The Works of Frederick Schiller Part 544

Thus in the affective movements in which nature (instinct) acts the first and seeks to do without the will, or to draw it violently to its side, the morality of character cannot manifest itself but by its resistance, and there is but one means of preventing the instinct from restraining the liberty of the will: it is to restrain the instinct itself. Thus we can only have agreement between the law of reason and the affective phenomena, under the condition of putting both in discord with the exigencies of instinct. And as nature never gives way to moral reasons, and recalls her claims, and as on her side, consequently, all remains in the same state, in whatever manner the will acts towards her, it results that there is no possible accord between the inclination and duty, between reason and sense; and that here man cannot act at the same time with all his being and with all the harmony of his nature, but exclusively with his reasonable nature. Thus in these sorts of actions we could not find moral beauty, because an action is morally good only as far as inclination has taken part in it, and here the inclination protests against much more than it concurs with it. But these actions have moral grandeur, because all that testifies to a preponderating authority exercised over the sensuous nature has grandeur, and grandeur is found only there.

It is, then, in the affective movements that this great soul of which we speak transforms itself and becomes sublime; and it is the touchstone to distinguish the soul truly great from what is called a good heart, or from the virtue of temperament. When in man the inclination is ranged on the side of morality only because morality itself is happily on the side of inclination, it will happen that the instinct of nature in the affective movements will exercise upon the will a full empire, and if a sacrifice is necessary it is the moral nature, and not the sensuous nature, that will make it. If, on the contrary, it is reason itself which has made the inclination pa.s.s to the side of duty (which is the case in the fine character), and which has only confided the rudder to the sensuous nature, it will be always able to retake it as soon as the instinct should misuse its full powers. Thus the virtue of temperament in the affective movements falls back to the state of simple production of nature, whilst the n.o.ble soul pa.s.ses to heroism and rises to the rank of pure intelligence.

The rule over the instincts by moral force is the emanc.i.p.ation of mind, and the expression by which this independence presents itself to the eyes in the world of phenomena is what is called dignity.

To consider this rigorously: the moral force in man is susceptible of no representation, for the super-sensuous could not explain itself by a phenomenon that falls under the sense; but it can be represented indirectly to the mind by sensuous signs, and this is actually the case with dignity in the configuration of man.

When the instinct of nature is excited, it is accompanied just as the heart in its moral emotions is, by certain movements of the body, which sometimes go before the will, sometimes, even as movements purely sympathetic, escape altogether its empire. In fact, as neither sensation, nor the desire, nor aversion, are subject to the free arbitration of man, man has no right over the physical movements which immediately depend on it. But the instinct does not confine itself to simple desire; it presses, it advances, it endeavors to realize its object; and if it does not meet in the autonomy of the mind an energetic resistance, it will even antic.i.p.ate it, it will itself take the initiative of those sorts of acts over which the will alone has the right to p.r.o.nounce. For the instinct of conservation tends without ceasing to usurp the legislative powers in the domain of the will, and its efforts go to exercise over man a domination as absolute as over the beast.

There are, then, two sorts of distinct movements, which, in themselves and by their origin, in each affective phenomenon, arise in man by the instinct of conservation: those firstly which immediately proceed from sensation, and which, consequently, are quite involuntary; then those which in principle could and would be voluntary, but from which the blind instinct of nature takes all freedom. The first refer to the affection itself, and are united necessarily with it; the others respond rather to the cause and to the object of the affections, and are thus accidental and susceptible of modification, and cannot be mistaken for infallible signs of the affective phenomena. But as both one and the other, when once the object is determined, are equally necessary to the instinct of nature, so they a.s.sist, both one and the other, the expression of affective phenomena; a necessary compet.i.tion, in order that the expression should be complete and form a harmonious whole.

