Kitabı oku: «Aesthetical Essays of Friedrich Schiller», sayfa 26

Here follows, therefore, in what relates to these kinds of freedoms, the rules that we can lay down.

Let us remark in the first place that nature only can justify these licenses; whence it follows that you could not legitimately take them up of your own choice, nor with a determination of imitating them; the will, in fact, ought always to be directed according to the laws of morality, and on its part all condescending to the sensuous is absolutely unpardonable. These licenses must, therefore, above all, be simplicity. But how can we be convinced that they are actually simple? We shall hold them to be so if we see them accompanied and supported by all the other circumstances which also have their spring of action in nature; for nature can only be recognized by the close and strict consistency, by the unity and uniformity of its effects. It is only a soul that has on all occasions a horror of all kinds of artifice, and which consequently rejects them even where they would be useful – it is only that soul which we permit to be emancipated from them when the artificial conventionalities hamper and hinder it. A heart that submits to all the obligations of nature has alone the right to profit also by the liberties which it authorizes. All the other feelings of that heart ought consequently to bear the stamp of nature: it will be true, simple, free, frank, sensible, and straightforward; all disguise, all cunning, all arbitrary fancy, all egotistical pettiness, will be banished from his character, and you will see no trace of them in his writings.

Second rule: beautiful nature alone can justify freedoms of this kind; whence it follows that they ought not to be a mere outbreak of the appetites; for all that proceeds exclusively from the wants of sensuous nature is contemptible. It is, therefore, from the totality and the fulness of human nature that these vivid manifestations must also issue. We must find humanity in them. But how can we judge that they proceed in fact from our whole nature, and not only from an exclusive and vulgar want of the sensuous nature? For this purpose it is necessary that we should see – that they should represent to us – this whole of which they form a particular feature. This disposition of the mind to experience the impressions of the sensuous is in itself an innocent and an indifferent thing. It does not sit well on a man only because of its being common to animals with him; it augurs in him the lack of true and perfect humanity. It only shocks us in the poem because such a work having the pretension to please us, the author consequently seems to think us capable, us also, of this moral infirmity. But when we see in the man who has let himself be drawn into it by surprise all the other characteristics that human nature in general embraces; when we find in the work where these liberties have been taken the expression of all the realities of human nature, this motive of discontent disappears, and we can enjoy, without anything changing our joy, this simple expression of a true and beautiful nature. Consequently this same poet who ventures to allow himself to associate us with feelings so basely human, ought to know, on the other hand, how to raise us to all that is grand, beautiful, and sublime in our nature.

We should, therefore, have found there a measure to which we could subject the poet with confidence, when he trespasses on the ground of decency, and when he does not fear to penetrate as far as that in order freely to paint nature. His work is common, base, absolutely inexcusable, from the moment it is frigid, and from the moment it is empty, because that shows a prejudice, a vulgar necessity, an unhealthy appeal to our appetites. His work, on the other hand, is beautiful and noble, and we ought to applaud it without any consideration for all the objections of frigid decency, as soon as we recognize in it simplicity, the alliance of spiritual nature and of the heart.

Perhaps I shall be told that if we adopt this criterion, most of the recitals of this kind composed by the French, and the best imitations made of them in Germany, would not perhaps find their interest in it; and that it might be the same, at least in part, with many of the productions of our most intellectual and amiable poets, without even excepting his masterpieces. I should have nothing to reply to this. The sentence after all is anything but new, and I am only justifying the judgment pronounced long since on this matter by all men of delicate perceptions. But these same principles which, applied to the works of which I have just spoken, seem perhaps in too strict a spirit, might also be found too indulgent when applied to some other works. I do not deny, in fact, that the same reasons which make me hold to be quite inexcusable the dangerous pictures drawn by the Roman Ovid and the German Ovid, those of Crebillon, of Voltaire, of Marmontel, who pretends to write moral tales! – of Lacroix, and of many others – that these same reasons, I say, reconcile me with the elegies of the Roman Propertius and of the German Propertius, and even with some of the decried productions of Diderot. This is because the former of those works are only witty, prosaic, and voluptuous, while the others are poetic, human, and simple.

IDYL

It remains for me to say a few words about this third kind of sentimental poetry – some few words and no more, for I propose to speak of it at another time with the developments particularly demanded by the theme.

This kind of poetry generally presents the idea and description of an innocent and happy humanity. This innocence and bliss seeming remote from the artificial refinements of fashionable society, poets have removed the scene of the idyl from crowds of worldly life to the simple shepherd's cot, and have given it a place in the infancy of humanity before the beginning of culture. These limitations are evidently accidental; they do not form the object of the idyl, but are only to be regarded as the most natural means to attain this end. The end is everywhere to portray man in a state of innocence: which means a state of harmony and peace with himself and the external world.

