When the frank and independent appearance is found in man separately, or
in a whole people, it may be inferred they have mind, taste, and all
prerogatives connected with them. In this case the ideal will be seen to
govern real life, honor triumphing over fortune, thought over enjoyment,
the dream of immortality over a transitory existence.
In this case public opinion will no longer be feared, and an olive crown
will be more valued than a purple mantle. Impotence and perversity alone
have recourse to false and paltry semblance, and individuals as well as
nations who lend to reality the support of appearance, or to the
aesthetic appearance the support of reality, show their moral
unworthiness and their aesthetical impotence. Therefore, a short and
conclusive answer can be given to this question--how far will appearance
be permitted in the moral world? It will run thus in proportion as this
appearance will be aesthetical, that is, an appearance that does not try
to make up for reality, nor requires to be made up for by it. The
aesthetical appearance can never endanger the truth of morals: wherever
it seems to do so the appearance is not aesthetical. Only a stranger to
the fashionable world can take the polite assurances, which are only a
form, for proofs of affection, and say he has been deceived; but only a
clumsy fellow in good society calls in the aid of duplicity and flatters
to become amiable. The former lacks the pure sense for independent
appearance; therefore he can only give a value to appearance by truth.
The second lacks reality, and wishes to replace it by appearance.
Nothing is more common than to hear depreciators of the times utter these
paltry complaints--that all solidity has disappeared from the world, and
that essence is neglected for semblance. Though I feel by no means
called upon to defend this age against these reproaches, I must say that
the wide application of these criticisms shows that they attach blame to
the age, not only on the score of the false, but also of the frank
appearance. And even the exceptions they admit in favor of the beautiful
have for their object less the independent appearance than the needy
appearance. Not only do they attack the artificial coloring that hides
truth and replaces reality, but also the beneficent appearance that fills
a vacuum and clothes poverty; and they even attack the ideal appearance
that ennobles a vulgar reality. Their strict sense of truth is rightly
offended by the falsity of manners; unfortunately, they class politeness
in this category. It displeases them that the noisy and showy so often
eclipse true merit, but they are no less shocked that appearance is also
demanded from merit, and that a real substance does not dispense with an
agreeable form. They regret the cordiality, the energy, and solidity of
ancient times; they would restore with them ancient coarseness,
heaviness, and the old Gothic profusion. By judgments of this kind they
show an esteem for the matter itself unworthy of humanity, which ought
only to value the matter inasmuch as it can receive a form and enlarge
the empire of ideas. Accordingly, the taste of the age need not much
fear these criticisms if it can clear itself before better judges. Our
defect is not to grant a value to aesthetic appearance (we do not do this
enough): a severe judge of the beautiful might rather reproach us with
not having arrived at pure appearance, with not having separated clearly
enough existence from the phenomenon, and thus established their limits.
We shall deserve this reproach so long as we cannot enjoy the beautiful
in living nature without desiring it; as long as we cannot admire the
beautiful in the imitative arts without having an end in view; as long as
we do not grant to imagination an absolute legislation of its own; and as
long as we do not inspire it with care for its dignity by the esteem we
testify for its works.
LETTER XXVII.
Do not fear for reality and truth. Even if the elevated idea of
aesthetic appearance become general, it would not become so, as long as
man remains so little cultivated as to abuse it; and if it became
general, this would result from a culture that would prevent all abuse of
it. The pursuit of independent appearance requires more power of
abstraction, freedom of heart, and energy of will than man requires to
shut himself up in reality; and he must have left the latter behind him
if he wishes to attain to aesthetic appearance. Therefore, a man would
calculate very badly who took the road of the ideal to save himself that
of reality. Thus, reality would not have much to fear from appearance,
as we understand it; but, on the other hand, appearance would have more
to fear from reality. Chained to matter, man uses appearance for his
purposes before he allows it a proper personality in the art of the
ideal: to come to that point a complete revolution must take place in his
mode of feeling, otherwise, he would not be even on the way to the ideal.
Consequently, when we find in man the signs of a pure and disinterested
esteem, we can infer that this revolution has taken place in his nature,
and that humanity has really begun in him. Signs of this kind are found
even in the first and rude attempts that he makes to embellish his
existence, even at the risk of making it worse in its material
conditions. As soon as he begins to prefer form to substance and to risk
reality for appearance (known by him to be such), the barriers of animal
life fall, and he finds himself on a track that has no end.
Not satisfied with the needs of nature, he demands the superfluous.
First, only the superfluous of matter, to secure his enjoyment beyond the
present necessity; but afterward; he wishes a superabundance in matter,
an aesthetical supplement to satisfy the impulse for the formal, to
extend enjoyment beyond necessity. By piling up provisions simply for a
future use, and anticipating their enjoyment in the imagination, he
outsteps the limits of the present moment, but not those of time in
general. He enjoys more; he does not enjoy differently. But as soon as
he makes form enter into his enjoyment, and he keeps in view the forms of
the objects which satisfy his desires, he has not only increased his
pleasure in extent and intensity, but he has also ennobled it in mode and
species.