If, then, the will is sufficiently independent to repress the aggressions of instinct and to maintain its rights against this blind force, all the phenomena which the instinct of nature, once excited, produce, in its proper domain, will preserve, it is true, their force; but those of the second kind, those which came out of a foreign jurisdiction, and which it pretended to subject arbitrarily to its power, these phenomena would not take place. Thus the phenomena are no longer in harmony; but it is precisely in their opposition that consists the expression of the moral force. Suppose that we see a man a prey to the most poignant affection, manifested by movements of the first kind, by quite involuntary movements. His veins swell, his muscles contract convulsively, his voice is stifled, his chest is raised and projects, whilst the lower portion of the torso is sunken and compressed; but at the same time the voluntary movements are soft, the features of the face free, and serenity beams forth from the brow and in the look. If man were only a physical being, all his traits, being determined only by one and the same principle, would be in unison one with the other, and would have a similar expression. Here, for example, they would unite in expressing exclusively suffering; but as those traits which express calmness are mixed up with those which express suffering, and as similar causes do not produce opposite effects, we must recognize in this contrast the presence and the action of a moral force, independent of the pa.s.sive affections, and superior to the impressions beneath which we see sensuous nature give way. And this is why calmness under suffering, in which properly consists dignity, becomes--indirectly, it is true, and by means of reasoning--a representation of the pure intelligence which is in man, and an expression of his moral liberty. But it is not only under suffering, in the restricted sense of the word, in the sense in which it marks only the painful affections, but generally in all the cases in which the appet.i.tive faculty is strongly interested, that mind ought to show its liberty, and that dignity ought to be the dominant expression. Dignity is not less required in the agreeable affections than in the painful affections, because in both cases nature would willingly play the part of master, and has to be held in check by the will. Dignity relates to the form and not to the nature of the affection, and this is why it can be possible that often an affection, praiseworthy in the main, but one to which we blindly commit ourselves, degenerates, from the want of dignity, into vulgarity and baseness; and, on the contrary, a condemnable affection, as soon as it testifies by its form to the empire of the mind over the senses, changes often its character and approaches even towards the sublime.

Thus in dignity the mind reigns over the body and bears itself as ruler: here it has its independence to defend against imperious impulse, always ready to do without it, to act and shake off its yoke. But in grace, on the contrary, the mind governs with a liberal government, for here the mind itself causes sensuous nature to act, and it finds no resistance to overcome. But obedience only merits forbearance, and severity is only justifiable when provoked by opposition.

Thus grace is nothing else than the liberty of voluntary movements, and dignity consists in mastering involuntary movements. Grace leaves to sensuous nature, where it obeys the orders of the mind, a certain air of independence; dignity, on the contrary, submits the sensuous nature to mind where it would make the pretensions to rule; wherever instinct takes the initiative and allows itself to trespa.s.s upon the attributes of the will, the will must show it no indulgence, but it must testify to its own independence (autonomy), in opposing to it the most energetic resistance.

If, on the contrary, it is the will that commences, and if instinct does but follow it, the free arbitration has no longer to display any rigor, now it must show indulgence. Such is in a few words the law which ought to regulate the relation of the two natures of man in what regards the expression of this relation in the world of phenomena.

It follows that dignity is required, and is seen particularly in pa.s.sive affection, whilst grace is shown in the conduct, for it is only in suffering that the liberty of the soul can be manifested, and only in action that the liberty of the body can be displayed.

If dignity is an expression of resistance opposed to instinct by moral liberty, and if the instinct consequently ought to be considered as a force that renders resistance necessary, it follows that dignity is ridiculous where you have no force of this kind to resist, and contemptible where there ought not to be any such force to combat. We laugh at a comedian, whatever rank or condition he may occupy, who even in indifferent actions affects dignity. We despise those small souls who, for having accomplished an ordinary action, and often for having simply abstained from a base one, plume themselves on their dignity.

Generally, what is demanded of virtue is not properly speaking dignity, but grace. Dignity is implicitly contained in the idea of virtue, which even by its nature supposes already the rule of man over his instincts.

It is rather sensuous nature that, in the fulfilment of moral duties, is found in a state of oppression and constraint, particularly when it consummates in a painful sacrifice. But as the ideal of perfection in man does not require a struggle, but harmony between the moral and physical nature, this ideal is little compatible with dignity, which is only the expression of a struggle between the two natures, and as such renders visible either the particular impotence of the individual, or the impotence common to the species. In the first case, when the want of harmony between inclination and duty, with regard to a moral act, belongs to the particular powerlessness of the subject, the act would always lose its moral value, in as far as that combat is necessary, and, in consequence, proportionally as there would be dignity in the exterior expression of this act; for our moral judgment connects each individual with the common measure of the species, and we do not allow man to be stopped by other limits than those of human nature.

