Aesthetical Essays of Friedrich Schiller

It frequently happens in human life that facility of imagination, agreeable talents, a good-natured mirthfulness are taken for ornaments of the mind. The same fact is discerned in the case of poetical displays.

Now, public taste scarcely if ever soars above the sphere of the agreeable, and authors gifted with this sort of elegance of mind and style do not find it a difficult matter to usurp a glory which is or ought to be the reward of so much real labor. Nevertheless, an infallible text exists to enable us to discriminate a natural facility of manner from ideal gentleness, and qualities that consist in nothing more than natural virtue from genuine moral worth of character. This test is presented by trials such as those presented by difficulty and events offering great opportunities. Placed in positions of this kind, the genius whose essence is elegance is sure infallibly to fall into platitudes, and that virtue which only results from natural causes drops down to a material sphere. But a mind imbued with true and spiritual beauty is in cases of the kind we have supposed sure to be elevated to the highest sphere of character and of feeling. So long as Lucian merely furnishes absurdity, as in his "Wishes," in the "Lapithae," in "Jupiter Tragoedus," etc., he is only a humorist, and gratifies us by his sportive humor; but he changes character in many passages in his "Nigrinus," his "Timon," and his "Alexander," when his satire directs its shafts against moral depravity. Thus he begins in his "Nigrinus" his picture of the degraded corruption of Rome at that time in this way: "Wretch, why didst thou quit Greece, the sunlight, and that free and happy life? Why didst thou come here into this turmoil of splendid slavery, of service and festivals, of sycophants, flatterers, poisoners, orphan-robbers, and false friends?" It is on such occasions that the poet ought to show the lofty earnestness of soul which has to form the basis of all plays, if a poetical character is to be obtained by them. A serious intention may even be detected under the malicious jests with which Lucian and Aristophanes pursue Socrates. Their purpose is to avenge truth against sophistry, and to do combat for an ideal which is not always prominently put forward. There can be no doubt that Lucian has justified this character in his Diogenes and Demonax. Again, among modern writers, how grave and beautiful is the character depicted on all occasions by Cervantes in his Don Quixote! How splendid must have been the ideal that filled the mind of a poet who created a Tom Jones and a Sophonisba! How deeply and strongly our hearts are moved by the jests of Yorick when he pleases! I detect this seriousness also in our own Wieland: even the wanton sportiveness of his humor is elevated and impeded by the goodness of his heart; it has an influence even on his rhythm; nor does he ever lack elastic power, when it is his wish, to raise us up to the most elevated planes of beauty and of thought.

The same judgment cannot be pronounced on the satire of Voltaire. No doubt, also, in his case, it is the truth and simplicity of nature which here and there makes us experience poetic emotions, whether he really encounters nature and depicts it in a simple character, as many times in his "Ingenu;" or whether he seeks it and avenges it as in his "Candide" and elsewhere. But when neither one nor the other takes place, he can doubtless amuse us with his fine wit, but he assuredly never touches us as a poet. There is always rather too little of the serious under his raillery, and this is what makes his vocation as poet justly suspicious. You always meet his intelligence only; never his feelings. No ideal can be detected under this light gauze envelope; scarcely can anything absolutely fixed be found under this perpetual movement. His prodigious diversity of externals and forms, far from proving anything in favor of the inner fulness of his inspiration, rather testifies to the contrary; for he has exhausted all forms without finding a single one on which he has succeeded in impressing his heart. We are almost driven to fear that in the case of his rich talent the poverty of heart alone determined his choice of satire. And how could we otherwise explain the fact that he could pursue so long a road without ever issuing from its narrow rut? Whatever may be the variety of matter and of external forms, we see the inner form return everywhere with its sterile and eternal uniformity, and in spite of his so productive career, he never accomplished in himself the circle of humanity, that circle which we see joyfully traversed throughout by the satirists previously named.

