The Aesthetical Essays - Friedrich Schiller (book club books .txt) 📗

work that is addressed to the imagination can also reach the perfection which is proper to it by means of the ideal and the infinite. This is why the superiority of the moderns in what relates to ideas is not of great aid to them in the plastic arts, where it is necessary for them to determine in space, with the greatest precision, the image which their imagination has conceived, and where they must therefore measure themselves with the ancient artist just on a point where his superiority cannot be contested. In the matter of poetry it is another affair, and if the advantage is still with the ancients on that ground, as respects the simplicity of forms - all that can be represented by sensuous features, all that is something bodily - yet, on the other hand, the moderns have the advantage over the ancients as regards fundamental wealth, and all that can neither be represented nor translated by sensuous signs, in short, for all that is called mind and idea in the works of art.

From the moment that the simple poet is content to follow simple nature and feeling, that he is contented with the imitation of the real world, he can only be placed, with regard to his subject, in a single relation. And in this respect he has no choice as to the manner of treating it. If simple poetry produces different impressions - I do not, of course, speak of the impressions that are connected with the nature of the subject, but only of those that are dependent on poetic execution - the whole difference is in the degree; there is only one way of feeling, which varies from more to less; even the diversity of external forms changes nothing in the quality of aesthetic impressions. Whether the form be lyric or epic, dramatic or descriptive, we can receive an impression either stronger or weaker, but if we remove what is connected with the nature of the subject, we shall always be affected in the same way. The feeling we experience is absolutely identical; it proceeds entirely from one single and the same element to such a degree that we are unable to make any distinction. The very difference of tongues and that of times does not here occasion any diversity, for their strict unity of origin and of effect is precisely a characteristic of simple poetry.

It is quite different with sentimental poetry. The sentimental poet reflects on the impression produced on him by objects; and it is only on this reflection that his poetic force is based. It follows that the sentimental poet is always concerned with two opposite forces, has two modes of representing objects to himself, and of feeling them; these are, the real or limited, and the ideal or infinite; and the mixed feeling that he will awaken will always testify to this duality of origin. Sentimental poetry thus admitting more than one principle, it remains to know which of the two will be predominant in the poet, both in his fashion of feeling and in that of representing the object; and consequently a difference in the mode of treating it is possible. Here, then, a new subject is presented: shall the poet attach himself to the real or the ideal? to the real as an object of aversion and of disgust, or to the ideal as an object of inclination? The poet will therefore be able to treat the same subject either in its satirical aspect or in its elegiac aspect, - taking these words in a larger sense, which will be explained in the sequel: every sentimental poet will of necessity become attached to one or the other of these two modes of feeling.


SATIRICAL POETRY.


The poet is a satirist when he takes as subject the distance at which things are from nature, and the contrast between reality and the ideal: as regards the impression received by the soul, these two subjects blend into the same. In the execution, he may place earnestness and passion, or jests and levity, according as he takes pleasure in the domain of the will or in that of the understanding. In the former case it is avenging and pathetic satire; in the second case it is sportive, humorous, and mirthful satire.

Properly speaking, the object of poetry is not compatible either with the tone of punishment or that of amusement. The former is too grave for play, which should be the main feature of poetry; the latter is too trifling for seriousness, which should form the basis of all poetic play. Our mind is necessarily interested in moral contradictions, and these deprive the mind of its liberty. Nevertheless, all personal interest, and reference to a personal necessity, should be banished from poetic feeling. But mental contradictions do not touch the heart, nevertheless the poet deals with the highest interests of the heart - nature and the ideal. Accordingly it is a hard matter for him not to violate the poetic form in pathetic satire, because this form consists in the liberty of movement; and in sportive satire he is very apt to miss the true spirit of poetry, which ought to be the infinite. The problem can only be solved in one way: by the pathetic satire assuming the character of the sublime, and the playful satire acquiring poetic substance by enveloping the theme in beauty.