But a state such as this is not merely met with before the dawn of civilization; it is also the state to which civilization aspires, as to its last end, if only it obeys a determined tendency in its progress. The idea of a similar state, and the belief of the possible reality of this state, is the only thing that can reconcile man with all the evils to which he is exposed in the path of civilization; and if this idea were only a chimera, the complaints of those who accuse civil life and the culture of the intelligence as an evil for which there is no compensation, and who represent this primitive state of nature that we have renounced as the real end of humanity – their complaints, I say, would have a perfectly just foundation. It is, therefore, of infinite importance for the man engaged in the path of civilization to see confirmed in a sensuous manner the belief that this idea can be accomplished in the world of sense, that this state of innocence can be realized in it; and as real experience, far from keeping up this belief, is rather made incessantly to contradict it, poetry comes here, as in many other cases, in aid of reason, to cause this idea to pass into the condition of an intuitive idea, and to realize it in a particular fact. No doubt this innocence of pastoral life is also a poetic idea, and the imagination must already have shown its creative power in that. But the problem, with this datum, becomes infinitely simpler and easier to solve; and we must not forget that the elements of these pictures already existed in real life, and that it was only requisite to gather up the separate traits to form a whole. Under a fine sky, in a primitive society, when all the relations are still simple, when science is limited to so little, nature is easily satisfied, and man only turns to savagery when he is tortured by want. All nations that have a history have a paradise, an age of innocence, a golden age. Nay, more than this, every man has his paradise, his golden age, which he remembers with more or less enthusiasm, according as he is more or less poetical. Thus experience itself furnishes sufficient traits to this picture which the pastoral idyl executes. But this does not prevent the pastoral idyl from remaining always a beautiful and an encouraging fiction; and poetic genius, in retracing these pictures, has really worked in favor of the ideal. For, to the man who has once departed from simple nature, and who has been abandoned to the dangerous guidance of his reason, it is of the greatest importance to find the laws of nature expressed in a faithful copy, to see their image in a clear mirror, and to reject all the stains of artificial life. There is, however, a circumstance which remarkably lessens the aesthetic value of these sorts of poetry. By the very fact that the idyl is transported to the time that precedes civilization, it also loses the advantages thereof; and by its nature finds itself in opposition to itself. Thus, in a theoretical sense, it takes us back at the same time that in a practical sense it leads us on and ennobles us. Unhappily it places behind us the end towards which it ought to lead us, and consequently it can only inspire us with the sad feeling of a loss, and not the joyous feeling of a hope. As these poems can only attain their end by dispensing with all art, and by simplifying human nature, they have the highest value for the heart, but they are also far too poor for what concerns the mind, and their uniform circle is too quickly traversed. Accordingly we can only seek them and love them in moments in which we need calm, and not when our faculties aspire after movement and exercise. A morbid mind will find its cure in them, a sound soul will not find its food in them. They cannot vivify, they can only soften. This defect, grounded in the essence of the pastoral idyll, has not been remedied by the whole art of poets. I know that this kind of poem is not without admirers, and that there are readers enough who prefer an Amyntus and a Daphnis to the most splendid masterpieces of the epic or the dramatic muse; but in them it is less the aesthetical taste than the feeling of an individual want that pronounces on works of art; and their judgment, by that very fact, could not be taken into consideration here. The reader who judges with his mind, and whose heart is sensuous, without being blind to the merit of these poems, will confess that he is rarely affected by them, and that they tire him most quickly. But they act with so much the more effect in the exact moment of need. But must the truly beautiful be reduced to await our hours of need? and is it not rather its office to awaken in our soul the want that it is going to satisfy?

The reproaches I here level against the bucolic idyl cannot be understood of the sentimental. The simple pastoral, in fact, cannot be deprived of aesthetic value, since this value is already found in the mere form. To explain myself: every kind of poetry is bound to possess an infinite ideal value, which alone constitutes it a true poetry; but it can satisfy this condition in two different ways. It can give us the feeling of the infinite as to form, by representing the object altogether limited and individualizing it; it can awaken in us the feeling of the infinite as to matter, in freeing its object from all limits in which it is enclosed, by idealizing this object; therefore it can have an ideal value either by an absolute representation or by the representation of an absolute. Simple poetry takes the former road, the other is that of sentimental poetry. Accordingly the simple poet is not exposed to failure in value so long as he keeps faithfully to nature, which is always completely circumscribed, that is, is infinite as regards form. The sentimental poet, on the contrary, by that very fact, that nature only offers him completely circumscribed objects, finds in it an obstruction when he wishes to give an absolute value to a particular object. Thus the sentimental poet understands his interests badly when he goes along the trail of the simple poet, and borrows his objects from him – objects which by themselves are perfectly indifferent, and which only become poetical by the way in which they are treated. By this he imposes on himself without any necessity the same limits that confine the field of the simple poet, without, however, being able to carry out the limitation properly, or to vie with his rival in absolute definiteness of representation. He ought rather, therefore, to depart from the simple poet, just in the choice of object; because, the latter having the advantage of him on the score of form, it is only by the nature of the objects that he can resume the upper hand.

