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By Friedrich Schiller

The specified topic of the higher a part of the letters and essays of Schiller contained during this quantity is Aesthetics; and sooner than passing to any comments on his therapy of the topic it is going to be helpful to provide a couple of observations at the nature of this subject, and on its remedy via the philosophical spirit of alternative ages.
First, then, aesthetics has for its item the sizeable realm of the attractive, and it can be such a lot accurately outlined because the philosophy of artwork or of the advantageous arts. to a couple the definition could appear arbitrary, as apart from the attractive in nature; however it will stop to seem so whether it is remarked that the sweetness that is the murals is better than common attractiveness, since it is the offspring of the brain. in addition, if, in conformity with a undeniable institution of recent philosophy, the brain be considered because the actual being, together with all in itself, it has to be admitted that attractiveness is simply actually attractive while it stocks within the nature of brain, and is mind’s offspring.
Viewed during this gentle, the wonderful thing about nature is simply a mirrored image of the wonderful thing about the brain, basically a less than perfect attractiveness, which as to its essence is incorporated in that of the brain. Nor has it ever entered into the brain of any philosopher to increase the gorgeous in ordinary items, with a purpose to convert it right into a technological know-how and a process. the sector of typical good looks is simply too doubtful and too fluctuating for this objective. additionally, the relation of attractiveness in nature and wonder in artwork kinds part of the technology of aesthetics, and unearths back its right place…


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Irresistibly carried away and attracted by her womanly charm, kept off at a distance by her godly dignity, we also find ourselves at length in the state of the greatest repose, and the result is a wonderful impression for which the understanding has no idea and language no name. LETTER XVI. From the antagonism of the two impulsions, and from the association of two opposite principles, we have seen beauty to result, of which the highest ideal must therefore be sought in the most perfect union and equilibrium possible of the reality and of the form.

By the union of these two qualities man will associate the highest degree of self-spontaneity (autonomy) and of freedom with the fullest plenitude of existence, and instead of abandoning himself to the world so as to get lost in it, he will rather absorb it in himself, with all the infinitude of its phenomena, and subject it to the unity of his reason. But man can invert this relation, and thus fail in attaining his destination in two ways. He can hand over to the passive force the intensity demanded by the active force; he can encroach by material impulsion on the formal impulsion, and convert the receptive into the determining power.

This proposition, which at this moment perhaps appears paradoxical, will receive a great and deep meaning if we have advanced far enough to apply it to the twofold seriousness of duty and of destiny. I promise you that the whole edifice of aesthetic art and the still more difficult art of life will be supported by this principle. But this proposition is only unexpected in science; long ago it lived and worked in art and in the feeling of the Greeks, her most accomplished masters; only they removed to Olympus what ought to have been preserved on earth.

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