No doubt nature has given more than is necessary to unreasoning beings;
she has caused a gleam of freedom to shine even in the darkness of animal
life. When the lion is not tormented by hunger, and when no wild beast
challenges him to fight, his unemployed energy creates an object for
himself; full of ardor, he fills the re-echoing desert with his terrible
roars, and his exuberant force rejoices in itself, showing itself without
an object. The insect flits about rejoicing in life in the sunlight, and
it is certainly not the cry of want that makes itself heard in the
melodious song of the bird; there is undeniably freedom in these
movements, though it is not emancipation from want in general, but from a
determinate external necessity.
The animal works, when a privation is the motor of its activity, and it
plays when the plenitude of force is this motor, when an exuberant life
is excited to action. Even in inanimate nature a luxury of strength and
a latitude of determination are shown, which in this material sense might
be styled play. The tree produces numberless germs that are abortive
without developing, and it sends forth more roots, branches, and leaves,
organs of nutrition, than are used for the preservation of the species.
Whatever this tree restores to the elements of its exuberant life,
without using it or enjoying it, may be expended by life in free and
joyful movements. It is thus that nature offers in her material sphere a
sort of prelude to the limitless, and that even there she suppresses
partially the chains from which she will be completely emancipated in the
realm of form. The constraint of superabundance or physical play answers
as a transition from the constraint of necessity, or of physical
seriousness, to aesthetical play; and before shaking off, in the supreme
freedom of the beautiful, the yoke of any special aim, nature already
approaches, at least remotely, this independence, by the free movement
which is itself its own end and means.
The imagination, like the bodily organs, has in man its free movement and
its material play, a play in which, without any reference to form, it
simply takes pleasure in its arbitrary power and in the absence of all
hinderance. These plays of fancy, inasmuch as form is not mixed up with
them, and because a free succession of images makes all their charm,
though confined to man, belong exclusively to animal life, and only prove
one thing--that he is delivered from all external sensuous constraint
without our being entitled to infer that there is in it an independent
plastic force.
From this play of free association of ideas, which is still quite
material in nature and is explained by simple natural laws, the
imagination, by making the attempt of creating a free form, passes at
length at a jump to the aesthetic play: I say at one leap, for quite a
new force enters into action here; for here, for the first time, the
legislative mind is mixed with the acts of a blind instinct, subjects the
arbitrary march of the imagination to its eternal and immutable unity,
causes its independent permanence to enter in that which is transitory,
and its infinity in the sensuous. Nevertheless, as long as rude nature,
which knows of no other law than running incessantly from change to
change, will yet retain too much strength, it will oppose itself by its
different caprices to this necessity; by its agitation to this
permanence; by its manifold needs to this independence, and by its
insatiability to this sublime simplicity. It will be also troublesome to
recognize the instinct of play in its first trials, seeing that the
sensuous impulsion, with its capricious humor and its violent appetites,
constantly crosses. It is on that account that we see the taste, still
coarse, seize that which is new and startling, the disordered, the
adventurous and the strange, the violent and the savage, and fly from
nothing so much as from calm and simplicity. It invents grotesque
figures, it likes rapid transitions, luxurious forms, sharply-marked
changes, acute tones, a pathetic song. That which man calls beautiful at
this time is that which excites him, that which gives him matter; but
that which excites him to give his personality to the object, that which
gives matter to a possible plastic operation, for otherwise it would not
be the beautiful for him. A remarkable change has therefore taken place
in the form of his judgments; he searches for these objects, not because
they affect him, but because they furnish him with the occasion of
acting; they please him, not because they answer to a want, but because
they satisfy a law which speaks in his breast, although quite low as yet.
Soon it will not be sufficient for things to please him; he will wish to
please: in the first place, it is true, only by that which belongs to
him; afterwards by that which he is. That which he possesses, that which
he produces, ought not merely to bear any more the traces of servitude,
nor to mark out the end, simply and scrupulously, by the form.
Independently of the use to which it is destined, the object ought also
to reflect the enlightened intelligence which imagines it, the hand which
shaped it with affection, the mind free and serene which chose it and
exposed it to view. Now, the ancient German searches for more
magnificent furs, for more splendid antlers of the stag, for more elegant
drinking-horns; and the Caledonian chooses the prettiest shells for his
festivals. The arms themselves ought to be no longer only objects of
terror, but also of pleasure; and the skilfully-worked scabbard will not
attract less attention than the homicidal edge of the sword. The
instinct of play, not satisfied with bringing into the sphere of the
necessary an aesthetic superabundance for the future more free, is at
last completely emancipated from the bonds of duty, and the beautiful
becomes of itself an object of man's exertions. He adorns himself. The
free pleasure comes to take a place among his wants, and the useless soon
becomes the best part of his joys. Form, which from the outside
gradually approaches him, in his dwelling, his furniture, his clothing,
begins at last to take possession of the man himself, to transform him,
at first exteriorly, and afterwards in the interior. The disordered
leaps of joy become the dance, the formless gesture is changed into an
amiable and harmonious pantomime, the confused accents of feeling are
developed, and begin to obey measures and adapt themselves to song.
