I HAVE shown in the previous letters that it is only the æsthetic disposition of the soul that gives birth to liberty, it cannot therefore be derived from liberty nor have a moral origin. It must be a gift of nature, the favour of chance alone can break the bonds of the physical state and bring the savage to duty. The germ of the beautiful will find an equal difficulty in developing itself in countries where a severe nature forbids man to enjoy himself, and in those where a prodigal nature dispenses him from all effort; where the blunted senses experience no want, and where violent desire can never be satisfied. The delightful flower of the beautiful will never unfold itself in the case of the Troglodyte hid in his cavern always alone, and never finding humanity outside himself; nor among nomads, who, travelling in great troops, only consist of a multitude, and have no individual humanity. It will only flourish in places where man converses peacefully with himself in his cottage, and with the whole race when he issues from it. In those climates where a limpid ether opens the senses to the lightest impression, whilst a life-giving warmth developes a luxuriant nature, where even in the inanimate creation the sway of inert matter is overthrown, and the victorious form ennobles even the most abject natures; in this joyful state and fortunate zone, where activity alone leads to enjoyment, and enjoyment to activity, from life itself issues a holy harmony, and the laws of order develope life, a different result takes place. When imagination incessantly escapes from reality, and does not abandon the simplicity of nature in its wanderings; then and there only the mind and the senses, the receptive force and the plastic force, are developed in that happy equilibrium which is the soul of the beautiful and the condition of humanity.
What phænomenon accompanies the initiation of the savage into humanity? However far we look back into history the phænomenon is identical among all people who have shaken off the slavery of the animal state, the love of appearance, the inclination for dress and for games.
Extreme stupidity and extreme intelligence have a certain affinity in only seeking the real and being completely insensible to mere appearance. The former is only drawn forth by the immediate presence of an object in the senses, and the second is reduced to a quiescent state only by referring conceptions to the facts of experience. In short, stupidity cannot rise above reality, nor the intelligence descend below truth. Thus, in as far as the want of reality and attachment to the real are only the consequence of a want and a defect, indifference to the real and an interest taken in appearances are a real enlargement of humanity and a decisive step towards culture. In the first place it is the proof of an exterior liberty, for as long as necessity commands and want solicits, the fancy is strictly chained down to the real; it is only when want is satisfied that it developes without hindrance. But it is also the proof of an internal liberty, because it reveals to us a force which, independent of an external substratum, sets itself in motion, and has sufficient energy to remove from itself the solicitations of nature. The reality of things is effected by things, the appearance of things is the work of man, and a soul that takes pleasure in appearance does not take pleasure in what it receives but in what it makes.
It is self-evident that I am speaking of æsthetical evidence different from reality and truth, and not of logical appearance identical with them. Therefore if it is liked it is because it is an appearance, and not because it is held to be something better than it is: the first principle alone is a play whilst the second is a deception. To give a value to the appearance of the first kind can never injure truth, because it is never to be feared that it will supplant it—the only way in which truth can be injured. To despise this appearance is to despise in general all the fine arts of which it is the essence. Nevertheless, it happens sometimes that the understanding carries its zeal for reality as far as this intolerance, and strikes with a sentence of ostracism all the arts relating to beauty in appearance, because it is only an appearance. However, the intelligence only shows this vigorous spirit when it calls to mind the affinity pointed out further back. I shall find some day the occasion to treat specially of the limits of beauty in its appearance.
It is nature herself which raises man from reality to appearance by endowing him with two senses which only lead him to the knowledge of the real through appearance. In the eye and the ear the organs of the senses are already freed from the persecutions of nature, and the object with which we are immediately in contact through the animal senses is remoter from us. What we see by the eye differs from what we feel; for the understanding to reach objects overleaps the light which separates us from them. In truth, we are passive to an object; in sight and hearing the object is a form we create. While still a savage, man only enjoys through touch merely aided by sight and sound. He either does not rise to perception through sight, or does not rest there. As soon as he begins to enjoy through a sight, vision has an independent value, he is æsthetically free, and the instinct of play is developed.
The instinct of play likes appearance, and directly it is awakened it is followed by the formal imitative instinct which treats appearance as an independent thing. Directly man has come to distinguish the appearance from the reality, the form from the body, he can separate, in fact he has already done so. Thus the faculty of the art of imitation is given with the faculty of form in general. The inclination that draws us to it reposes on another tendency I have not to notice here. The exact period when the æsthetic instinct, or that of art, developes, depends entirely on the attraction that mere appearance has for men.
As every real existence proceeds from nature as a foreign power, whilst every appearance comes in the first place from man as a percipient subject, he only uses his absolute sight in separating semblance from essence, and arranging according to subjective law. With an unbridled liberty he can unite what nature has severed, provided he can imagine his union, and he can separate what nature has united, provided this separation can take place in his intelligence. Here nothing can be sacred to him but his own law: the only condition imposed upon him is to respect the border which separates his own sphere from the existence of things or from the realm of nature.
This human right of ruling is exercised by man in the art of appearance; and his success in extending the empire of the beautiful, and guarding the frontiers of truth, will be in proportion with the strictness with which he separates form from substance: for if he frees appearance from reality he must also do the converse.
But man possesses sovereign power only in the world of appearance, in the unsubstantial realm of imagination, only by abstaining from giving being to appearance in theory, and by giving it being in practice. It follows that the poet transgresses his proper limits when he attributes being to his ideal, and when he gives this ideal aim as a determined existence. For he can only reach this result by exceeding his right as a poet, that of encroaching by the ideal on the field of experience, and by pretending to determine real existence in virtue of a simple possibility, or else he renounces his right as poet by letting experience encroach on the sphere of the ideal, and by restricting possibility to the conditions of reality.
It is only by being frank or disclaiming all reality, and by being independent or doing without reality, that the appearance is æsthetical. Directly it apes reality or needs reality for effect it is nothing more than a vile instrument for material ends, and can prove nothing for the freedom of the mind. Moreover, the object in which we find beauty need not be unreal if our judgment disregards this reality; for if it regards this the judgment is no longer æsthetical. A beautiful woman if living would no doubt please us as much and rather more than an equally beautiful woman seen in painting; but what makes the former please men is not her being an independent appearance; she no longer pleases the pure æsthetic feeling. In the painting, life must only attract as an appearance, and reality as an idea. But it is certain that to feel in a living object only the pure appearance, requires a greatly higher æsthetic culture than to do without life in the appearance.
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, honour 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 æsthetical appearance the support of reality, show their moral unworthiness and their æsthetical 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 æsthetical, that is, an appearance that does not try to make up for reality, nor requires to be made up for by it. The æsthetical appearance can never endanger the truth of morals: wherever it seems to do so the appearance is not æsthetical. 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 favour of the beautiful have for their object less the independent appearance than the needy appearance. Not only do they attack the artificial colouring 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 æsthetic 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 phænomenon, 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.