ELEGIAC POETRY

When the poet opposes nature to art, and the ideal to the real, so that nature and the ideal form the principal object of his pictures, and that the pleasure we take in them is the dominant impression, I call him an elegiac poet. In this kind, as well as in satire, I distinguish two classes. Either nature and the ideal are objects of sadness, when one is represented as lost to man and the other as unattained; or both are objects of joy, being represented to us as reality. In the first case it is elegy in the narrower sense of the term; in the second case it is the idyl in its most extended acceptation.

Indignation in the pathetic and ridicule in mirthful satire are occasioned by an enthusiasm which the ideal has excited; and thus also sadness should issue from the same source in elegy. It is this, and this only, that gives poetic value to elegy, and any other origin for this description of poetical effusion is entirely beneath the dignity of poetry. The elegiac poet seeks after nature, but he strives to find her in her beauty, and not only in her mirth; in her agreement with conception, and not merely in her facile disposition towards the requirements and demands of sense. Melancholy at the privation of joys, complaints at the disappearance of the world's golden age, or at the vanished happiness of youth, affection, etc., can only become the proper themes for elegiac poetry if those conditions implying peace and calm in the sphere of the senses can moreover be portrayed as states of moral harmony. On this account I cannot bring myself to regard as poetry the complaints of Ovid, which he transmitted from his place of exile by the Black Sea; nor would they appear so to me however touching and however full of passages of the highest poetry they might be. His suffering is too devoid of spirit, and nobleness. His lamentations display a want of strength and enthusiasm; though they may not reflect the traces of a vulgar soul, they display a low and sensuous condition of a noble spirit that has been trampled into the dust by its hard destiny. If, indeed, we call to mind that his regrets are directed to Rome, in the Augustan age, we forgive him the pain he suffers; but even Rome in all its splendor, except it be transfigured by the imagination, is a limited greatness, and therefore a subject unworthy of poetry, which, raised above every trace of the actual, ought only to mourn over what is infinite.

Thus the object of poetic complaint ought never to be an external object, but only an internal and ideal object; even when it deplores a real loss, it must begin by making it an ideal loss. The proper work of the poet consists in bringing back the finite object to the proportions of the infinite. Consequently the external matter of elegy, considered in itself, is always indifferent, since poetry can never employ it as it finds it, and because it is only by what it makes of it that it confers on it a poetic dignity. The elegiac poet seeks nature, but nature as an idea, and in a degree of perfection that it has never reached in reality, although he weeps over this perfection as something that has existed and is now lost. When Ossian speaks to us of the days that are no more, and of the heroes that have disappeared, his imagination has long since transformed these pictures represented to him by his memory into a pure ideal, and changed these heroes into gods. The different experiences of such or such a life in particular have become extended and confounded in the universal idea of transitoriness, and the bard, deeply moved, pursued by the increase of ruin everywhere present, takes his flight towards heaven, to find there in the course of the sun an emblem of what does not pass away.

I turn now to the elegiac poets of modern times. Rousseau, whether considered as a poet or a philosopher, always obeys the same tendency; to seek nature or to avenge it by art. According to the state of his heart, whether he prefers to seek nature or to avenge it, we see him at one time roused by elegiac feelings, at others showing the tone of the satire of Juneval; and again, as in his Julia, delighting in the sphere of the idyl. His compositions have undoubtedly a poetic value, since their object is ideal; only he does not know how to treat it in a poetic fashion. No doubt his serious character prevents him from falling into frivolity; but this seriousness also does not allow him to rise to poetic play. Sometimes absorbed by passion, at others by abstractions, he seldom if ever reaches aesthetic freedom, which the poet ought to maintain in spite of his material before his object, and in which he ought to make the reader share. Either he is governed by his sickly sensibility and his impressions become a torture, or the force of thought chains down his imagination and destroys by its strictness of reasoning all the grace of his pictures. These two faculties, whose reciprocal influence and intimate union are what properly make the poet, are found in this writer in an uncommon degree, and he only lacks one thing – it is that the two qualities should manifest themselves actually united; it is that the proper activity of thought should show itself mixed more with feeling, and the sensuous more with thought. Accordingly, even in the ideal which he has made of human nature, he is too much taken up with the limits of this nature, and not enough with its capabilities; he always betrays a want of physical repose rather than want of moral harmony. His passionate sensuousness must be blamed when, to finish as quickly as possible that struggle in humanity which offends him, he prefers to carry man back to the unintelligent uniformity of his primitive condition, rather than see that struggle carried out in the intellectual harmony of perfect cultivation, when, rather than await the fulfilment of art he prefers not to let it begin; in short, when he prefers to place the aim nearer the earth, and to lower the ideal in order to reach it the sooner and the safer.