When, like the flight of cranes, the Trojan army rushes on to the field
of battle with thrilling cries, the Greek army approaches in silence and
with a noble and measured step. On the one side we see but the
exuberance of a blind force, on the other the triumph of form, and the
simple majesty of law.
Now, a nobler necessity binds the two sexes mutually, and the interests
of the heart contribute in rendering durable an alliance which was at
first capricious and changing like the desire that knits it. Delivered
from the heavy fetters of desire, the eye, now calmer, attends to the
form, the soul contemplates the soul, and the interested exchange of
pleasure becomes a generous exchange of mutual inclination. Desire
enlarges and rises to love, in proportion as it sees humanity dawn in its
object; and, despising the vile triumphs gained by the senses, man tries
to win a nobler victory over the will. The necessity of pleasing
subjects the powerful nature to the gentle laws of taste; pleasure may be
stolen, but love must be a gift. To obtain this higher recompense, it is
only through the form and not through matter that it can carry on the
contest. It must cease to act on feeling as a force, to appear in the
intelligence as a simple phenomenon; it must respect liberty, as it is
liberty it wishes to please. The beautiful reconciles the contrast of
different natures in its simplest and purest expression. It also
reconciles the eternal contrast of the two sexes in the whole complex
framework of society, or at all events it seeks to do so; and, taking as
its model the free alliance it has knit between manly strength and
womanly gentleness, it strives to place in harmony, in the moral world,
all the elements of gentleness and of violence. Now, at length, weakness
becomes sacred, and an unbridled strength disgraces; the injustice of
nature is corrected by the generosity of chivalrous manners. The being
whom no power can make tremble, is disarmed by the amiable blush of
modesty, and tears extinguish a vengeance that blood could not have
quenched. Hatred itself hears the delicate voice of honor, the
conqueror's sword spares the disarmed enemy, and a hospitable hearth
smokes for the stranger on the dreaded hillside where murder alone
awaited him before.
In the midst of the formidable realm of forces, and of the sacred empire
of laws, the aesthetic impulse of form creates by degrees a third and a
joyous realm, that of play and of the appearance, where she emancipates
man from fetters, in all his relations, and from all that is named
constraint, whether physical or moral.
If in the dynamic state of rights men mutually move and come into
collision as forces, in the moral (ethical) state of duties, man opposes
to man the majesty of the laws, and chains down his will. In this realm
of the beautiful or the aesthetic state, man ought to appear to man only
as a form, and an object of free play. To give freedom through freedom
is the fundamental law of this realm.
The dynamic state can only make society simple possibly by subduing
nature through nature; the moral (ethical) state can only make it morally
necessary by submitting the will of the individual to the general will.
The aesthetic state alone can make it real, because it carries out the
will of all through the nature of the individual. If necessity alone
forces man to enter into society, and if his reason engraves on his soul
social principles, it is beauty only that can give him a social
character; taste alone brings harmony into society, because it creates
harmony in the individual. All other forms of perception divide the man,
because they are based exclusively either in the sensuous or in the
spiritual part of his being. It is only the perception of beauty that
makes of him an entirety, because it demands the co-operation of his two
natures. All other forms of communication divide society, because they
apply exclusively either to the receptivity or to the private activity of
its members, and therefore to what distinguishes men one from the other.
The aesthetic communication alone unites society because it applies to
what is common to all its members. We only enjoy the pleasures of sense
as individuals, without the nature of the race in us sharing in it;
accordingly, we cannot generalize our individual pleasures, because we
cannot generalize our individuality. We enjoy the pleasures of knowledge
as a race, dropping the individual in our judgment; but we cannot
generalize the pleasures of the understanding, because we cannot
eliminate individuality from the judgments of others as we do from our
own. Beauty alone can we enjoy both as individuals and as a race, that
is, as representing a race. Good appertaining to sense can only make one
person happy, because it is founded on inclination, which is always
exclusive; and it can only make a man partially happy, because his real
personality does not share in it. Absolute good can only render a man
happy conditionally, for truth is only the reward of abnegation, and a
pure heart alone has faith in a pure will. Beauty alone confers
happiness on all, and under its influence every being forgets that he is
limited.
Taste does not suffer any superior or absolute authority, and the sway of
beauty is extended over appearance. It extends up to the seat of
reason's supremacy, suppressing all that is material. It extends down to
where sensuous impulse rules with blind compulsion, and form is
undeveloped. Taste ever maintains its power on these remote borders,
where legislation is taken from it. Particular desires must renounce
their egotism, and the agreeable, otherwise tempting the senses, must in
matters of taste adorn the mind with the attractions of grace.