Applying this to the pastoral idyls of the sentimental poet, we see why these poems, whatever amount of art and genius be displayed in them, do not fully satisfy the heart or the mind. An ideal is proposed in it, and, at the same time, the writer keeps to this narrow and poor medium of pastoral life. Would it not have been better, on the contrary, to choose for the ideal another frame, or for the pastoral world another kind of picture? These pictures are just ideal enough for painting to lose its individual truth in them, and, again, just individual enough for the ideal in them to suffer therefrom. For example, a shepherd of Gessner can neither charm by the illusion of nature nor by the beauty of imitation; he is too ideal a being for that, but he does not satisfy us any more as an ideal by the infinity of the thought: he is a far too limited creature to give us this satisfaction. He will, therefore, please up to a certain point all classes of readers, without exception, because he seeks to unite the simple with the sentimental, and he thus gives a commencement of satisfaction to the two opposite exigencies that may be brought to bear on any particular part of a poem; but the author, in trying to unite the two points, does not fully satisfy either one or the other exigency, as you do not find in him either pure nature or the pure ideal; he cannot rank himself as entirely up to the mark of a stringent critical taste, for taste does not accept anything equivocal or incomplete in aesthetical matters. It is a strange thing that, in the poet whom I have named, this equivocal character extends to the language, which floats undecided between poetry and prose, as if he feared either to depart too far from nature, by speaking rhythmical language, or if he completely freed himself from rhythm, to lose all poetic flight. Milton gives a higher satisfaction to the mind, in the magnificent picture of the first human pair, and of the state of innocence in paradise; – the most beautiful idyl I know of the sentimental kind. Here nature is noble, inspired, simple, full of breadth, and, at the same time, of depth; it is humanity in its highest moral value, clothed in the most graceful form.

Thus, even in respect to the idyl, as well as to all kinds of poetry, we must once for all declare either for individuality or ideality; for to aspire to give satisfaction to both exigencies is the surest means, unless you have reached the terminus of perfection, to miss both ends. If the modern poet thinks he feels enough of the Greeks' mind to vie with them, notwithstanding all the indocility of his matter, on their own ground, namely that of simple poetry, let him do it exclusively, and place himself apart from all the requirements of the sentimental taste of his age. No doubt it is very doubtful if he come up to his models; between the original and the happiest imitation there will always remain a notable distance; but, by taking this road, he is at all events secure of producing a really poetic work. If, on the other hand, he feels himself carried to the ideal by the instinct of sentimental poetry, let him decide to pursue this end fully; let him seek the ideal in its purity, and let him not pause till he has reached the highest regions without looking behind him to know if the real follows him, and does not leave him by the way. Let him not lower himself to this wretched expedient of spoiling the ideal to accommodate himself to the wants of human weakness, and to turn out mind in order to play more easily with the heart. Let him not take us back to our infancy, to make us buy, at the cost of the most precious acquisitions of the understanding, a repose that can only last as long as the slumber of our spiritual faculties; but let him lead us on to emancipation, and give us this feeling of higher harmony which compensates for all his troubles and secures the happiness of the victor! Let him prepare as his task an idyl that realizes the pastoral innocence, even in the children of civilization, and in all the conditions of the most militant and excited life; of thought enlarged by culture; of the most refined art; of the most delicate social conventionalities – an idyl, in short, that is made, not to bring back man to Arcadia, but to lead him to Elysium.

