No More Learning

The ideas of truth and of right present themselves inevitable,
incorruptible, immeasurable, even in the age of sensuousness; and
without our being able to say why or how, we see eternity in time,
the necessary following the contingent. It is thus that, without any
share on the part of the subject, the sensation and self-consciousness
arise, and the origin of both is beyond our volition, as it is out
of the sphere of our knowledge.

But as soon as these two faculties have passed into action, and man
has verified by experience, through the medium of sensation, a
determinate existence, and through the medium of consciousness, its
absolute existence, the two fundamental impulses exert their
influence directly their object is given. The sensuous impulse is
awakened with the experience of life--with the beginning of the
individual; the rational impulsion with the experience of law--with
the beginning of his personality; and it is only when these two
inclinations have come into existence that the human type is
realised. Up to that time, everything takes place in man according
to the law of necessity; but now the hand of nature lets him go, and
it is for him to keep upright humanity which nature places as a germ
in his heart. And thus we see that directly the two opposite and
fundamental impulses exercise their influence in him, both lose
their constraint, and the autonomy of two necessities gives birth to
freedom. LETTER XX.

That freedom Is an active and not a passive principle results from
its very conception; but that liberty itself should be an effect of
nature (taking this word in its widest sense), and not the work of
man, and therefore that it can be favoured or thwarted by natural
means, is the necessary consequence of that which precedes. It
begins only when man is complete, and when these two fundamental
impulsions have been developed. It will then be wanting whilst he is
incomplete, and while one of these impulsions is excluded, and it
will be re-established by all that gives back to man his integrity.

Thus it is possible, both with regard to the entire species as to
the individual, to remark the moment when man is yet incomplete, and
when one of the two exclusions acts solely in him. We know that man
commences by life simply, to end by form; that he is more of an
individual than a person, and that he starts from the limited or
finite to approach the infinite. The sensuous impulsion comes into
play therefore before the rational impulsion, because sensation
precedes consciousness; and in this priority of sensuous impulsion
we find the key of the history of the whole of human liberty.

There is a moment, in fact, when the instinct of life, not yet
opposed to the instinct of form, acts as nature and as necessity;
when the sensuous is a power because man has not begun; for even in
man there can be no other power than his will. But when man shall
have attained to the power of thought, reason, on the contrary, will
be a power, and moral or logical necessity will take the place of
physical necessity. Sensuous power must then be annihilated before
the law which must govern it can be established. It is not enough
that something shall begin which as yet was not; previously
something must end which had begun. Man cannot pass immediately from
sensuousness to thought. He must step backwards, for it is only when
one determination is suppressed that the contrary determination can
take place. Consequently, in order to exchange passive against
active liberty, a passive determination against an active, he must
be momentarily free from all determination, and must traverse a
state of pure determinability. He has then to return in some degree
to that state of pure negative indetermination in which he was
before his senses were affected by anything. But this state was
absolutely empty of all contents, and now the question is to
reconcile an equal determination and a determinability equally
without limit, with the greatest possible fulness, because from this
situation something positive must immediately follow. The
determination which man received by sensation must be preserved,
because he should not lose the reality; but at the same time, in so
far as finite, it should be suppressed, because a determinability
without limit would take place. The problem consists then in
annihilating the determination of the mode of existence, and yet at
the same time in preserving it, which is only possible in one way:
in opposing to it another. The two sides of a balance are in
equilibrium when empty; they are also in equilibrium when their
contents are of equal weight.

Thus, to pass from sensation to thought, the soul traverses a medium
position, in which sensibility and reason are at the same time
active, and thus they mutually destroy their determinant power, and
by their antagonism produce a negation. This medium situation in
which the soul is neither physically nor morally constrained, and
yet is in both ways active, merits essentially the name of a free
situation; and if we call the state of sensuous determination
physical, and the state of rational determination logical or moral,
that state of real and active determination should be called the
aesthetic.

LETTER XXI.

I have remarked in the beginning of the foregoing letter that there
is a twofold condition of determinableness and a twofold condition
of determination. And now I can clear up this proposition.

The mind can be determined--is determinate--only in as far as it is
not determined; it is, however, determinable also, in as far as it
is not exclusively determined; that is, if it is not confined in its
determination. The former is only a want of determination--it is
without limits, because it is without reality; but the latter, the
aesthetic determinableness, has no limits, because it unites all
reality.

The mind is determined, inasmuch as it is only limited; but it is
also determined because it limits itself of its own absolute
capacity. It is situated in the former position when it feels, in
the second when it thinks. Accordingly the aesthetic constitution is
in relation to determinableness what thought is in relation to
determination. The latter is a negative from internal and infinite
completeness, the former a limitation from internal infinite power.
Feeling and thought come into contact in one single point, the mind
is determined in both conditions, the man becomes something and
exists--either as individual or person--by exclusion; in other cases
these two faculties stand infinitely apart. Just in the same manner,
the aesthetic determinableness comes in contact with the mere want
of determination in a single point, by both excluding every distinct
determined existence, by thus being in all other points nothing and
all, and hence by being infinitely different. Therefore, if the
latter, in the absence of determination from deficiency, is
represented as an empty infiniteness, the aesthetic freedom of
determination, which forms the proper counterpart to the former, can
be considered, as a completed infiniteness; a representation which
exactly agrees with the teachings of the previous investigations.