Duty and stern necessity must change their forbidding tone, only excused
by resistance, and do homage to nature by a nobler trust in her. Taste
leads our knowledge from the mysteries of science into the open expanse
of common sense, and changes a narrow scholasticism into the common
property of the human race. Here the highest genius must leave its
particular elevation, and make itself familiar to the comprehension even
of a child. Strength must let the Graces bind it, and the arbitrary lion
must yield to the reins of love. For this purpose taste throws a veil
over physical necessity, offending a free mind by its coarse nudity, and
dissimulating our degrading parentage with matter by a delightful
illusion of freedom. Mercenary art itself rises from the dust; and the
bondage of the bodily, at its magic touch, falls off from the inanimate
and animate. In the aesthetic state the most slavish tool is a free
citizen, having the same rights as the noblest; and the intellect which
shapes the mass to its intent must consult it concerning its destination.
Consequently, in the realm of aesthetic appearance, the idea of equality
is realized, which the political zealot would gladly see carried out
socially. It has often been said that perfect politeness is only found
near a throne. If thus restricted in the material, man has, as elsewhere
appears, to find compensation in the ideal world.
Does such a state of beauty in appearance exist, and where? It must be
in every finely-harmonized soul; but as a fact, only in select circles,
like the pure ideal of the church and state--in circles where manners are
not formed by the empty imitations of the foreign, but by the very beauty
of nature; where man passes through all sorts of complications in all
simplicity and innocence, neither forced to trench on another's freedom
to preserve his own, nor to show grace at the cost of dignity.
===
AESTHETICAL ESSAYS.
THE MORAL UTILITY OF AESTHETIC MANNERS.
The author of the article which appeared in the eleventh number of "The
Hours," of 1795, upon "The Danger of Aesthetic Manners," was right to
hold as doubtful a morality founded only on a feeling for the beautiful,
and which has no other warrant than taste; but it is evident that a
strong and pure feeling for the beautiful ought to exercise a salutary
influence upon the moral life; and this is the question of which I am
about to treat.
When I attribute to taste the merit of contributing to moral progress, it
is not in the least my intention to pretend that the interest that good
taste takes in an action suffices to make an action moral; morality could
never have any other foundation than her own. Taste can be favorable to
morality in the conduct, as I hope to point out in the present essay; but
alone, and by its unaided influence, it could never produce anything
moral.
It is absolutely the same with respect to internal liberty as with
external physical liberty. I act freely in a physical sense only when,
independently of all external influence, I simply obey my will. But for
the possibility of thus obeying without hinderance my own will, it is
probable, ultimately, that I am indebted to a principle beyond or
distinct from myself immediately it is admitted that this principle would
hamper my will. The same also with regard to the possibility of
accomplishing such action in conformity with duty--it may be that I owe
it, ultimately, to a principle distinct from my reason; that is possible,
the moment the idea of this principle is recognized as a force which
could have constrained my independence. Thus the same as we can say of a
man, that he holds his liberty from another man, although liberty in its
proper sense consists in not being forced to be regulated by another--in
like manner we can also say that taste here obeys virtue, although virtue
herself expressly carries this idea, that in the practice of virtue she
makes use of no other foreign help. An action does not in any degree
cease to be free, because he who could hamper its accomplishment should
fortunately abstain from putting any obstacle in the way; it suffices to
know that this agent has been moved by his own will without any
consideration of another will. In the same way, an action of the moral
order does not lose its right to be qualified as a moral action, because
the temptations which might have turned it in another direction did not
present themselves; it suffices to admit that the agent obeyed solely the
decree of his reason to the exclusion of all foreign springs of action.
The liberty of an external act is established as soon as it directly
proceeds from the will of a person; the morality of an interior action is
established from the moment that the will of the agent is at once
determined to it by the laws of reason.
It may be rendered easier or more difficult to act as free men according
as we meet or not in our path forces adverse to our will that must be
overcome. In this sense liberty is more or less susceptible. It is
greater, or at least more visible, when we enable it to prevail over the
opposing forces, however energetic their opposition; but it is not
suspended because our will should have met with no resistance, or that a
foreign succor coming to our aid should have destroyed this resistance,
without any help from ourselves.
The same with respect to morality; we might have more or less resistance
to offer in order on the instant to obey our reason, according as it
awakens or not in us those instincts which struggle against its precepts,
and which must be put aside. In this sense morality is susceptible of
more or of less. Our morality is greater, or at least more in relief,
when we immediately obey reason, however powerful the instincts are which
push us in a contrary direction; but it is not suspended because we have
had no temptation to disobey, or that this force had been paralyzed by
some other force other than our will. We are incited to an action solely
because it is moral, without previously asking ourselves if it is the
most agreeable. It is enough that such an action is morally good, and it
would preserve this character even if there were cause to believe that we
should have acted differently if the action had cost us any trouble, or
had deprived us of a pleasure.