Among the poets of Germany who belong to this class, I shall only mention here Haller, Kleist, and Klopstock. The character of their poetry is sentimental; it is by the ideal that they touch us, not by sensuous reality; and that not so much because they are themselves nature, as because they know how to fill us with enthusiasm for nature. However, what is true in general, as well of these three poets as of every sentimental poet, does not evidently exclude the faculty of moving us, in particular, by beauties of the simple genus; without this they would not be poets. I only mean that it is not their proper and dominant characteristic to receive the impression of objects with a calm feeling, simple, easy, and to give forth in like manner the impression received. Involuntarily the imagination in them anticipates intuition, and reflection is in play before the sensuous nature has done its function; they shut their eyes and stop their ears to plunge into internal meditations. Their souls could not be touched by any impression without observing immediately their own movements, without placing before their eyes and outside themselves what takes place in them. It follows from this that we never see the object itself, but what the intelligence and reflection of the poet have made of the object; and even if this object be the person itself of the poet, even when he wishes to represent to us his own feelings, we are not informed of his state immediately or at first hand; we only see how this state is reflected in his mind and what he has thought of it in the capacity of spectator of himself. When Haller deplores the death of his wife – every one knows this beautiful elegy – and begins in the following manner: —

  "If I must needs sing of thy death,   O Marian, what a song it would be!   When sighs strive against words,   And idea follows fast on idea," etc.,

we feel that this description is strictly true, but we feel also that the poet does not communicate to us, properly speaking, his feelings, but the thoughts that they suggest to him. Accordingly, the emotion we feel on hearing him is much less vivid! people remark that the poet's mind must have been singularly cooled down to become thus a spectator of his own emotion.

Haller scarcely treated any subjects but the super-sensuous, and part of the poems of Klopstock are also of this nature: this choice itself excludes them from the simple kind. Accordingly, in order to treat these super-sensuous themes in a poetic fashion, as no body could be given to them, and they could not be made the objects of sensuous intuition, it was necessary to make them pass from the finite to the infinite, and raise them to the state of objects of spiritual intuition. In general, it may be said, that it is only in this sense that a didactic poetry can be conceived without involving contradiction; for, repeating again what has been so often said, poetry has only two fields, the world of sense and the ideal world, since in the sphere of conceptions, in the world of the understanding, it cannot absolutely thrive. I confess that I do not know as yet any didactic poem, either among the ancients or among the moderns, where the subject is completely brought down to the individual, or purely and completely raised to the ideal. The most common case, in the most happy essays, is where the two principles are used together; the abstract idea predominates, and the imagination, which ought to reign over the whole domain of poetry, has merely the permission to serve the understanding. A didactic poem in which thought itself would be poetic, and would remain so, is a thing which we must still wait to see.

What we say here of didactic poems in general is true in particular of the poems of Haller. The thought itself of these poems is not poetical, but the execution becomes so sometimes, occasionally by the use of images, at other times by a flight towards the ideal. It is from this last quality only that the poems of Haller belong to this class. Energy, depth, a pathetic earnestness – these are the traits that distinguish this poet. He has in his soul an ideal that enkindles it, and his ardent love of truth seeks in the peaceful valleys of the Alps that innocence of the first ages that the world no longer knows. His complaint is deeply touching; he retraces in an energetic and almost bitter satire the wanderings of the mind and of the heart, and he lovingly portrays the beautiful simplicity of nature. Only, in his pictures as well as in his soul, abstraction prevails too much, and the sensuous is overweighted by the intellectual. He constantly teaches rather than paints; and even in his paintings his brush is more energetic than lovable. He is great, bold, full of fire, sublime; but he rarely and perhaps never attains to beauty.