Man is therefore nothing in the aesthetic state, if attention is
given to the single result, and not to the whole faculty, and if we
regard only the absence or want of every special determination. We
must therefore do justice to those who pronounce the beautiful, and
the disposition in which it places the mind, as entirely indifferent
and unprofitable, in relation to knowledge and feeling. They are
perfectly right; for it is certain that beauty gives no separate,
single result, either for the understanding or for the will; it does
not carry out a single intellectual or moral object; it discovers no
truth, does not help us to fulfil a single duty, and, in one word,
is equally unfit to found the character or to clear the head.
Accordingly, the personal worth of a man, or his dignity, as far as
this can only depend on himself, remains entirely undetermined by
aesthetic culture, and nothing further is attained than that, on the
part of nature, it is made profitable for him to make of himself
what he will; that the freedom to be what he ought to be is restored
perfectly to him.

But by this, something infinite is attained. But as soon as we
remember that freedom is taken from man by the one-sided compulsion
of nature in feeling, and by the exclusive legislation of the reason
in thinking, we must consider the capacity restored to him by the
aesthetical disposition, as the highest of all gifts, as the gift of
humanity. I admit that he possesses this capacity for humanity,
before every definite determination in which he may be placed. But
as a matter of fact, he loses it with every determined condition,
into which he may come, and if he is to pass over to an opposite
condition, humanity must be in every case restored to him by the
aesthetic life.

It is therefore not only a poetical license, but also
philosophically correct, when beauty is named our second creator.
Nor is this inconsistent with the fact that she only makes it
possible for us to attain and realise humanity, leaving this to our
free will. For in this she acts in common with our original creator,
nature, which has imparted to us nothing further than this capacity
for humanity, but leaves the use of it to our own determination of
will.

LETTER XXII.

Accordingly, if the aesthetic disposition of the mind must be looked
upon in one respect as nothing--that is, when we confine our view to
separate and determined operations--it must be looked upon in
another respect as a state of the highest reality, in as far as we
attend to the absence of all limits and the sum of powers which are
commonly active in it. Accordingly we cannot pronounce them, again,
to be wrong who describe the aesthetic state to be the most
productive in relation to knowledge and morality. They are perfectly
right, for a state of mind which comprises the whole of humanity in
itself must of necessity include in itself also--necessarily and
potentially--every separate expression of it. Again, a disposition
of mind that removes all limitation from the totality of human
nature must also remove it from every social expression of the same.
Exactly because its "aesthetic disposition" does not exclusively
shelter any separate function of humanity, it is favourable to all
without distinction, nor does it favour any particular functions,
precisely because it is the foundation of the possibility of all.
All other exercises give to the mind some special aptitude, but for
that very reason give it some definite limits; only the aesthetical
leads him to the unlimited. Every other condition, in which we can
live, refers us to a previous condition, and requires for its
solution a following condition; only the aesthetic is a complete
whole in itself, for it unites in itself all conditions of its
source and of its duration. Here alone we feel ourselves swept out
of time, and our humanity expresses itself with purity and integrity
as if it had not yet received any impression or interruption from
the operation of external powers.

That which flatters our senses in immediate sensation opens our weak
and volatile spirit to every impression, but makes us in the same
degree less apt for exertion. That which stretches our thinking
power and invites to abstract conceptions strengthens our mind for
every kind of resistance, but hardens it also in the same
proportion, and deprives us of susceptibility in the same ratio that
it helps us to greater mental activity. For this very reason, one as
well as the other brings us at length to exhaustion, because matter
cannot long do without the shaping, constructive force, and the
force cannot do without the constructible material. But on the other
hand, if we have resigned ourselves to the enjoyment of genuine
beauty, we are at such a moment of our passive and active powers in
the same degree master, and we shall turn with ease from grave to
gay, from rest to movement, from submission to resistance, to
abstract thinking and intuition.

This high indifference and freedom of mind, united with power and
elasticity, is the disposition in which a true work of art ought to
dismiss us, and there is no better test of true aesthetic
excellence. If after an enjoyment of this kind we find ourselves
specially impelled to a particular mode of feeling or action, and
unfit for other modes, this serves as an infallible proof that we
have not experienced any pure aesthetic effect, whether this is
owing to the object, to our own mode of feeling--as generally
happens--or to both together.