It can be admitted, for the honor of humanity, that no man could fall so
low as to prefer evil solely because it is evil, but rather that every
man, without exception, would prefer the good because it is the good, if
by some accidental circumstance the good did not exclude the agreeable,
or did not entail trouble. Thus in reality all moral action seems to
have no other principle than a conflict between the good and the
agreeable; or, that which comes to the same thing, between desire and
reason; the force of our sensuous instincts on one side, and, on the
other side, the feebleness of will, the moral faculty: such apparently is
the source of all our faults.
There may be, therefore, two different ways of favoring morality, the
same as there are two kinds of obstacles which thwart it: either we must
strengthen the side of reason, and the power of the good will, so that no
temptation can overcome it; or we must break the force of temptation, in
order that the reason and the will, although feebler, should yet be in a
state to surmount it.
It might be said, without doubt, that true morality gains little by this
second proceeding, because it happens without any modification of the
will, and yet that it is the nature of the will that alone give to
actions their moral character. But I say also, in the case in question,
a change of will is not at all necessary; because we do not suppose a bad
will which should require to be changed, but only a will turned to good,
but which is feeble. Therefore, this will, inclined to good, but too
feeble, does not fail to attain by this route to good actions, which
might not have happened if a stronger impulsion had drawn it in a
contrary sense. But every time that a strong will towards good becomes
the principle of an action, we are really in presence of a moral action.
I have therefore no scruple in advancing this proposition--that all which
neutralizes the resistance offered to the law of duty really favors
morality.
Morality has within us a natural enemy, the sensuous instinct; this, as
soon as some object solicits its desires, aspires at once to gratify it,
and, as soon as reason requires from it anything repugnant, it does not
fail to rebel against its precepts. This sensuous instinct is constantly
occupied in gaining the will on its side. The will is nevertheless under
the jurisdiction of the moral law, and it is under an obligation never to
be in contradiction with that which reason demands.
But the sensuous instinct does not recognize the moral law; it wishes to
enjoy its object and to induce the will to realize it also,
notwithstanding what the reason may advance. This tendency of the
faculty of our appetites, of immediately directing the will without
troubling itself about superior laws, is perpetually in conflict with our
moral destination, and it is the most powerful adversary that man has to
combat in his moral conduct. The coarse soul, without either moral or
aesthetic education, receives directly the law of appetite, and acts only
according to the good pleasure of the senses. The moral soul, but which
wants aesthetic culture, receives in a direct manner the law of reason,
and it is only out of respect for duty that it triumphs over temptation.
In the purified aesthetic soul, there is moreover another motive, another
force, which frequently takes the place of virtue when virtue is absent,
and which renders it easier when it is present--that is, taste.
Taste demands of us moderation and dignity; it has a horror of everything
sharp, hard and violent; it likes all that shapes itself with ease and
harmony. To listen to the voice of reason amidst the tempest of the
senses, and to know where to place a limit to nature in its most
brutified explosions, is, as we are aware, required by good breeding,
which is no other than an aesthetic law; this is required of every
civilized man. Well, then, this constraint imposed upon civilized man in
the expression of his feelings, confers upon him already a certain degree
of authority over them, or at least develops in him a certain aptitude to
rise above the purely passive state of the soul, to interrupt this state
by an initiative act, and to stop by reflection the petulance of the
feelings, ever ready to pass from affections to acts. Therefore
everything that interrupts the blind impetuosity of these movements of
the affections does not as yet, however, produce, I own, a virtue (for
virtue ought never to have any other active principle than itself), but
that at least opens the road to the will, in order to turn it on the side
of virtue. Still, this victory of taste over brutish affections is by no
means a moral action, and the freedom which the will acquires by the
intervention of taste is as yet in no way a moral liberty. Taste
delivers the soul from the yoke of instinct, only to impose upon it
chains of its own; and in discerning the first enemy, the declared enemy
of moral liberty, it remains itself, too often, as a second enemy,
perhaps even the more dangerous as it assumes the aspect of a friend.
Taste effectively governs the soul itself only by the attraction of
pleasure; it is true of a nobler type, because its principle is reason,
but still as long as the will is determined by pleasure there is not yet
morality.
Notwithstanding this, a great point is gained already by the intervention
of taste in the operations of the will. All those material inclinations
and brutal appetites, which oppose with so much obstinacy and vehemence
the practice of good, the soul is freed from through the aesthetic taste;
and in their place, it implants in us nobler and gentler inclinations,
which draw nearer to order, to harmony, and to perfection; and although
these inclinations are not by themselves virtues, they have at least
something in common with virtue; it is their object. Thenceforth, if it
is the appetite that speaks, it will have to undergo a rigorous control
before the sense of the beautiful; if it is the reason which speaks, and
which commands in its acts conformity with order, harmony, and
perfection, not only will it no longer meet with an adversary on the side
of inclination, but it will find the most active competition. If we
survey all the forms under which morality can be produced, we shall see
that all these forms can be reduced to two; either it is sensuous nature
which moves the soul either to do this thing or not to do the other, and
the will finally decides after the law of the reason; or it is the reason
itself which impels the motion, and the will obeys it without seeking
counsel of the senses.