For the solidity and depth of ideas, Kleist is far inferior to Haller; in point of grace, perhaps, he would have the advantage – if, as happens occasionally, we did not impute to him as a merit, on the one side, that which really is a want on the other. The sensuous soul of Kleist takes especial delight at the sight of country scenes and manners; he withdraws gladly from the vain jingle and rattle of society, and finds in the heart of inanimate nature the harmony and peace that are not offered to him by the moral world. How touching is his "Aspiration after Repose"! how much truth and feeling there is in these verses! —

  "O world, thou art the tomb of true life!   Often a generous instinct attracts me to virtue;   My heart is sad, a torrent of tears bathes my cheeks   But example conquers, and thou, O fire of youth!   Soon you dry these noble tears.   A true man must live far from men!"

But if the poetic instinct of Kleist leads him thus far away from the narrow circle of social relations, in solitude, and among the fruitful inspirations of nature, the image of social life and of its anguish pursues him, and also, alas! its chains. What he flees from he carries in himself, and what he seeks remains entirely outside him: never can he triumph over the fatal influence of his time. In vain does he find sufficient flame in his heart and enough energy in his imagination to animate by painting the cold conceptions of the understanding; cold thought each time kills the living creations of fancy, and reflection destroys the secret work of the sensuous nature. His poetry, it must be admitted, is of as brilliant color and as variegated as the spring he celebrated in verse; his imagination is vivid and active; but it might be said that it is more variable than rich, that it sports rather than creates, that it always goes forward with a changeful gait, rather than stops to accumulate and mould things into shape. Traits succeed each other rapidly, with exuberance, but without concentrating to form an individual, without completing each other to make a living whole, without rounding to a form, a figure. Whilst he remains in purely lyrical poetry, and pauses amidst his landscapes of country life, on the one hand the greater freedom of the lyrical form, and on the other the more arbitrary nature of the subject, prevent us from being struck with this defect; in these sorts of works it is in general rather the feelings of the poet, than the object in itself, of which we expect the portraiture. But this defect becomes too apparent when he undertakes, as in Cisseis and Paches, or in his Seneca, to represent men and human actions; because here the imagination sees itself kept in within certain fixed and necessary limits, and because here the effect can only be derived from the object itself. Kleist becomes poor, tiresome, jejune, and insupportably frigid; an example full of lessons for those who, without having an inner vocation, aspire to issue from musical poetry, to rise to the regions of plastic poetry. A spirit of this family, Thomson, has paid the same penalty to human infirmity.