As in reality no purely aesthetical effect can be met with--for man
can never leave his dependence on material forces--the excellence of
a work of art can only consist in its greater approximation to its
ideal of aesthetic purity, and however high we may raise the freedom
of this effect, we shall always leave it with a particular
disposition and a particular bias. Any class of productions or
separate work in the world of art is noble and excellent in
proportion to the universality of the disposition and the unlimited
character of the bias thereby presented to our mind. This truth can
be applied to works in various branches of art, and also to
different works in the same branch. We leave a grand musical
performance with our feelings excited, the reading of a noble poem
with a quickened imagination, a beautiful statue or building with an
awakened understanding; but a man would not choose an opportune
moment who attempted to invite us to abstract thinking after a high
musical enjoyment, or to attend to a prosaic affair of common life
after a high poetical enjoyment, or to kindle our imagination and
astonish our feelings directly after inspecting a fine statue or
edifice. The reason of this is that music, BY ITS MATTER, even when
most spiritual, presents a greater affinity with the senses than is
permitted by aesthetic liberty; it is because even the most happy
poetry, having FOR TIS MEDIUM the arbitrary and contingent play of
the imagination, always shares in it more than the intimate
necessity of the really beautiful allows; it is because the best
sculpture touches on severe science BY WHAT IS DETERMINATE IN ITS
CONCEPTION. However, these particular affinities are lost in
proportion as the works of these three kinds of art rise to a
greater elevation, and it is a natural and necessary consequence of
their perfection, that, without confounding their objective limits,
the different arts come to resemble each other more and more, in the
action WHICH THEY EXERCISE ON THE MIND. At its highest degree of
ennobling, music ought to become a form, and act on us with the calm
power of an antique statue; in its most elevated perfection, the
plastic art ought to become music and move us by the immediate
action exercised on the mind by the senses; in its most complete
developmentment, poetry ought both to stir us powerfully like music
and like plastic art to surround us with a peaceful light. In each
art, the perfect style consists exactly in knowing how to remove
specific limits, while sacrificing at the same time the particular
advantages of the art, and to give it by a wise use of what belongs
to it specially a more general character.

Nor is it only the limits inherent in the specific character of each
kind of art that the artist ought to overstep in putting his hand to
the work; he must also triumph over those which are inherent in the
particular subject of which he treats. In a really beautiful work of
art, the substance ought to be inoperative, the form should do
everything; for by the form, the whole man is acted on; the
substance acts on nothing but isolated forces. Thus, however vast
and sublime it may be, the substance always exercises a restrictive
action on the mind, and true aesthetic liberty can only be expected
from the form. Consequently the true search of the master consists
in destroying matter by the form; and the triumph of art is great in
proportion as it overcomes matter and maintains its sway over those
who enjoy its work. It is great particularly in destroying matter
when most imposing, ambitious, and attractive, when therefore matter
has most power to produce the effect proper to it, or, again, when
it leads those who consider it more closely to enter directly into
relation with it. The mind of the spectator and of the hearer must
remain perfectly free and intact; it must issue pure and entire from
the magic circle of the artist, as from the hands of the Creator.
The most frivolous subject ought to be treated in such a way that we
preserve the faculty to exchange it immediately for the most serious
work. The arts which have passion for their object, as a tragedy for
example, do not present a difficulty here; for, in the first place
these arts are not entirely free, because they are in the service of
a particular end (the pathetic), and then no connoisseur will deny
that even in this class a work is perfect in proportion as amidst
the most violent storms of passion it respects the liberty of the
soul. There is a fine art of passion, but an impassioned fine art is
a contradiction in terms, for the infallible effect of the beautiful
is emancipation from the passions. The idea of an instructive fine
art (didactic art) or improving (moral) art is no less contradictory,
for nothing agrees less with the idea of the beautiful than to give
a determinate tendency to the mind.

However, from the fact that a work produces effects only by its
substance, it must not always be inferred that there is a want of
form in this work; this conclusion may quite as well testify to a
want of form in the observer. If his mind is too stretched or too
relaxed, if it is only accustomed to receive things either by the
senses or the intelligence, even in the most perfect combination, it
will only stop to look at the parts, and it will only see matter in
the most beautiful form. Only sensible of the coarse elements, he
must first destroy the aesthetic organisation of a work to find
enjoyment in it, and carefully disinter the details which genius has
caused to vanish, with infinite art, in the harmony of the whole.
The interest he takes in the work is either solely moral or
exclusively physical; the only thing wanting to it is to be exactly
what it ought to be--aesthetical. The readers of this class enjoy a
serious and pathetic poem as they do a sermon; a simple and playful
work, as an inebriating draught; and if on the one hand they have so
little taste as to demand edification from a tragedy or from an
epos, even such as the "Messias," on the other hand they will be
infallibly scandalised by a piece after the fashion of Anacreon and
Catullus.

LETTER XXIII.

I take up the thread of my researches, which I broke off only to
apply the principles I laid down to practical art and the
appreciation of its works.

The transition from the passivity of sensuousness to the activity of
thought and of will can be effected only by the intermediary state
of aesthetic liberty; and though in itself this state decides
nothing respecting our opinions and our sentiments, and therefore
leaves our intellectual and moral value entirely problematical, it
is, however, the necessary condition without which we should never
attain to an opinion or a sentiment. In a word, there is no other
way to make a reasonable being out of a sensuous man than by making
him first aesthetic.

