instinct, or at least that have not been determined by instinct. That they have not been determined by instinct is sufficient to refer them to a higher source, the moment we see that instinct would no doubt have determined them in another way if its force had not been broken by some obstacle.
We are now in a position to point out in what way the super-sensuous element, the moral and independent force of man, his Ego in short, can be represented in the phenomena of the affections. I understand that this is possible if the parts which only obey physical nature, those where will either disposes nothing at all, or only under certain circumstances, betray the presence of suffering; and if those, on the contrary, that escape the blind sway of instinct, that only obey physical nature, show no trace, or only a very feeble trace, of suffering, and consequently appear to have a certain degree of freedom. Now this want of harmony between the features imprinted on animal nature in virtue of the laws of physical necessity, and those determined with the spiritual and independent faculty of man, is precisely the point by which that super-sensuous principle is discovered in man capable of placing limits to the effects produced by physical nature, and therefore distinct from the latter. The purely animal part of man obeys the physical law, and consequently may show itself oppressed by the affection. It is, therefore, in this part that all the strength of passion shows itself, and it answers in some degree as a measure to estimate the resistance-- that is to say, of the energy of the moral faculty in man--which can only be judged according to the force of the attack. Thus in proportion as the affection manifests itself with decision and violence in the field of animal nature, without being able to exercise the same power in the field of human nature, so in proportion the latter makes itself manifestly known--in the same proportion the moral independence of man shows itself gloriously: the portraiture becomes pathetic and the pathetic sublime.
The statues of the ancients make this principle of aesthetics sensible to us; but it is difficult to reduce to conceptions and express in words what the very inspection of ancient statues makes the senses feel in so lively a manner. The group of Laocoon and his children can give to a great extent the measure of what the plastic art of the ancients was capable of producing in the matter of pathos. Winckelmann, in his "History of Art,", says: "Laocoon is nature seized in the highest degree of suffering, under the features of a man who seeks to gather up against pain all the strength of which the mind is conscious. Hence while his suffering swells his muscles and stretches his nerves, the mind, armed with an interior force shows itself on his contracted brow, and the breast rises, because the breathing is broken, and because there is an internal struggle to keep in the expression of pain, and press it back into his heart. The sigh of anguish he wishes to keep in, his very breath which he smothers, exhaust the lower part of his trunk, and works into his flanks, which make us judge in some degree of the palpitations of his visceral organs. But his own suffering appears to occasion less anguish than the pain of his children, who turn their faces toward their father, and implore him, crying for help. His father's heart shows itself in his eyes, full of sadness, and where pity seems to swim in a troubled cloud. His face expresses lament, but he does not cry; his eyes are turned to heaven, and implore help from on high. His mouth also marks a supreme sadness, which depresses the lower lip and seems to weigh upon it, while the upper lip, contracted from the top to the bottom, expresses at once both physical suffering and that of the soul. Under the mouth there is an expression of indignation that seems to protest against an undeserved suffering, and is revealed in the nostrils, which swell out and enlarge and draw upwards. Under the forehead, the struggle between pain and moral strength, united as it were in a single point, is represented with great truth, for, while pain contracts and raises the eyebrows, the effort opposed to it by the will draws down towards the upper eyelid all the muscles above it, so that the eyelid is almost covered by them. The artist, not being able to embellish nature, has sought at least to develop its means, to increase its effect and power. Where is the greatest amount of pain is also the highest beauty. The left side, which the serpent besets with his furious bites, and where he instils his poison, is that which appears to suffer the most intensely, because sensation is there nearest to the heart. The legs strive to raise themselves as if to shun the evil; the whole body is nothing but movement, and even the traces of the chisel contribute to the illusion; we seem to see the shuddering and icy-cold skin."
How great is the truth and acuteness of this analysis! In what a superior style is this struggle between spirit and the suffering of nature developed! How correctly the author has seized each of the phenomena in which the animal element and the human element manifest themselves, the constraint of nature and the independence of reason! It is well known that Virgil has described this same scene in his "Aeneid," but it did not enter into the plan of the epic poet to pause as the sculptor did, and describe the moral nature of Laocoon; for this recital is in Virgil only an episode; and the object he proposes is sufficiently attained by the simple description of the physical phenomenon, without the necessity on his part of looking into the soul of the unhappy sufferer, as his aim is less to inspire us with pity than to fill us with terror. The duty of the poet from this point of view was purely negative; I mean he had only to avoid carrying the picture of physical suffering to such a degree that all expression of human dignity or of moral resistance would cease, for if he had done this indignation and disgust would certainly be felt. He, therefore, preferred to confine himself to the representation of the least of the suffering, and he found it advisable to dwell at length on the formidable nature of the two serpents, and on the rage with which they attack their victims, rather than on the feelings of Laocoon. He only skims over those feelings, because his first object was to represent a chastisement sent by the gods, and to produce an impression of terror that nothing could diminish. If he had, on the contrary, detained our looks on the person of Laocoon himself with as much perseverance as the statuary, instead of on the chastizing deity, the suffering man would have become the hero of the scene, and the episode would have lost its propriety in connection with the whole piece.