This idyl, as I conceive it, is the idea of humanity definitely reconciled with itself, in the individual as well as in the whole of society; it is union freely re-established between inclination and duty; it is nature purified, raised to its highest moral dignity; in short, it is no less than the ideal of beauty applied to real life. Thus, the character of this idyl is to reconcile perfectly all the contradictions between the real and the ideal, which formed the matter of satirical and elegiac poetry, and, setting aside their contradictions, to put an end to all conflict between the feelings of the soul. Thus, the dominant expression of this kind of poetry would be calm; but the calm that follows the accomplishment, and not that of indolence – the calm that comes from the equilibrium re-established between the faculties, and not from the suspending of their exercise; from the fulness of our strength, and not from our infirmity; the calm, in short, which is accompanied in the soul by the feeling of an infinite power. But precisely because idyl thus conceived removes all idea of struggle, it will be infinitely more difficult than it was in two previously-named kinds of poetry to express movement; yet this is an indispensable condition, without which poetry can never act on men's souls. The most perfect unity is required, but unity ought not to wrong variety; the heart must be satisfied, but without the inspiration ceasing on that account. The solution of this problem is properly what ought to be given us by the theory of the idyl.

Now, what are the relations of the two poetries to one another, and their relations to the poetic ideal? Here are the principles we have established.

Nature has granted this favor to the simple poet, to act always as an indivisible unity, to be at all times identical and perfect, and to represent, in the real world, humanity at its highest value. In opposition, it has given a powerful faculty to the sentimental poet, or, rather, it has imprinted an ardent feeling on him; this is to replace out of himself this first unity that abstraction has destroyed in him, to complete humanity in his person, and to pass from a limited state to an infinite state. They both propose to represent human nature fully, or they would not be poets; but the simple poet has always the advantage of sensuous reality over the sentimental poet, by setting forth as a real fact what the other aspires only to reach. Every one experiences this in the pleasure he takes in simple poetry.

We there feel that the human faculties are brought into play; no vacuum is felt; we have the feeling of unity, without distinguishing anything of what we experience; we enjoy both our spiritual activity and also the fulness of physical life. Very different is the disposition of mind elicited by the sentimental poet. Here we feel only a vivid aspiration to produce in us this harmony of which we had in the other case the consciousness and reality; to make of ourselves a single and same totality; to realize in ourselves the idea of humanity as a complete expression. Hence it comes that the mind is here all in movement, stretched, hesitating between contrary feelings; whereas it was before calm and at rest, in harmony with itself, and fully satisfied.

But if the simple poet has the advantage over the sentimental poet on the score of reality; if he causes really to live that of which the other can only elicit a vivid instinct, the sentimental poet, in compensation, has this great advantage over the simple poet: to be in a position to offer to this instinct a greater object than that given by his rival, and the only one he could give. All reality, we know, is below the ideal; all that exists has limits, but thought is infinite. This limitation, to which everything is subject in sensuous reality, is, therefore, a disadvantage for the simple poet, while the absolute, unconditional freedom of the ideal profits the sentimental poet. No doubt the former accomplishes his object, but this object is limited; the second, I admit, does not entirely accomplish his, but his object is infinite. Here I appeal to experience. We pass pleasantly to real life and things from the frame of mind in which the simple poet has placed us. On the other hand, the sentimental poet will always disgust us, for a time, with real life. This is because the infinite character has, in a manner, enlarged our mind beyond its natural measure, so that nothing it finds in the world of sense can fill its capacity. We prefer to fall back in contemplation on ourselves, where we find food for this awakened impulse towards the ideal world; while, in the simple poet, we only strive to issue out of ourselves, in search of sensuous objects. Sentimental poetry is the offspring of retirement and science, and invites to it; simple poetry is inspired by the spectacle of life, and brings back life.