The Greek princess, Anna Comnena, speaks of a rebel prisoner, whom her
father Alexis, then a simple general of his predecessor, had been charged
to conduct to Constantinople. During the journey, as they were riding
side by side, Alexis desired to halt under the shade of a tree to refresh
himself during the great heat of the day. It was not long before he fell
asleep, whilst his companion, who felt no inclination to repose with the
fear of death awaiting him before his eyes, remained awake. Alexis
slumbered profoundly, with his sword hanging upon a branch above his
head; the prisoner perceived the sword, and immediately conceived the
idea of killing his guardian and thus of regaining his freedom. Anna
Comnena gives us to understand that she knows not what might have been
the result had not Alexis fortunately awoke at that instant. In this
there is a moral of the highest kind, in which the sensuous instinct
first raised its voice, and of which the reason had only afterwards taken
cognizance in quality of judge. But suppose that the prisoner had
triumphed over the temptation only out of respect for justice, there
could be no doubt the action would have been a moral action.
When the late Duke Leopold of Brunswick, standing upon the banks of the
raging waters of the Oder, asked himself if at the peril of his life he
ought to venture into the impetuous flood in order to save some
unfortunates who without his aid were sure to perish; and when--I suppose
a case--simply under the influence of duty, he throws himself into the
boat into which none other dares to enter, no one will contest doubtless
that he acted morally. The duke was here in a contrary position to that
of the preceding one. The idea of duty, in this circumstance, was the
first which presented itself, and afterwards only the instinct of
self-preservation was roused to oppose itself to that prescribed by
reason, But in both cases the will acted in the same way; it obeyed
unhesitatingly the reason, yet both of them are moral actions.
But would the action have continued moral in both cases, if we suppose
the aesthetic taste to have taken part in it? For example, suppose that
the first, who was tempted to commit a bad action, and who gave it up
from respect for justice, had the taste sufficiently cultivated to feel
an invincible horror aroused in him against all disgraceful or violent
action, the aesthetic sense alone will suffice to turn him from it; there
is no longer any deliberation before the moral tribunal, before the
conscience; another motive, another jurisdiction has already pronounced.
But the aesthetic sense governs the will by the feeling and not by laws.
Thus this man refuses to enjoy the agreeable sensation of a life saved,
because he cannot support his odious feelings of having committed a
baseness. Therefore all, in this, took place before the feelings alone,
and the conduct of this man, although in conformity with the law, is
morally indifferent; it is simply a fine effect of nature.
Now let us suppose that the second, he to whom his reason prescribed to
do a thing against which natural instinct protested; suppose that this
man had to the same extent a susceptibility for the beautiful, so that
all which is great and perfect enraptured him; at the same moment, when
reason gave the order, the feelings would place themselves on the same
side, and he would do willingly that which without the inclination for
the beautiful he would have had to do contrary to inclination. But would
this be a reason for us to find it less perfect? Assuredly not, because
in principle it acts out of pure respect for the prescriptions of reason;
and if it follows these injunctions with joy, that can take nothing away
from the moral purity of the act. Thus, this man will be quite as
perfect in the moral sense; and, on the contrary, he will be incomparably
more perfect in the physical sense, because he is infinitely more capable
of making a virtuous subject.
Thus, taste gives a direction to the soul which disposes it to virtue, in
keeping away such inclinations as are contrary to it, and in rousing
those which are favorable. Taste could not injure true virtue, although
in every case where natural instinct speaks first, taste commences by
deciding for its chief that which conscience otherwise ought to have
known; in consequence it is the cause that, amongst the actions of those
whom it governs, there are many more actions morally indifferent than
actions truly moral. It thus happens that the excellency of the man does
not consist in the least degree in producing a larger sum of vigorously
moral particular actions, but by evincing as a whole a greater conformity
of all his natural dispositions with the moral law; and it is not a thing
to give people a very high idea of their country or of their age to hear
morality so often spoken of and particular acts boasted of as traits of
virtue. Let us hope that the day when civilization shall have
consummated its work (if we can realize this term in the mind) there will
no longer be any question of this. But, on the other side, taste can
become of possible utility to true virtue, in all cases when, the first
instigations issuing from reason, its voice incurs the risk of being
stifled by the more powerful solicitations of natural instinct. Thus,
taste determines our feelings to take the part of duty, and in this
manner renders a mediocre moral force of will sufficient for the practice
of virtue.