In satire, the real as imperfection is opposed to the ideal, considered as the highest reality. In other respects it is by no means essential that the ideal should be expressly represented, provided the poet knows how to awaken it in our souls, but he must in all cases awaken it, otherwise he will exert absolutely no poetic action. Thus reality is here a necessary object of aversion; but it is also necessary, for the whole question centres here, that this aversion should come necessarily from the ideal, which is opposed to reality. To make this clear - this aversion might proceed from a purely sensuous source, and repose only on a want of which the satisfaction finds obstacles in the real. How often, in fact, we think we feel, against society a moral discontent, while we are simply soured by the obstacles that it opposes to our inclination. It is this entirely material interest that the vulgar satirist brings into play; and as by this road he never fails to call forth in us movements connected with the affections, he fancies that he holds our heart in his hand, and thinks he has graduated in the pathetic. But all pathos derived from this source is unworthy of poetry, which ought only to move us through the medium of ideas, and reach our heart only by passing through the reason. Moreover, this impure and material pathos will never have its effect on minds, except by over-exciting the affective faculties and by occupying our hearts with painful feelings; in this it differs entirely from the truly poetic pathos, which raises in us the feeling of moral independence, and which is recognized by the freedom of our mind persisting in it even while it is in the state of affection. And, in fact, when the emotion emanates from the ideal opposed to the real, the sublime beauty of the ideal corrects all impression of restraint; and the grandeur of the idea with which we are imbued raises us above all the limits of experience. Thus in the representation of some revolting reality, the essential thing is that the necessary be the foundation on which the poet or the narrator places the real: that he know how to dispose our mind for ideas. Provided the point from which we see and judge be elevated, it matters little if the object be low and far beneath us. When the historian Tacitus depicts the profound decadence of the Romans of the first century, it is a great soul which from a loftier position lets his looks drop down on a low object; and the disposition in which he places us is truly poetic, because it is the height where he is himself placed, and where he has succeeded in raising us, which alone renders so perceptible the baseness of the object.

Accordingly the satire of pathos must always issue from a mind deeply imbued with the ideal. It is nothing but an impulsion towards harmony that can give rise to that deep feeling of moral opposition and that ardent indignation against moral obliquity which amounted to the fulness of enthusiasm in Juvenal, Swift, Rousseau, Haller, and others. These same poets would have succeeded equally well in forms of poetry relating to all that is tender and touching in feeling, and it was only the accidents of life in their early days that diverted their minds into other walks. Nay, some amongst them actually tried their hand successfully in these other branches of poetry. The poets whose names have been just mentioned lived either at a period of degeneracy, and had scenes of painful moral obliquity presented to their view, or personal troubles had combined to fill their souls with bitter feelings. The strictly austere spirit in which Rousseau, Haller, and others paint reality is a natural result, moreover, of the philosophical mind, when with rigid adherence to laws of thought it separates the mere phenomenon from the substance of things. Yet these outer and contingent influences, which always put restraint on the mind, should never be allowed to do more than decide the direction taken by enthusiasm, nor should they ever give the material for it. The substance ought always to remain unchanged, emancipated from all external motion or stimulus, and it ought to issue from an ardent impulsion towards the ideal, which forms the only true motive that can be put forth for satirical poetry, and indeed for all sentimental poetry.

While the satire of pathos is only adapted to elevated minds, playful satire can only be adequately represented by a heart imbued with beauty. The former is preserved from triviality by the serious nature of the theme; but the latter, whose proper sphere is confined to the treatment of subjects of morally unimportant nature, would infallibly adopt the form of frivolity, and be deprived of all poetic dignity, were it not that the substance is ennobled by the form, and did not the personal dignity of the poet compensate for the insignificance of the subject. Now, it is only given to mind imbued with beauty to impress its character, its entire image, on each of its manifestations, independently of the object of its manifestations. A sublime soul can only make itself known as such by single victories over the rebellion of the senses, only in certain moments of exaltation, and by efforts of short duration. In a mind imbued with beauty, on the contrary, the ideal acts in the same manner as nature, and therefore continuously; accordingly it can manifest itself in it in a state of repose. The deep sea never appears more sublime than when it is agitated; the true beauty of a clear stream is in its peaceful course.

The question has often been raised as to the comparative preference to be awarded to tragedy or comedy. If the question is confined merely to their respective themes, it is certain that tragedy has the advantage. But if our inquiry be directed to ascertain which has the more important personality, it is probable that a decision may be given in favor of comedy. In tragedy the theme in itself does great things; in comedy the object does nothing and the poet all. Now, as in the judgments of taste no account must be kept of the matter treated of, it follows naturally that the aesthetic value of these two kinds will be in an inverse ratio to the proper importance of their themes.