The narrative of Virgil is well known through the excellent commentary of Lessing. But Lessing only proposed to make evident by this example the limits that separate partial description from painting, and not to make the notion of the pathetic issue from it. Yet the passage of Virgil does not appear to me less valuable for this latter object, and I crave permission to bring it forward again under this point of view:--
Ecce autem gemini Tenedo tranquilla per alta (Horresco referens) immensis orbibus angues Incumbunt pelago, pariterque ad litora tendunt; Pectora quorum inter fluctus arrecta jubaeque Sanguineae exsuperant undas; pars caetera pontum Pone legit, sinuatque immensa volumine terga. Fit sonitus spumante salo, jamque arva tenebant, Ardentes oculos suffecti sanguine et igni, Sibila lambebant linguis vibrantibus ora! Aeneid, ii. 203-211.
We find here realized the first of the three conditions of the sublime that have been mentioned further back,--a very powerful natural force, armed for destruction, and ridiculing all resistance. But that this strong element may at the same time be terrible, and thereby sublime, two distinct operations of the mind are wanted; I mean two representations that we produce in ourselves by our own activity. First, we recognize this irresistible natural force as terrible by comparing it with the weakness of the faculty of resistance that the physical man can oppose to it; and, secondly, it is by referring it to our will, and recalling to our consciousness that the will is absolutely independent of all influence of physical nature, that this force becomes to us a sublime object. But it is we ourselves who represent these two relations; the poet has only given us an object armed with a great force seeking to manifest itself. If this object makes us tremble, it is only because we in thought suppose ourselves, or some one like us, engaged with this force. And if trembling in this way, we experience the feeling of the sublime, it is because our consciousness tells us that, if we are the victims of this force, we should have nothing to fear, from the freedom of our Ego, for the autonomy of the determinations of our will. In short the description up to here is sublime, but quite a contemplative, intuitive sublimity:--
Diffugimus visu exsangues, illi agmine certo Laocoonta petunt . . .--Aeneid, ii. 212-213.
Here the force is presented to us as terrible also; and contemplative sublimity passes into the pathetic. We see that force enter really into strife with man's impotence. Whether it concerns Laocoon or ourselves is only a question of degree. The instinct of sympathy excites and frightens in us the instinct of preservation: there are the monsters, they are darting--on ourselves; there is no more safety, flight is vain.
It is no more in our power to measure this force with ours, and to refer it or not to our own existence. This happens without our co-operation, and is given us by the object itself. Accordingly our fear has not, as in the preceding moment, a purely subjective ground, residing in our soul; it has an objective ground, residing in the object. For, even if we recognize in this entire scene a simple fiction of the imagination, we nevertheless distinguish in this fiction a conception communicated to us from without, from another conception that we produce spontaneously in ourselves.
Thus the mind loses a part of her freedom, inasmuch as she receives now from without that which she produced before her own activity. The idea of danger puts on an appearance of objective reality, and affection becomes now a serious affair.
If we were only sensuous creatures, obeying no other instinct than that of self-preservation, we should stop here, and we should remain in a state of mere and pure affection. But there is something in us which takes no part in the affections of sensuous nature, and whose activity is not directed according to physical conditions. According, then, as this independently acting principle (the disposition, the moral faculty) has become to a degree developed in the soul, there is left more or less space for passive nature, and there remains more or less of the independent principle in the affection.
In the truly moral soul the terrible trial (of the imagination) passes quickly and readily into the sublime. In proportion as imagination loses its liberty, reason makes its own prevail, and the soul ceases not to enlarge within when it thus finds outward limits. Driven from all the intrenchments which would give physical protection to sensuous creatures, we seek refuge in the stronghold of our moral liberty, and we arrive by that means at an absolute and unlimited safety, at the very moment when we seem to be deprived in the world of phenomena of a relative and precarious rampart. But precisely because it was necessary to have arrived at the physical oppression before having recourse to the assistance of our moral nature, we can only buy this high sentiment of our liberty through suffering. An ordinary soul confines itself entirely to this suffering, and never comprehends in the sublime or the pathetic anything beyond the terrible. An independent soul, on the contrary, precisely seizes this occasion to rise to the feeling of his moral force, in all that is most magnificent in this force, and from every terrible object knows how to draw out the sublime.
The moral man (the father) [see Aeneid, ii. 213-215] is here attacked before the physical man, and that has a grand effect. All the affections become more aesthetic when we receive them second-hand; there is no stronger sympathy than that we feel for sympathy. |
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