But, you might object: Is this mediation absolutely indispensable?
Could not truth and duty, one or the other, in themselves and by
themselves, find access to the sensuous man? To this I reply: Not
only is it possible, but it is I absolutely necessary that they owe
solely to themselves their determining force, and nothing would be
more contradictory to our preceding affirmations than to appear to
defend the contrary opinion. It has been expressly proved that the
beautiful furnishes no result, either for the comprehension or for
the will; that it mingles with no operations, either of thought or
of resolution; and that it confers this double power without
determining anything with regard to the real exercise of this power.
Here all foreign help disappears, and the pure logical form, the
idea, would speak immediately to the intelligence, as the pure moral
form, the law, immediately to the will.

But that the pure form should be capable of it, and that there is in
general a pure form for sensuous man, is that, I maintain, which
should be rendered possible by the aesthetic disposition of the
soul. Truth is not a thing which can be received from without like
reality or the visible existence of objects. It is the thinking
force, in his own liberty and activity, which produces it, and it is
just this liberty proper to it, this liberty which we seek in vain
in sensuous man. The sensuous man is already determined physically,
and thenceforth he has no longer his free determinability; he must
necessarily first enter into possession of this lost determinability
before he can exchange the passive against an active determination.
Therefore, in order to recover it, he must either lose the passive
determination that he had, or he should enclose already in Himself
the active determination to which he should pass. If he confined
himself to lose passive determination, he would at the same time
lose with it the possibility of an active determination, because
thought needs a body, and form can only be realised through matter.
He must therefore contain already in himself the active
determination that he may be at once both actively and passively
determined, that is to say, he becomes necessarily aesthetic.

Consequently, by the aesthetic disposition of the soul the proper
activity of reason is already revealed in the sphere of
sensuousness, the power of sense is already broken within its own
boundaries, and the ennobling of physical man carried far enough,
for spiritual man has only to develop himself according to the laws
of liberty. The transition from an aesthetic state to a logical and
moral state (from the beautiful to truth and duty) is then
infinitely more easy than the transition from the physical state to
the aesthetic state (from life pure and blind to form). This
transition man can effectuate alone by his liberty, whilst he has
only to enter into possession of himself not to give it himself; but
to separate the elements of his nature, and not to enlarge it.
Having attained to the aesthetic disposition, man will give to his
judgments and to his actions a universal value as soon as he desires
it This passage from brute nature to beauty, in which an entirely
new faculty would awaken in him, nature would render easier, and his
will has no power over a disposition which, we know, itself gives
birth to the will. To bring the aesthetic man to profound views, to
elevated sentiments, he requires nothing more than important
occasions; to obtain the same thing from the sensuous man, his
nature must at first be changed. To make of the former a hero, a
sage, it is often only necessary to meet with a sublime situation,
which exercises upon the faculty of the will the more immediate
action; for the second, it must first be transplanted under another
sky.

One of the most important tasks of culture, then, is to submit man
to form, even in a purely physical life, and to render it aesthetic
as far as the domain of the beautiful can be extended, for it is
alone in the aesthetic state, and not in the physical state, that
the moral state can be developed. If in each particular case man
ought to possess the power to make his judgment and his will the
judgment of the entire species; if he ought to find in each limited
existence the transition to an infinite existence; if, lastly, he
ought from every dependent situation to take his flight to rise to
autonomy and to liberty, it must be observed that at no moment is he
only individual and solely obeys the law of nature. To be apt and
ready to raise himself from the narrow circle of the ends of nature,
to rational ends, in the sphere of the former he must already have
exercised himself in the second; he must already have realised his
physical destiny with a certain liberty that belongs only to
spiritual nature, that is to say, according to the laws of the
beautiful.

And that he can effect without thwarting in the least degree his
physical aim. The exigencies of nature with regard to him turn only
upon what he does--upon the substance of his acts; but the ends of
nature in no degree determine the way in which he acts, the form of
his actions. On the contrary, the exigencies of reason have
rigorously the form of his activity for its object. Thus, so much as
it is necessary for the moral destination of man, that he be purely
moral, that he shows an absolute personal activity, so much is he
indifferent that his physical destination be entirely physical, that
he acts in a manner entirely passive. Henceforth with regard to this
last destination, it entirely depends on him to fulfil it solely as
a sensuous being and natural force (as a force which acts only as it
diminishes) or, at the same time, as absolute force, as a rational
being. To which of these does his dignity best respond? Of this,
there can be no question. It is as disgraceful and contemptible for
him to do under sensuous impulsion that which he ought to have
determined merely by the motive of duty, as it is noble and
honourable for him to incline towards conformity with laws, harmony,
independence; there even where the vulgar man only satisfies a
legitimate want. In a word, in the domain of truth and morality,
sensuousness must have nothing to determine; but in the sphere of
happiness, form may find a place, and the instinct of play prevail.

