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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 realized, which the political zealot would gladly see carried out socially.
The dynamic state can only make society simple possibly 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 generalize our individual pleasures, because we cannot generalize our individuality. We enjoy the pleasures of knowledge as a race, dropping the individual in our judgment; but we cannot generalize 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.
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 or 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 realized in humanity, the best proof given by the analysis is that this realization is demanded. But, as in the realization 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 realization of the infinite in the finite, and consequently also the possibility of the most sublime humanity.