In the second case, when the action commanded by duty cannot be placed in harmony with the exigencies of instinct without going against the idea of human nature, the resistance of the inclination is necessary, and then only the sight of the combat can convince us of the possibility of victory. Thus we ask here of the features and att.i.tudes an expression of this interior struggle, not being able to take upon ourselves to believe in virtue where there is no trace of humanity. Where then the moral law commands of us an action which necessarily makes the sensuous nature suffer, there the matter is serious, and ought not to be treated as play; ease and lightness in accomplis.h.i.+ng this act would be much more likely to revolt us than to satisfy us; and thus, in consequence, expression is no longer grace, but dignity. In general, the law which prevails here is, that man ought to accomplish with grace all the acts that he can execute in the sphere of human nature; and with dignity all those for the accomplishment of which he is obliged to go beyond his nature.

In like manner as we ask of virtue to have grace, we ask of inclination to have dignity. Grace is not less natural to inclination than dignity to virtue, and that is evident from the idea of grace, which is all sensuous and favorable to the liberty of physical nature, and which is repugnant to all idea of constraint. The man without cultivation lacks not by himself a certain degree of grace, when love or any other affection of this kind animates him; and where do we find more grace than in children, who are nevertheless entirely under the direction of instinct. The danger is rather that inclination should end by making the state of pa.s.sion the dominant one, stifling the independence of mind, and bringing about a general relaxation. Therefore in order to conciliate the esteem of a n.o.ble sentiment--esteem can only be inspired by that which proceeds from a moral source--the inclination must always be accompanied by dignity. It is for that reason a person in love desires to find dignity in the object of this pa.s.sion. Dignity alone is the warrant that it is not need which has forced, but free choice which has chosen, that he is not desired as a thing, but esteemed as a person.

We require grace of him who obliges, dignity of the person obliged: the first, to set aside an advantage which he has over the other, and which might wound, ought to give to his actions, though his decision may have been disinterested, the character of an affective movement, that thus, from the part which he allows inclination to take, he may have the appearance of being the one who gains the most: the second, not to compromise by the dependence in which he put himself the honor of humanity, of which liberty is the saintly palladium, ought to raise what is only a pure movement of instinct to the height of an act of the will, and in this manner, at the moment when he receives a favor, return in a certain sense another favor.

We must censure with grace, and own our faults with dignity: to put dignity into our remonstrances is to have the air of a man too penetrated by his own advantage: to put grace into our confessions is to forget the inferiority in which our fault has placed us. Do the powerful desire to conciliate affection? Their superiority must be tempered by grace. The feeble, do they desire to conciliate esteem? They must through dignity rise above their powerlessness. Generally it is thought that dignity is suitable to the throne, and every one knows that those seated upon it desire to find in their councillors, their confessors, and in their parliaments--grace. But that which may be good and praiseworthy in a kingdom is not so always in the domain of taste. The prince himself enters into this domain as soon as he descends from his throne (for thrones have their privileges), and the crouching courtier places himself under the saintly and free probation of this law as soon as he stands erect and becomes again a man. The first we would counsel to supplement from the superfluity of the second that which he himself needs, and to give him as much of his dignity as he requires to borrow grace from him.

Although dignity and grace have each their proper domain in which they are manifest, they do not exclude each other. They can be met with in the same person, and even in the same state of that person. Further, it is grace alone which guarantees and accredits dignity, and dignity alone can give value to grace.

Dignity alone, wherever met with, testifies that the desires and inclinations are restrained within certain limits. But what we take for a force which moderates and rules, may it not be rather an obliteration of the faculty of feeling (hardness)? Is it really the moral autonomy, and may it not be rather the preponderance of another affection, and in consequence a voluntary interested effort that restrains the outburst of the present affection? This is what grace alone can put out of doubt in joining itself to dignity. It is grace, I mean to say, that testifies to a peaceful soul in harmony with itself and a feeling heart.

In like manner grace by itself shows a certain susceptibility of the feeling faculty, and a certain harmony of sentiment. But may this not be a certain relaxation of the mind which allows so much liberty to sensuous nature and which opens the heart to all impressions? Is it indeed the moral which has established this harmony between the sentiments? It is dignity alone which can in its turn guarantee this to us in joining itself to grace; I mean it is dignity alone which attests in the subject an independent force, and at the moment when the will represses the license of involuntary movement, it is by dignity that it makes known that the liberty of voluntary movements is a simple concession on its part.

