The Aesthetical Essays by Friedrich Schiller (reading strategies book .TXT) 📕

will, we necessarily come to grant a certain esteem to its decisions; and it is precisely to this esteem that inclination, with captious logic, gives weight against the duties of conscience.

Esteem is a feeling that can only be felt for law, and what corresponds to it. Whatever is entitled to esteem lays claim to an unconditional homage. The ennobled inclination which has succeeded in captivating our esteem will, therefore, no longer be satisfied with being subordinate to reason; it aspires to rank alongside it. It does not wish to be taken for a faithless subject in revolt against his sovereign; it wishes to be regarded as a queen; and, treating reason as its peer, to dictate, like reason, laws to the conscience. Thus, if we listen to her, she would weigh by right equally in the scale; and then have we not good reason to fear that interest will decide?

Of all the inclinations that are decided from the feeling for the beautiful and that are special to refined minds, none commends itself so much to the moral sense as the ennobled instinct of love; none is so fruitful in impressions which correspond to the true dignity of man. To what an elevation does it raise human nature! and often what divine sparks does it kindle in the common soul! It is a sacred fire that consumes every egotistical inclination, and the very principles of morality are scarcely a greater safeguard of the soul's chastity than love is for the nobility of the heart. How often it happens while the moral principles are still struggling that love prevails in their favor, and hastens by its irresistible power the resolutions that duty alone would have vainly demanded from weak human nature! Who, then, would distrust an affection that protects so powerfully what is most excellent in human nature, and which fights so victoriously against the moral foe of all morality, egotism?

But do not follow this guide till you have secured a better. Suppose a loved object be met that is unhappy, and unhappy because of you, and that it depends only on you to make it happy by sacrificing a few moral scruples. You may be disposed to say, "Shall I let this loved being suffer for the pleasure of keeping our conscience pure? Is this resistance required by this generous, devoted affection, always ready to forget itself for its object? I grant it is going against conscience to have recourse to this immoral means to solace the being we love; but can we be said to love if in presence of this being and of its sorrow we continue to think of ourselves? Are we not more taken up with ourselves than with it, since we prefer to see it unhappy rather than consent to be so ourselves by the reproaches of our conscience?" These are the sophisms that the passion of love sets against conscience (whose voice thwarts its interests), making its utterances despicable as suggestions of selfishness, and representing our moral dignity as one of the components of our happiness that we are free to alienate. Then, if the morality of our character is not strongly backed by good principles, we shall surrender, whatever may be the impetus of our exalted imagination, to disgraceful acts; and we shall think that we gain a glorious victory over our self-love, while we are only the despicable victims of this instinct. A well-known French romance, "Les Liaisons Dangereuses," gives us a striking example of this delusion, by which love betrays a soul otherwise pure and beautiful. The Presidente de Tourvel errs by surprise, and seeks to calm her remorse by the idea that she has sacrificed her virtue to her generosity.

Secondary and imperfect duties, as they are styled, are those that the feeling for the beautiful takes most willingly under its patronage, and which it allows to prevail on many occasions over perfect duties. As they assign a much larger place to the arbitrary option of the subject, and at the same time as they have the appearance of merit, which gives them lustre, they commend themselves far more to the aesthetic taste than perfect or necessary duties, which oblige us strictly and unconditionally. How many people allow themselves to be unjust that they may be generous! How many fail in their duties to society that they may do good to an individual, and reciprocally! How many people forgive a lie sooner than a rudeness, a crime against humanity rather than an insult to honor! How many debase their bodies to hasten the perfection of their minds, and degrade their character to adorn their understanding! How many do not scruple to commit a crime when they have a laudable end in view, pursue an ideal of political happiness through all the terrors of anarchy, tread under foot existing laws to make way for better ones, and do not scruple to devote the present generation to misery to secure at this cost the happiness of future generations! The apparent unselfishness of certain virtues gives them a varnish of purity, which makes them rash enough to break and run counter to the moral law; and many people are the dupes of this strange illusion, to rise higher than morality and to endeavor to be more reasonable than reason.