In the sentimental kind, and especially in that part of the sentimental kind which we name elegiac, there are but few modern poets, and still fewer ancient ones, who can be compared to our Klopstock. Musical poetry has produced in this poet all that can be attained out of the limits of the living form, and out of the sphere of individuality, in the region of ideas. It would, no doubt, be doing him a great injustice to dispute entirely in his case that individual truth and that feeling of life with which the simple poet describes his pictures. Many of his odes, many separate traits in his dramas, and in his "Messiah," represent the object with a striking truth, and mark the outline admirably; especially, when the object is his own heart, he has given evidence on many occasions of a great natural disposition and of a charming simplicity. I mean only that it is not in this that the proper force of Klopstock consists, and that it would not perhaps be right to seek for this throughout his work. Viewed as a production of musical poetry, the "Messiah" is a magnificent work; but in the light of plastic poetry, where we look for determined forms and forms determined for the intuition, the "Messiah" leaves much to be desired. Perhaps in this poem the figures are sufficiently determined, but they are not so with intuition in view. It is abstraction alone that created them, and abstraction alone can discern them. They are excellent types to express ideas, but they are not individuals nor living figures. With regard to the imagination, which the poet ought to address, and which he ought to command by putting before it always perfectly determinate forms, it is left here much too free to represent as it wishes these men and these angels, these divinities and demons, this paradise and this hell. We see quite well the vague outlines in which the understanding must be kept to conceive these personages; but we do not find the limit clearly traced in which the imagination must be enclosed to represent them. And what I say here of characters must apply to all that in this poem is, or ought to be, action and life, and not only in this epopoeia, but also in the dramatic poetry of Klopstock. For the understanding all is perfectly determined and bounded in them – I need only here recall his Judas, his Pilate, his Philo, his Solomon in the tragedy that bears that name – but for the imagination all this wants form too much, and I must readily confess I do not find that our poet is at all in his sphere here. His sphere is always the realm of ideas; and he knows how to raise all he touches to the infinite. It might be said that he strips away their bodily envelope, to spiritualize them from all the objects with which he is occupied, in the same way that other poets clothe all that is spiritual with a body. The pleasure occasioned by his poems must almost always be obtained by an exercise of the faculty of reflection; the feelings he awakens in us, and that so deeply and energetically, flow always from super-sensuous sources. Hence the earnestness, the strength, the elasticity, the depth, that characterize all that comes from him; but from that also issues that perpetual tension of mind in which we are kept when reading him. No poet – except perhaps Young, who in this respect exacts even more than Klopstock, without giving us so much compensation – no poet could be less adapted than Klopstock to play the part of favorite author and guide in life, because he never does anything else than lead us out of life, because he never calls to arms anything save spirit, without giving recreation and refreshment to sensuous nature by the calm presence of any object. His muse is chaste, it has nothing of the earthly, it is immaterial and holy as his religion; and we are forced to admit with admiration that if he wanders sometimes on these high places, it never happened to him to fall from them. But precisely for this reason, I confess in all ingenuousness, that I am not free from anxiety for the common sense of those who quite seriously and unaffectedly make Klopstock the favorite book, the book in which we find sentiments fitting all situations, or to which we may revert at all times: perhaps even – and I suspect it – Germany has seen enough results of his dangerous influence. It is only in certain dispositions of the mind, and in hours of exaltation, that recourse can be had to Klopstock, and that he can be felt. It is for this reason that he is the idol of youth, without, however, being by any means the happiest choice that they could make. Youth, which always aspires to something beyond real life, which avoids all stiffness of form, and finds all limits too narrow, lets itself be carried away with love, with delight, into the infinite spaces opened up to them by this poet. But wait till the youth has become a man, and till, from the domain of ideas, he comes back to the world of experience, then you will see this enthusiastic love of Klopstock decrease greatly, without, however, a riper age changing at all the esteem due to this unique phenomenon, to this so extraordinary genius, to these noble sentiments – the esteem that Germany in particular owes to his high merit.

I have said that this poet was great specially in the elegiac style, and it is scarcely necessary to confirm this judgment by entering into particulars. Capable of exercising all kinds of action on the heart, and having graduated as master in all that relates to sentimental poetry, he can sometimes shake the soul by the most sublime pathos, at others cradle it with sweet and heavenly sensations. Yet his heart prefers to follow the direction of a lofty spiritual melancholy; and, however sublime be the tones of his harp and of his lyre, they are always the tender notes of his lute that resound with most truth and the deepest emotion. I take as witnesses all those whose nature is pure and sensuous: would they not be ready to give all the passages where Klopstock is strong, and bold; all those fictions, all the magnificent descriptions, all the models of eloquence which abound in the "Messiah," all those dazzling comparisons in which our poet excels, – would they not exchange them for the pages breathing tenderness, the "Elegy to Ebert" for example, or that admirable poem entitled "Bardalus," or again, the "Tombs Opened before the Hour," the "Summer's Night," the "Lake of Zurich," and many other pieces of this kind? In the same way the "Messiah" is dear to me as a treasure of elegiac feelings and of ideal paintings, though I am not much satisfied with it as the recital of an action and as an epic.