I have styled simple poetry a gift of nature to show that thought has no share in it. It is a first jet, a happy inspiration, that needs no correction, when it turns out well, and which cannot be rectified if ill turned out. The entire work of the simple genius is accomplished by feeling; in that is its strength, and in it are its limits. If, then, he has not felt at once in a poetic manner – that is, in a perfectly human manner – no art in the world can remedy this defect. Criticism may help him to see the defect, but can place no beauty in its stead. Simple genius must draw all from nature; it can do nothing, or almost nothing, by its will; and it will fulfil the idea of this kind of poetry provided nature acts in it by an inner necessity. Now, it is true that all which happens by nature is necessary, and all the productions, happy or not, of the simple genius, which is disassociated from nothing so much as from arbitrary will, are also imprinted with this character of necessity; momentary constraint is one thing, and the internal necessity dependent on the totality of things another. Considered as a whole, nature is independent and infinite; in isolated operations it is poor and limited. The same distinction holds good in respect to the nature of the poet. The very moment when he is most happily inspired depends on a preceding instant, and consequently only a conditional necessity can be attributed to him. But now the problem that the poet ought to solve is to make an individual state similar to the human whole, and consequently to base it in an absolute and necessary manner on itself. It is therefore necessary that at the moment of inspiration every trace of a temporal need should be banished, and that the object itself, however limited, should not limit the flight of the poet. But it may be conceived that this is only possible in so far as the poet brings to the object an absolute freedom, an absolute fulness of faculties, and in so far as he is prepared by an anterior exercise to embrace all things with all his humanity. Now he cannot acquire this exercise except by the world in which he lives, and of which he receives the impressions immediately. Thus simple genius is in a state of dependence with regard to experience, while the sentimental genius is forced from it. We know that the sentimental genius begins its operation at the place where the other finishes its own: its virtue is to complete by the elements which it derives from itself a defective object, and to transport itself by its own strength from a limited state to one of absolute freedom. Thus the simple poet needs a help from without, while the sentimental poet feeds his genius from his own fund, and purifies himself by himself. The former requires a picturesque nature, a poetical world, a simple humanity which casts its eyes around; for he ought to do his work without issuing from the sensuous sphere. If external aid fails him, if he be surrounded by matter not speaking to mind, one of two things will happen: either, if the general character of the poet-race is what prevails in him, he issues from the particular class to which he belongs as a poet, and becomes sentimental to be at any rate poetic; or, if his particular character as simple poet has the upper hand, he leaves his species and becomes a common nature, in order to remain at any rate natural. The former of these two alternatives might represent the case of the principal poets of the sentimental kind in Roman antiquity and in modern times. Born at another period of the world, transplanted under another sky, these poets who stir us now by ideas, would have charmed us by individual truth and simple beauty. The other alternative is the almost unavoidable quicksand for a poet who, thrown into a vulgar world, cannot resolve to lose sight of nature.

I mean, to lose sight of actual nature; but the greatest care must be given to distinguish actual nature from true nature, which is the subject of simple poetry. Actual nature exists everywhere; but true nature is so much the more rare because it requires an internal necessity that determines its existence. Every eruption of passion, however vulgar, is real – it may be even true nature; but it is not true human nature, for true human nature requires that the self-directing faculty in us should have a share in the manifestation, and the expression of this faculty is always dignified. All moral baseness is an actual human phenomenon, but I hope not real human nature, which is always noble. All the faults of taste cannot be surveyed that have been occasioned in criticism or the practice of art by this – confusion between actual human nature and true human nature. The greatest trivialities are tolerated and applauded under the pretext that they are real nature. Caricatures not to be tolerated in the real world are carefully preserved in the poetic world and reproduced according to nature! The poet can certainly imitate a lower nature; and it enters into the very definition of a satirical poet: but then a beauty by its own nature must sustain and raise the object, and the vulgarity of the subject must not lower the imitator too much. If at the moment he paints he is true human nature himself, the object of his paintings is indifferent; but it is only on this condition we can tolerate a faithful reproduction of reality. Unhappy for us readers when the rod of satire falls into hands that nature meant to handle another instrument, and when, devoid of all poetic talent, with nothing but the ape's mimicry, they exercise it brutally at the expense of our taste!

But vulgar nature has even its dangers for the simple poet; for the simple poet is formed by this fine harmony of the feeling and thinking faculty, which yet is only an idea, never actually realized. Even in the happiest geniuses of this class, receptivity will always more or less carry the day over spontaneous activity. But receptivity is always more or less subordinate to external impressions, and nothing but a perpetual activity of the creative faculty could prevent matter from exercising a blind violence over this quality. Now, every time this happens the feeling becomes vulgar instead of poetical.

No genius of the simple class, from Homer down to Bodmer, has entirely steered clear of this quicksand. It is evident that it is most perilous to those who have to struggle against external vulgarity, or who have parted with their refinement owing to a want of proper restraint. The first-named difficulty is the reason why even authors of high cultivation are not always emancipated from platitudes – a fact which has prevented many splendid talents from occupying the place to which they were summoned by nature. For this reason, a comic poet whose genius has chiefly to deal with scenes of real life, is more liable to the danger of acquiring vulgar habits of style and expression – a fact evidenced in the case of Aristophanes, Plautus, and all the poets who have followed in their track. Even Shakspeare, with all his sublimity, suffers us to fall very low now and then. Again, Lope De Vega, Moliere, Regnard, Goldoni worry us with frequent trifling. Holberg drags us down into the mire. Schlegel, a German poet, among the most remarkable for intellectual talent, with genius to raise him to a place among poets of the first order; Gellert, a truly simple poet, Rabener, and Lessing himself, if I am warranted to introduce his name in this category – this highly-cultivated scholar of criticism and vigilant examiner of his own genius – all these suffer in different degrees from the platitudes and uninspired movements of the natures they chose as the theme of their satire. With regard to more recent authors of this class, I avoid naming any of them, as I can make no exceptions in their case.