The man of a refined taste is susceptible, in this respect, of a moral corruption, from which the rude child of nature is preserved by his very coarseness. In the latter, the opposite of the demands of sense and the decrees of the moral law is so strongly marked and so manifest, and the spiritual element has so small a share in his desires, that although the appetites exercise a despotic sway over him, they cannot wrest his esteem from him. Thus, when the savage, yielding to the superior attraction of sense, gives way to the committal of an unjust action, he may yield to temptation, but he will not hide from himself that he is committing a fault, and he will do homage to reason even while he violates its mandates. The child of civilization, on the contrary, the man of refinement, will not admit that he commits a fault, and to soothe his conscience he prefers to impose on it by a sophism. No doubt he wishes to obey his appetite, but at the same time without falling in his own esteem. How does he manage this? He begins by overthrowing the superior authority that thwarts his inclination, and before transgressing the law he calls in question the competence of the lawgiver. Could it be expected that a corrupt will should so corrupt the intelligence? The only dignity that an inclination can assume accrues to it from its agreement with reason; yet we find that inclination, independent as well as blind, aspires, at the very moment she enters into contest with reason, to keep this dignity which she owes to reason alone. Nay, inclination even aspires to use this dignity she owes to reason against reason itself.

These are the dangers that threaten the morality of the character when too intimate an association is attempted between sensuous instincts and moral instincts, which can never perfectly agree in real life, but only in the ideal. I admit that the sensuous risks nothing in this association, because it possesses nothing except what it must give up directly duty speaks and reason demands the sacrifice. But reason, as the arbiter of the moral law, will run the more risk from this union if it receives as a gift from inclination what it might enforce; for, under the appearance of freedom, the feeling of obligation may be easily lost, and what reason accepts as a favor may quite well be refused it when the sensuous finds it painful to grant it. It is, therefore, infinitely safer for the morality of the character to suspend, at least for a time, this misrepresentation of the moral sense by the sense of the beautiful. It is best of all that reason should command by itself without mediation, and that it should show to the will its true master. The remark is, therefore, quite justified, that true morality only knows itself in the school of adversity, and that a continual prosperity becomes easily a rock of offence to virtue. I mean here by prosperity the state of a man who, to enjoy the goods of life, need not commit injustice, and who to conform to justice need not renounce any of the goods of life. The man who enjoys a continual prosperity never sees moral duty face to face, because his inclinations, naturally regular and moderate, always anticipate the mandate of reason, and because no temptation to violate the law recalls to his mind the idea of law. Entirely guided by the sense of the beautiful, which represents reason in the world of sense, he will reach the tomb without having known by experience the dignity of his destiny. On the other hand, the unfortunate man, if he be at the same time a virtuous man, enjoys the sublime privilege of being in immediate intercourse with the divine majesty of the moral law; and as his virtue is not seconded by any inclination, he bears witness in this lower world, and as a human being, of the freedom of pure spirits!


REFLECTIONS ON THE USE OF THE VULGAR AND LOW ELEMENTS IN WORKS OF ART.


I call vulgar (common) all that does not speak to the mind, of which all the interest is addressed only to the senses. There are, no doubt, an infinite number of things vulgar in themselves from their material and subject. But as the vulgarity of the material can always be ennobled by the treatment, in respect of art the only question is that relating to the vulgarity in form. A vulgar mind will dishonor the most noble matter by treating it in a common manner. A great and noble mind, on the contrary, will ennoble even a common matter, and it will do so by superadding to it something spiritual and discovering in it some aspect in which this matter has greatness. Thus, for example, a vulgar historian will relate to us the most insignificant actions of a hero with a scrupulousness as great as that bestowed on his sublimest exploit, and will dwell as lengthily on his pedigree, his costume, and his household as on his projects and his enterprises. He will relate those of his actions that have the most grandeur in such wise that no one will perceive that character in them. On the contrary, a historian of genius, himself endowed with nobleness of mind, will give even to the private life and the least considerable actions of his hero an interest and a value that will make them considerable. Thus, again, in the matter of the plastic arts, the Dutch and Flemish painters have given proof of a vulgar taste; the Italians, and still more the ancient Greeks, of a grand and noble taste. The Greeks always went to the ideal; they rejected every vulgar feature, and chose no common subject.

A portrait painter can represent his model in a common manner or with grandeur; in a common manner if he reproduce the merely accidental details with the same care as the essential features, if he neglect the great to carry out the minutiae curiously. He does it grandly if he know how to find out and place in relief what is most interesting, and distinguish the accidental from the necessary; if he be satisfied with indicating what is paltry, reserving all the finish of the execution for what is great. And the only thing that is great is the expression of the soul itself, manifesting itself by actions, gestures, or attitudes.

The poet treats his subject in a common manner when in the execution of his