If grace and dignity, still supported, the one by architectonic beauty and the other by force, were united in the same person, the expression of human nature would be accomplished in him: such a person would be justified in the spiritual world and set at liberty in the sensuous world. Here the two domains touch so closely that their limits are indistinguishable. The smile that plays on the lips; this sweetly animated look; that serenity spread over the brow--it is the liberty of the reason which gleams forth in a softened light. This n.o.ble majesty impressed on the face is the sublime adieu of the necessity of nature, which disappears before the mind. Such is the ideal of human beauty according to which the antique conceptions were formed, and we see it in the divine forms of a Niobe, of the Apollo Belvedere, in the winged Genius of the Borghese, and in the Muse of the Barberini palace. There, where grace and dignity are united, we experience by turns attraction and repulsion; attraction as spiritual creatures, and repulsion as being sensuous creatures.

Dignity offers to us an example of subordination of sensuous nature to moral nature--an example which we are bound to imitate, but which at the same time goes beyond the measure of our sensuous faculty. This opposition between the instincts of nature and the exigencies of the moral law, exigencies, however, that we recognize as legitimate, brings our feelings into play and awakens a sentiment that we name esteem, which is inseparable from dignity.

With grace, on the contrary, as with beauty in general, reason finds its demands satisfied in the world of sense, and sees with surprise one of its own ideas presented to it, realized in the world of phenomena. This unexpected encounter between the accident of nature and the necessity of reason awakens in us a sentiment of joyous approval (contentment) which calms the senses, but which animates and occupies the mind, and it results necessarily that we are attracted by a charm towards the sensuous object. It is this attraction which we call kindliness, or love--a sentiment inseparable from grace and beauty.

The attraction--I mean the attraction (stimulus) not of love but of voluptuousness--proposes to the senses a sensuous object that promises to these the satisfaction of a want, that is to say a pleasure; the senses are consequently solicited towards this sensuous object, and from that springs desire, a sentiment which increases and excites the sensuous nature, but which, on the contrary, relaxes the spiritual nature.

We can say of esteem that it inclines towards its object; of love, that it approaches with inclination towards its object; of desire, that it precipitates itself upon its object; with esteem, the object is reason, and the subject is sensuous nature; with love, the object is sensuous, and the subject is moral nature; with desire, the object and the subject are purely sensuous.

With love alone is sentiment free, because it is pure in its principle, and because it draws its source from the seat of liberty, from the breast of our divine nature. Here, it is not the weak and base part of our nature that measures itself with the greater and more n.o.ble part; it is not the sensibility, a prey to vertigo, which gazes up at the law of reason. It is absolute greatness which is reflected in beauty and in grace, and satisfied in morality; it becomes the legislator even, the G.o.d in us who plays with his own image in the world of sense. Thus love consoles and dilates the heart, whilst esteem strains it; because here there is nothing which could limit the heart and compress its impulses, there being nothing higher than absolute greatness; and sensibility, from which alone hinderance could come, is reconciled, in the breast of beauty and of grace, with the ideas even of the mind. Love has but to descend; esteem aspires with effort towards an object placed above it. This is the reason that the wicked love nothing, though they are obliged to esteem many things. This is why the well-disposed man can hardly esteem without at once feeling love for the object. Pure spirit can only love, but not esteem; the senses know only esteem, but not love.

The culpable man is perpetually a prey to fear, that he may meet in the world of sense the legislator within himself; and sees an enemy in all that bears the stamp of greatness, of beauty, and of perfection: the man, on the contrary, in whom a n.o.ble soul breathes, knows no greater pleasure than to meet out of himself the image or realization of the divine that is in him; and to embrace in the world of sense a symbol of the immortal friend he loves. Love is at the same time the most generous and the most egotistical thing in nature; the most generous, because it receives nothing and gives all--pure mind being only able to give and not receive; the most egotistical, for that which he seeks in the subject, that which he enjoys in it, is himself and never anything else.

But precisely because he who loves receives from the beloved object nothing but that which he has himself given, it often happens that he gives more than he has received.

The exterior senses believe to have discovered in the object that which the internal sense alone contemplates in it, in the end believing what is desired with ardor, and the riches belonging to the one who loves hide the poverty of the object loved. This is the reason why love is subject to illusion, whilst esteem and desire are never deceived. As long as the super-excitement of the internal senses overcomes the internal senses, the soul remains under the charm of this Platonic love, which gives place only in duration to the delights enjoyed by the immortals. But as soon as internal sense ceases to share its visions with the exterior sense, these take possession of their rights and imperiously demand that which is its due--matter. It is the terrestrial Venus who profits by the fire kindled by the celestial Venus, and it is not rare to find the physical instinct, so long sacrificed, revenge itself by a rule all the more absolute. As external sense is never a dupe to illusion, it makes this advantage felt with a brutal insolence over its n.o.ble rival; and it possesses audacity to the point of a.s.serting that it has settled an account that the spiritual nature had left under sufferance.