Thus then, in the indifferent sphere of physical life, man ought to
already commence his moral life; his own proper activity ought
already to make way in passivity, and his rational liberty beyond
the limits of sense; he ought already to impose the law of his will
upon his inclinations; he ought--if you will permit me the
expression--to carry into the domain of matter the war against
matter, in order to be dispensed from combatting this redoubtable
enemy upon the sacred field of liberty; he ought to learn to have
nobler desires, not to be forced to have sublime volitions. This is
the fruit of aesthetic culture, which submits to the laws of the
beautiful, in which neither the laws of nature nor those of reason
suffer, which does not force the will of man, and which by the form
it gives to exterior life already opens internal life.

LETTER XXIV.

Accordingly three different moments or stages of development can be
distinguished, which the individual man, as well as the whole race,
must of necessity traverse in a determinate order if they are to
fulfil the circle of their determination. No doubt, the separate
periods can be lengthened or shortened, through accidental causes
which are inherent either in the influence of external things or
under the free caprice of men; but neither of them can be
overstepped, and the order of their sequence cannot be inverted
either by nature or by the will. Man, in his PHYSICAL condition,
suffers only the power of nature; he gets rid of this power in the
aesthetical condition, and he rules them in the moral state.

What is man before beauty liberates him from free pleasure, and the
serenity of form tames down the savageness of life? Eternally
uniform in his aims, eternally changing in his judgments, self-
seeking without being himself, unfettered without being free, a
slave without serving any rule. At this period, the world is to him
only destiny, not yet an object; all has existence for him only in
as far as it procures existence to him; a thing that neither seeks
from nor gives to him is non-existent. Every phenomenon stands out
before him, separate and cut off, as he finds himself in the series
of beings. All that is, is to him through the bias of the moment;
every change is to him an entirely fresh creation, because with the
necessary IN HIM, the necessary OUT OF HIM is wanting, which binds
together all the changing forms in the universe, and which holds
fast the law on the theatre of his action, while the individual
departs. It is in vain that nature lets the rich variety of her
forms pass before him; he sees in her glorious fulness nothing but
his prey, in her power and greatness nothing but his enemy. Either
he encounters objects, and wishes to draw them to himself in desire,
or the objects press in a destructive manner upon him, and he
thrusts them away in dismay and terror. In both cases his relation
to the world of sense is immediate CONTACT; and perpetually anxious
through its pressure, restless and plagued by imperious wants, he
nowhere finds rest except in enervation, and nowhere limits save in
exhausted desire.

"True, his is the powerful breast and the mighty hand of the
Titans. . .
A certain inheritance; yet the god welded
Round his forehead a brazen band;
Advice, moderation, wisdom, and patience,--
Hid it from his shy, sinister look.
Every desire is with him a rage,
And his rage prowls around limitless. "--"Iphigenia in Tauris"

Ignorant of his own human dignity, he is far removed from honouring
it in others, and conscious of his own savage greed, he fears it in
every creature that he sees like himself. He never sees others in
himself, only himself in others, and human society, instead of
enlarging him to the race, only shuts him up continually closer in
his individuality. Thus limited, he wanders through his sunless
life, till favouring nature rolls away the load of matter from his
darkened senses, reflection separates him from things, and objects
show themselves at length in the after-glow of the consciousness.

It is true we cannot point out this state of rude nature as we have
here portrayed it in any definite people and age. It is only an
idea, but an idea with which experience agrees most closely in
special features. It may be said that man was never in this animal
condition, but he has not, on the other hand, ever entirely escaped
from it. Even in the rudest subjects, unmistakable traces of
rational freedom can be found, and even in the most cultivated,
features are not wanting that remind us of that dismal natural
condition. It is possible for man, at one and the same time, to
unite the highest and the lowest in his nature; and if his DIGNITY
depends on a strict separation of one from the other, his HAPPINESS
depends on a skilful removal of this separation. The culture which
is to bring his dignity into agreement with his happiness will
therefore have to provide for the greatest purity of these two
principles in their most intimate combination.

Consequently the first appearance of reason in man is not the
beginning of humanity. This is first decided by his freedom, and
reason begins first by making his sensuous dependence boundless; a
phenomenon that does not appear to me to have been sufficiently
elucidated, considering its importance and universality. We know
that the reason makes itself known to man by the demand for the
absolute--the self-dependent and necessary. But as this want of the
reason cannot be satisfied in any separate or single state of his
physical life, he is obliged to leave the physical entirely and to
rise from a limited reality to ideas. But although the true meaning
of that demand of the reason is to withdraw him from the limits of
time and to lead him up from the world of sense to an ideal world,
yet this same demand of reason, by a misapplication--scarcely to be
avoided in this age, prone to sensuousness--can direct him to
physical life, and, instead of making man free, plunge him in the
most terrible slavery.