In this light, if the taste never injures true morality, and if in many
cases it is of evident use--and this circumstance is very important--then
it is supremely favorable to the legality of our conduct. Suppose that
aesthetic education contributes in no degree to the improvement of our
feelings, at least it renders us better able to act, although without
true moral disposition, as we should have acted if our soul had been
truly moral. Therefore, it is quite true that, before the tribunal of
the conscience, our acts have absolutely no importance but as the
expression of our feelings: but it is precisely the contrary in the
physical order and in the plan of nature: there it is no longer our
sentiments that are of importance; they are only important so far as they
give occasion to acts which conduce to the aims of nature. But the
physical order which is governed by forces, and the moral order which
governs itself by laws, are so exactly made one for the other, and are so
intimately blended, that the actions which are by their form morally
suitable, necessarily contain also a physical suitability; and as the
entire edifice of nature seems to exist only to render possible the
highest of all aims, which is the good, in the same manner the good can
in its turn be employed as the means of preserving the edifice. Thus,
the natural order has been rendered dependent upon the morality of our
souls, and we cannot go against the moral laws of the world without at
the same time provoking a perturbation in the physical world.
If, then, it is impossible to expect that human nature, as long as it is
only human nature, should act without interruption or feebleness,
uniformly and constantly as pure reason, and that it never offend the
laws of moral order; if fully persuaded, as we are, both of the necessity
and the possibility of pure virtue, we are forced to avow how subject to
accident is the exercise of it, and how little we ought to reckon upon
the steadfastness of our best principles; if with this conviction of
human fragility we bear in mind that each of the infractions of the moral
law attacks the edifice of nature, if we recall all these considerations
to our memory, it would be assuredly the most criminal boldness to place
the interests of the entire world at the mercy of the uncertainty of our
virtue. Let us rather draw from it the following conclusion, that it is
for us an obligation to satisfy at the very least the physical order by
the object of our acts, even when we do not satisfy the exigencies of the
moral order by the form of these acts; to pay, at least, as perfect
instruments the aims of nature, that which we owe as imperfect persons to
reason, in order not to appear shamefaced before both tribunals. For if
we refused to make any effort to conform our acts to it because simple
legality is without moral merit, the order of the world might in the
meanwhile be dissolved, and before we had succeeded in establishing our
principles all the links of society might be broken. No, the more our
morality is subjected to chance, the more is it necessary to take
measures in order to assure its legality; to neglect, either from levity
or pride, this legality is a fault for which we shall have to answer
before morality. When a maniac believes himself threatened with a fit of
madness, he leaves no knife within reach of his hands, and he puts
himself under constraint, in order to avoid responsibility in a state of
sanity for the crimes which his troubled brain might lead him to commit.
In a similar manner it is an obligation for us to seek the salutary bonds
which religion and the aesthetic laws present to us, in order that during
the crisis when our passion is dominant it shall not injure the physical
order.
It is not unintentionally that I have placed religion and taste in one
and the same class; the reason is that both one and the other have the
merit, similar in effect, although dissimilar in principle and in value,
to take the place of virtue properly so called, and to assure legality
where there is no possibility to hope for morality. Doubtless that would
hold an incontestably higher rank in the order of pure spirits, as they
would need neither the attraction of the beautiful nor the perspective of
eternal life, to conform on every occasion to the demands of reason; but
we know man is short-sighted, and his feebleness forces the most rigid
moralist to temper in some degree the rigidity of his system in practice,
although he will yield nothing in theory; it obliges him, in order to
insure the welfare of the human race, which would be ill protected by a
virtue subjected to chance, to have further recourse to two strong
anchors--those of religion and taste.
ON THE SUBLIME.
"Man is never obliged to say, I must--must," says the Jew Nathan
[Lessing's play, "Nathan the Wise," act i. scene 3.] to the dervish; and
this expression is true in a wider sense than man might be tempted to
suppose. The will is the specific character of man, and reason itself is
only the eternal rule of his will. All nature acts reasonably; all our
prerogative is to act reasonably, with consciousness and with will. All
other objects obey necessity; man is the being who wills.
It is exactly for this reason that there is nothing more inconsistent
with the dignity of man than to suffer violence, for violence effaces
him. He who does violence to us disputes nothing less than our humanity;
he who submits in a cowardly spirit to the violence abdicates his quality
of man. But this pretension to remain absolutely free from all that is
violence seems to imply a being in possession of a force sufficiently
great to keep off all other forces. But if this pretension is found in a
being who, in the order of forces, cannot claim the first rank, the
result is an unfortunate contradiction between his instinct and his
power.
Man is precisely in this case. Surrounded by numberless forces, which
are all superior to him and hold sway over him, he aspires by his nature
not to have to suffer any injury at their hands. It is true that by his
intelligence he adds artificially to his natural forces, and that up to a
certain point he actually succeeds in reigning physically over everything
that is physical. The proverb says, "there is a remedy for everything
except death;" but this exception, if it is one in the strictest
acceptation of the term, would suffice to entirely ruin the very idea of
our nature. Never will man be the cause that wills, if there is a case,
a single case, in which, with or without his consent, he is forced to
what he does not wish. This single terrible exception, to be or to do
what is necessary and not what he wishes, this idea will pursue him as a
phantom; and as we see in fact among the greater part of men, it will
give him up a prey to the blind terrors of imagination. His boasted
liberty is nothing, if there is a single point where he is under
constraint and bound. It is education that must give back liberty to
man, and help him to complete the whole idea of his nature. It ought,
therefore, to make him capable of making his will prevail, for, I repeat
it, man is the being who wills.