Dignity prevents love from degenerating into desire, and grace, from esteem turning into fear. True beauty, true grace, ought never to cause desire. Where desire is mingled, either the object wants dignity, or he who considers it wants morality in his sentiments. True greatness ought never to cause fear. If fear finds a place, you may hold for certain either that the object is wanting in taste and grace, or that he who considers it is not at peace with his conscience.

Attraction, charm, grace: words commonly employed as synonyms, but which are not, or ought not to be so, the idea they express being capable of many determinations, requiring different designations.

There is a kind of grace which animates, and another which calms the heart. One touches nearly the sphere of the senses, and the pleasure which is found in these, if not restrained by dignity, would easily degenerate into concupiscence; we may use the word attraction [Reiz] to designate this grace. A man with whom the feelings have little elasticity does not find in himself the necessary force to awaken his affections: he needs to borrow it from without and to seek from impressions which easily exercise the phantasy, by rapid transition from sentiment to action, in order to establish in himself the elasticity he had lost. It is the advantage that he will find in the society of an attractive person, who by conversation and look would stir his imagination and agitate this stagnant water.

The calming grace approaches more nearly to dignity, inasmuch as it manifests itself through the moderation which it imposes upon the impetuosity of the movements. It is to this the man addresses himself whose imagination is over-excited; it is in this peaceful atmosphere that the heart seeks repose after the violence of the storm. It is to this that I reserve especially the appellation of grace. Attraction is not incompatible with laughter, jest, or the sting of raillery; grace agrees only with sympathy and love.

Dignity has also its degrees and its shades. If it approaches grace and beauty, it takes the name of n.o.bleness; if, on the contrary, it inclines towards the side of fear, it becomes haughtiness.

The utmost degree of grace is ravis.h.i.+ng charm. Dignity, in its highest form, is called majesty. In the ravis.h.i.+ng we love our Ego, and we feel our being fused with the object. Liberty in its plenitude and in its highest enjoyment tends to the complete destruction of liberty, and the excitement of the mind to the delirium of the voluptuousness of the senses. Majesty, on the contrary, proposes to us a law, a moral ideal, which constrains us to turn back our looks upon ourselves. G.o.d is there, and the sentiment we have of His presence makes us bend our eyes upon the ground. We forget all that is without ourselves, and we feel but the heavy burden of our own existence.

Majesty belongs to what is holy. A man capable of giving us an idea of holiness possesses majesty, and if we do not go so far as to kneel, our mind at least prostrates itself before him. But the mind recoils at once upon the slightest trace of human imperfection which he discovers in the object of his adoration, because that which is only comparatively great cannot subdue the heart.

Power alone, however terrible or without limit we may suppose it to be, can never confer majesty. Power imposes only upon the sensuous being; majesty should act upon the mind itself, and rob it of its liberty. A man who can p.r.o.nounce upon me a sentence of death has neither more nor less of majesty for me the moment I am what I ought to be. His advantage over me ceases as soon as I insist on it. But he who offers to me in his person the image of pure will, before him I would prostrate myself, if it is possible, for all eternity.

Grace and dignity are too high in value for vanity and stupidity not to be excited to appropriate them by imitation. There is only one means of attaining this: it is to imitate the moral state of which they are the expression. All other imitation is but to ape them, and would be recognized directly through exaggeration.

Just as exaggeration of the sublime leads to inflation, and affectation of n.o.bleness to preciosity, in the same manner affectation of grace ends in coquetry, and that of dignity to stiff solemnity, false gravity.

There where true grace simply used ease and provenance, affected grace becomes effeminacy. One is content to use discreetly the voluntary movements, and not thwart unnecessarily the liberty of nature; the other has not even the heart to use properly the organs of will, and, not to fall into hardness and heaviness, it prefers to sacrifice something of the aim of movement, or else it seeks to reach it by cross ways and indirect means. An awkward and stiff dancer expends as much force as if he had to work a windmill; with his feet and arms he describes lines as angular as if he were tracing figures with geometrical precision; the affected dancer, on the other hand, glides with an excess of delicacy, as if he feared to injure himself on coming in contact with the ground, and his feet and hands describe only lines in sinuous curves. The other s.e.x, which is essentially in possession of true grace, is also that one which is more frequently culpable of affected grace, but this affectation is never more distasteful than when used as a bait to desire. The smile of true grace thus gives place to the most repulsive grimace; the fine play of look, so ravis.h.i.+ng when it displays a true sentiment, is only contortion; the melodious inflections of the voice, an irresistible attraction from candid lips, are only a vain cadence, a tremulousness which savors of study: in a word, all the harmonious charms of woman become only deception, an artifice of the toilet.