Facts verify this supposition. Man raised on the wings of
imagination leaves the narrow limits of the present, in which mere
animality is enclosed, in order to strive on to an unlimited future.
But while the limitless is unfolded to his dazed IMAGINATION, his
heart has not ceased to live in the separate, and to serve the
moment. The impulse towards the absolute seizes him suddenly in the
midst of his animality, and as in this cloddish condition all his
efforts aim only at the material and temporal, and are limited by
his individuality, he is only led by that demand of the reason to
extend his individuality into the infinite, instead of to abstract
from it. He will be led to seek instead of form an inexhaustible
matter, instead of the unchangeable an everlasting change and an
absolute securing of his temporal existence. The same impulse which,
directed to his thought and action, ought to lead to truth and
morality, now directed to his passion and emotional state, produces
nothing but an unlimited desire and an absolute want. The first
fruits, therefore, that he reaps in the world of spirits, are cares
and fear--both operations of the reason; not of sensuousness, but of
a reason that mistakes its object and applies its categorical
imperative to matter. All unconditional systems of happiness are
fruits of this tree, whether they have for their object the present
day or the whole of life, or what does not make them any more
respectable, the whole of eternity, for their object. An unlimited
duration of existence and of well-being is only an ideal of the
desires; hence a demand which can only be put forth by an animality
striving up to the absolute. Man, therefore, without gaining
anything for his humanity by a rational expression of this sort,
loses the happy limitation of the animal over which he now only
possesses the unenviable superiority of losing the present for an
endeavour after what is remote, yet without seeking in the limitless
future anything but the present.

But even if the reason does not go astray in its object, or err in
the question, sensuousness will continue to falsify the answer for a
long time. As soon as man has begun to use his understanding and to
knit together phenomena in cause and effect, the reason, according
to its conception, presses on to an absolute knitting together and
to an unconditional basis. In order merely to be able to put forward
this demand man must already have stepped beyond the sensuous, but
the sensuous uses this very demand to bring back the fugitive.

In fact it is now that he ought to abandon entirely the world of
sense in order to take his flight into the realm of ideas; for the
intelligence temains eternally shut up in the finite and in the
contingent, and does not cease putting questions without reaching
the last link of the chain. But as the man with whom we are engaged
is not yet capable of such an abstraction, and does not find it in
the sphere of sensuous knowledge, and because he does not look for
it in pure reason, he will seek for it below in the region of
sentiment, and will appear to find it. No doubt the sensuous shows
him nothing that has its foundation in itself, and that legislates
for itself, but it shows him something that does not care for
foundation or law; therefore thus not being able to quiet the
intelligence by showing it a final cause, he reduces it to silence
by the conception which desires no cause; and being incapable of
understanding the sublime necessity of reason, he keeps to the blind
constraint of matter. As sensuousness knows no other end than its
interest, and is determined by nothing except blind chance, it makes
the former the motive of its actions, and the latter the master of
the world.

Even the divine part in man, the moral law, in its first
manifestation in the sensuous cannot avoid this perversion, As this
moral law is only prohibited and combats in man the interest of
sensuous egotism, it must appear to him as something strange until
he has come to consider this self-love as the stranger, and the
voice of reason as his true self. Therefore he confines himself to
feeling the fetters which the latter imposes on him, without having
the consciousness of the infinite emancipation which it procures for
him. Without suspecting in himself the dignity of lawgiver, he only
experiences the constraint and the impotent revolt of a subject
fretting under the yoke, because in this experience the sensuous
impulsion precedes the moral impulsion, he gives to the law of
necessity a beginning in him, a positive origin, and by the most
unfortunate of all mistakes he converts the immutable and the
eternal in himself into a transitory accident He makes up his mind
to consider the notions of the just and the unjust as statutes which
have been introduced by a will, and not as having in themselves an
eternal value. Just as in the explanation of certain natural
phenomena he goes beyond nature and seeks out of her what can only
be found in her, in her own laws; so also in the explanation of
moral phenomena he goes beyond reason and makes light of his
humanity, seeking a god in this way. It is not wonderful that a
religion which he has purchased at the cost of his humanity shows
itself worthy of this origin, and that he only considers as absolute
and eternally binding laws that have never been binding from all
eternity. He has placed himself in relation with, not a holy being,
but a powerful. Therefore the spirit of his religion, of the homage
that he gives to God, is a fear that abases him, and not a
veneration that elevates him in his own esteem.

Though these different aberrations by which man departs from the
ideal of his destination cannot all take place at the same time,
because several degrees have to be passed over in the transition
from the obscure of thought to error, and from the obscure of will
to the corruption of the will; these degrees are all, without
exception, the consequence of his physical state, because in all the
vital impulsion sways the formal impulsion. Now, two cases may
happen: either reason may not yet have spoken in man, and the
physical may reign over him with a blind necessity, or reason may
not be sufficiently purified from sensuous impressions, and the
moral may still be subject to the physical; in both cases the only
principle that has a real power over him is a material principle,
and man, at least as regards his ultimate tendency, is a sensuous
being. The only difference is, that in the former case he is an
animal without reason, and in the second case a rational animal. But
he ought to be neither one nor the other: he ought to be a man.
Nature ought not to rule him exclusively; nor reason conditionally.
The two legislations ought to be completely independent and yet
mutually complementary.