It is possible to reach this end in two ways: either really, by opposing
force to force, by commanding nature, as nature yourself; or by the idea,
issuing from nature, and by thus destroying in relation to self the very
idea of violence. All that helps man really to hold sway over nature is
what is styled physical education. Man cultivates his understanding and
develops his physical force, either to convert the forces of nature,
according to their proper laws, into the instruments of his will, or to
secure himself against their effects when he cannot direct them. But the
forces of nature can only be directed or turned aside up to a certain
point; beyond that point they withdraw from the influence of man and
place him under theirs.
Thus beyond the point in question his freedom would be lost, were he only
susceptible of physical education. But he must be man in the full sense
of the term, and consequently he must have nothing to endure, in any
case, contrary to his will. Accordingly, when he can no longer oppose to
the physical forces any proportional physical force, only one resource
remains to him to avoid suffering any violence: that is, to cause to
cease entirely that relation which is so fatal to him. It is, in short,
to annihilate as an idea the violence he is obliged to suffer in fact.
The education that fits man for this is called moral education.
The man fashioned by moral education, and he only, is entirely free. He
is either superior to nature as a power, or he is in harmony with her.
None of the actions that she brings to bear upon him is violence, for
before reaching him it has become an act of his own will, and dynamic
nature could never touch him, because he spontaneously keeps away from
all to which she can reach. But to attain to this state of mind, which
morality designates as resignation to necessary things, and religion
styles absolute submission to the counsels of Providence, to reach this
by an effort of his free will and with reflection, a certain clearness is
required in thought, and a certain energy in the will, superior to what
man commonly possesses in active life. Happily for him, man finds here
not only in his rational nature a moral aptitude that can be developed by
the understanding, but also in his reasonable and sensible nature--that
is, in his human nature--an aesthetic tendency which seems to have been
placed there expressly: a faculty awakens of itself in the presence of
certain sensuous objects, and which, after our feelings are purified, can
be cultivated to such a point as to become a powerful ideal development.
This aptitude, I grant, is idealistic in its principle and in its
essence, but one which even the realist allows to be seen clearly enough
in his conduct, though he does not acknowledge this in theory. I am now
about to discuss this faculty.
I admit that the sense of the beautiful, when it is developed by culture,
suffices of itself even to make us, in a certain sense, independent of
nature as far as it is a force. A mind that has ennobled itself
sufficiently to be more sensible of the form than of the matter of
things, contains in itself a plenitude of existence that nothing could
make it lose, especially as it does not trouble itself about the
possession of the things in question, and finds a very liberal pleasure
in the mere contemplation of the phenomenon. As this mind has no want to
appropriate the objects in the midst of which it lives, it has no fear of
being deprived of them. But it is nevertheless necessary that these
phenomena should have a body, through which they manifest themselves;
and, consequently, as long as we feel the want even only of finding a
beautiful appearance or a beautiful phenomenon, this want implies that of
the existence of certain objects; and it follows that our satisfaction
still depends on nature, considered as a force, because it is nature who
disposes of all existence in a sovereign manner. It is a different
thing, in fact, to feel in yourself the want of objects endowed with
beauty and goodness, or simply to require that the objects which surround
us are good and beautiful. This last desire is compatible with the most
perfect freedom of the soul; but it is not so with the other. We are
entitled to require that the object before us should be beautiful and
good, but we can only wish that the beautiful and the good should be
realized objectively before us. Now the disposition of mind is, par
excellence, called grand and sublime, in which no attention is given to
the question of knowing if the beautiful, the good, and the perfect
exist; but when it is rigorously required that that which exists should
be good, beautiful and perfect, this character of mind is called sublime,
because it contains in it positively all the characteristics of a fine
mind without sharing its negative features. A sign by which beautiful
and good minds, but having weaknesses, are recognized, is the aspiring
always to find their moral ideal realized in the world of facts, and
their being painfully affected by all that places an obstacle to it. A
mind thus constituted is reduced to a sad state of dependence in relation
to chance, and it may always be predicted of it, without fear of
deception, that it will give too large a share to the matter in moral and
aesthetical things, and that it will not sustain the more critical trials
of character and taste. Moral imperfections ought not to be to us a
cause of suffering and of pain: suffering and pain bespeak rather an
ungratified wish than an unsatisfied moral want. An unsatisfied moral
want ought to be accompanied by a more manly feeling, and fortify our
mind and confirm it in its energy rather than make us unhappy and pusillanimous. |
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