If we have many occasions to observe the affected grace in the theatre and in the ball-room, there is also often occasion of studying the affected dignity in the cabinet of ministers and in the study-rooms of men of science (notably at universities). True dignity is content to prevent the domination of the affections, to keep the instinct within just limits, but there only where it pretends to be master in the involuntary movements; false dignity regulates with an iron sceptre even the voluntary movements, it oppresses the moral movements, which were sacred to true dignity, as well as the sensual movements, and destroys all the mimic play of the features by which the soul gleams forth upon the face. It arms itself not only against rebel nature, but against submissive nature, and ridiculously seeks its greatness in subjecting nature to its yoke, or, if this does not succeed, in hiding it. As if it had vowed hatred to all that is called nature, it swathes the body in long, heavy-plaited garments, which hide the human structure; it paralyzes the limbs in surcharging them with vain ornaments, and goes even the length of cutting the hair to replace this gift of nature by an artificial production. True dignity does not blush for nature, but only for brute nature; it always has an open and frank air; feeling gleams in its look; calm and serenity of mind is legible upon the brow in eloquent traits. False gravity, on the contrary, places its dignity in the lines of its visage; it is close, mysterious, and guards its features with the care of an actor; all the muscles of its face are tormented, all natural and true expression disappears, and the entire man is like a sealed letter.

But false dignity is not always wrong to keep the mimic play of its features under sharp discipline, because it might betray more than would be desired, a precaution true dignity has not to consider. True dignity wishes only to rule, not to conceal nature; in false dignity, on the contrary, nature rules the more powerfully within because it is controlled outwardly. [Art can make use of a proper solemnity. Its object is only to prepare the mind for something important. When the poet is anxious to produce a great impression he tunes the mind to receive it.]

ON THE NECESSARY LIMITATIONS IN THE USE OF BEAUTY OF FORM.

The abuse of the beautiful and the encroachments of imagination, when, having only the casting vote, it seeks to grasp the law-giving sceptre, has done great injury alike in life and in science. It is therefore highly expedient to examine very closely the bounds that have been a.s.signed to the use of beautiful forms. These limits are embodied in the very nature of the beautiful, and we have only to call to mind how taste expresses its influence to be able to determine how far it ought to extend it.

The following are the princ.i.p.al operations of taste; to bring the sensuous and spiritual powers of man into harmony, and to unite them in a close alliance. Consequently, whenever such an intimate alliance between reason and the senses is suitable and legitimate, taste may be allowed influence. But taste reaches the bounds which it is not permitted to pa.s.s without defeating its end or removing us from our duty, in all cases where the bond between mind and matter is given up for a time, where we must act for the time as purely creatures of reason, whether it be to attain an end or to perform a duty. Cases of this kind do really occur, and they are even inc.u.mbent on us in carrying out our destiny.

For we are destined to obtain knowledge and to act from knowledge. In both cases a certain readiness is required to exclude the senses from that which the spirit does, because feelings must be abstracted from knowledge, and pa.s.sion or desire from every moral act of the will.

When we know, we take up an active att.i.tude, and our attention is directed to an object, to a relation between different representations.

When we feel, we have a pa.s.sive att.i.tude, and our attention--if we may call that so, which is no conscious operation of the mind--is only directed to our own condition, as far as it is modified by the impression received. Now, as we only feel and do not know the beautiful, we do not distinguish any relation between it and other objects, we do not refer its representation to other representations, but to ourselves who have experienced the impression. We learn or experience nothing in the beautiful object, but we perceive a change occasioned by it in our own condition, of which the impression produced is the expression.

Accordingly our knowledge is not enlarged by judgments of taste, and no knowledge, not even that of beauty, is obtained by the feeling of beauty.

Therefore, when knowledge is the object, taste can give us no help, at least directly and immediately; on the contrary, knowledge is shut out as long as we are occupied with beauty.