LETTER XXV.

Whilst man, in his first physical condition, is only passively
affected by the world of sense, he is still entirely identified with
it; and for this reason the external world, as yet, has no objective
existence for him. When he begins in his aesthetic state of mind to
regard the world objectively, then only is his personality severed
from it, and the world appears to him an objective reality, for the
simple reason that he has ceased to form an identical portion of it.

That which first connects man with the surrounding universe is the
power of reflective contemplation. Whereas desire seizes at once its
object, reflection removes it to a distance and renders it
inalienably her own by saving it from the greed of passion. The
necessity of sense which he obeyed during the period of mere
sensations, lessens during the period of reflection; the senses are
for the time in abeyance; even ever-fleeting time stands still
whilst the scattered rays of consciousness are gathering and shape
themselves; an image of the infinite is reflected upon the
perishable ground. As soon as light dawns in man, there is no longer
night outside of him; as soon as there is peace within him the storm
lulls throughout the universe, and the contending forces of nature
find rest within prescribed limits. Hence we cannot wonder if
ancient traditions allude to these great changes in the inner man as
to a revolution in surrounding nature, and symbolise thought
triumphing over the laws of time, by the figure of Zeus, which
terminates the reign of Saturn.

As long as man derives sensations from a contact with nature, he is
her slave; but as soon as he begins to reflect upon her objects and
laws he becomes her lawgiver. Nature, which previously ruled him as
a power, now expands before him as an object. What is objective to
him can have no power over him, for in order to become objective it
has to experience his own power. As far and as long as he impresses
a form upon matter, he cannot be injured by its effect; for a spirit
can only be injured by that which deprives it of its freedom.
Whereas he proves his own freedom by giving a form to the formless;
where the mass rules heavily and without shape, and its undefined
outlines are for ever fluctuating between uncertain boundaries, fear
takes up its abode; but man rises above any natural terror as soon
as he knows how to mould it, and transform it into an object of his
art. As soon as he upholds his independence toward phaenomenal
nature, he maintains his dignity toward her as a thing of power and
with a noble freedom he rises against his gods. They throw aside the
mask with which they had kept him in awe during his infancy, and to
his surprise his mind perceives the reflection of his own image.
The
divine monster of the Oriental, which roams about changing the world
with the blind force of a beast of prey, dwindles to the charming
outline of humanity in Greek fable; the empire of the Titans is
crushed, and boundless force is tamed by infinite form.

But whilst I have been merely searching for an issue from the
material world and a passage into the world of mind, the bold flight
of my imagination has already taken me into the very midst of the
latter world. The beauty of which we are in search we have left
behind by passing from the life of mere sensations to the pure form
and to the pure object. Such a leap exceeds the condition of human
nature; in order to keep pace with the latter we must return to the
world of sense. Beauty is indeed the sphere of unfettered
contemplation and reflection; beauty conducts us into the world of
ideas, without however taking us from the world of sense, as occurs
when a truth is perceived and acknowledged. This is the pure product
of a process of abstraction from everything material and accidental,
a pure object free from every subjective barrier, a pure state of
self-activity without any admixture of passive sensations. There is
indeed a way back to sensation from the highest abstraction; for
thought teaches the inner sensation, and the idea of logical and
moral unity passes into a sensation of sensual accord. But if we
delight in knowledge we separate very accurately our own conceptions
from our sensations; we look upon the latter as something
accidental, which might have been omitted without the knowledge
being impaired thereby, without truth being less true. It would,
however, be a vain attempt to suppress this connection of the
faculty of feeling with the idea of beauty, consequently, we shall
not succeed in representing to ourselves one as the effect of the
other, but we must look upon them both together and reciprocally as
cause and effect. In the pleasure which we derive from knowledge we
readily distinguish the passage from the active to the passive
state, and we clearly perceive that the first ends when the second
begins. On the contrary, from the pleasure which we take in beauty,
this transition from the active to the passive is not perceivable,
and reflection is so intimately blended with feeling that we believe
we feel the form immediately. Beauty is then an object to us, it is
true, because reflection is the condition of the feeling which we
have of it; but it is also a state of our personality (our Ego),
because the feeling is the condition of the idea we conceive of it:
beauty is therefore doubtless form, because we contemplate it, but
it is equally life because we feel it. In a word, it is at once our
state and our act. And precisely because it is at the same time both
a state and an act, it triumphantly proves to us that the passive
does not exclude the active, neither matter nor form, neither the
finite nor the infinite; and that consequently the physical
dependence to which man is necessarily devoted does not in any way
destroy his moral liberty. This is the proof of beauty, and I ought
to add that this ALONE can prove it. In fact, as in the possession
of truth or of logical unity, feeling is not necessarily one with
the thought, but follows it accidentally; it is a fact which only
proves that a sensitive nature can succeed a rational nature, and
vice versa; not that they co-exist, that they exercise a reciprocal
action one over the other, and lastly that they ought to be united
in an absolute and necessary manner. From this exclusion of feeling
as long as there is thought, and of thought so long as there is
feeling, we should on the contrary conclude that the two natures are
incompatible, so that in order to demonstrate that pure reason is to
be realised in humanity, the best proof given by the analysis is
that this realisation is demanded. But, as in the realisation of
beauty or of aesthetic unity, there is a real union, mutual
substitution of matter and of form, of passive and of active, by
this alone is proved the compatibility of the two natures, the
possible realisation of the infinite in the finite, and consequently
also the possibility of the most sublime humanity.

Henceforth we need no longer be embarrassed to find a transition
from dependent feeling to moral liberty, because beauty reveals to
us the fact that they can perfectly co-exist, and that to show
himself a spirit, man need not escape from matter. But if on one
side he is free, even in his relation with a visible world, as the
fact of beauty teaches, and if on the other side freedom is
something absolute and super-sensuous, as its idea necessarily
implies, the question is no longer how man succeeds in raising
himself from the finite to the absolute, and opposing himself in his
thought and will to sensuality, as this has already been produced in
the fact of beauty. In a word, we have no longer to ask how he
passes from virtue to truth, which is already included in the
former, but how he opens a way for himself from vulgar reality to
aesthetic reality, and from the ordinary feelings of life to the
perception of the beautiful.

LETTER XXVI.

I have shown in the previous letters that it is only the aesthetic
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 phaenomenon accompanies the initiation of the savage into
humanity? However far we look back into history the phaenomenon 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 aesthetical 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
sight, vision has an independent value, he is aesthetically 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 aesthetic
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 unstibstantial 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
aesthetical. 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 pur judgment disregards
this reality; nor if it regards this the judgment is no longer
aesthetical. 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 aesthetic
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 aesthetic
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 aesthetical 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
sesthetical, 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 falsez 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 rightlyl 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 tne 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 phaenomenon, 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 became 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 afterwards 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 ardour, 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 hindrance. 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 recognise the instinct of
play in its first trials, seeing that the sensuous impulsion, with
its capricious humour 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 measure 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 honour, the conqueror's sword
spares the disarmed enemy, and a hospitable hearth smokes for the
stranger on the dreaded hill-side 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 simply possible 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 generalise our individual
pleasures, because we cannot generalise our individuality. We enjoy
the pleasures of knowledge as a race, dropping the Individual in our
judgment; but we cannot generalise 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 realised, 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 harmonised 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.




FUNDAMENTAL PRINCIPLES OF THE METAPHYSIC OF MORALS

BY

IMMANUEL KANT


TRANSLATED BY

T. K. ABBOTT




INTRODUCTORY NOTE

Immanuel Kant was born in Konigsberg, East Prussia, April 22, 1724,
the son of a saddler of Scottish descent. The family was pietist,
and the future philosopher entered the university of his native city
in 1740, with a view to studying theology. He developed, however, a
many-sided interest in learning, and his earlier publications were
in the field of speculative physics. After the close of his period
of study at the university he became a private tutor; then In 1755,
privat-docent; and in 1770, professor. During the first eleven years
of his professorship Kant published little, spending his energies in
the meditation that was to result in the philosophical system of
which the first part was given to the world in his "Critique of Pure
Reason" in 1781. From that time till near the end of the century he
issued volume after volume; yet when he died In 1804 he regarded his
statement of his system as fragmentary.

Of the enormous importance of Kant in the history of philosophy, no
idea can be given here. The important document which follows was
published in 1785, and forms the basis of the moral system on which
he erected the whole structure of belief in God, Freedom, and
Immortality. Kant is often difficult and obscure, and became more so
as he grew older; but the present treatise can be followed, in its
main lines, by any intelligent person who is interested enough in
the fundamental problems of human life and conduct to give it
serious and concentrated attention. To such a reader the subtle yet
clear distinctions, and the lofty and rigorous principles of action,
which it lays down, will prove an intellectual and moral tonic such
as hardly any other modern writer affords.




PREFACE

Ancient Greek philosophy was divided into three sciences: Physics,
Ethics, and Logic. This division is perfectly suitable to the nature
of the thing, and the only improvement that can be made in it is to
add the principle on which it is based, so that we may both satisfy
ourselves of its completeness, and also be able to determine
correctly the necessary subdivisions.

All rational knowledge is either material or formal: the former
considers some object, the latter is concerned only with the form of
the understanding and of the reason itself, and with the universal
laws of thought in general without distinction of its objects.
Formal philosophy is called Logic. Material philosophy, however,
which has to do with determinate objects and the laws to which they
are subject, is again two-fold; for these laws are either laws of
nature or of freedom. The science of the former is Physics, that of
the latter, Ethics; they are also called natural philosophy and
moral philosophy respectively.

Logic cannot have any empirical part; that is, a part in which the
universal and necessary laws of thought should rest on grounds taken
from experience; otherwise it would not be logic, i. e.