The trouble started on a February afternoon. Februarys are the worst months. The liminal space between last year and this year. End and beginning. A long stretch of nothing. The lights and fanfare gone. Even March at least has the whispers of Spring. ... Continue reading this post for free in the Substack app
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By David Gosselin
Two kinds of genius may escort you throughout life. Translation © David B. Gosselin Reflections on the Beautiful & the SublimeThe question of Beauty and the Sublime, and the relationship of these two distinct but intimately related concepts occupied much of the poet Friedrich Schiller’s time. This relationship was explored in his dramas like The Virgin of Orleans, Don Carlos, and Wilhelm Tell, but also in his philosophical verses like “The Guides of Life,” and his writings on aesthetics. As part of his studies, Schiller composed a series of 27 “Letter on the Aesthetic Education of Man.” There Schiller explored the function of the fine arts and a classical education in society with the recognition that human beings would always remain incomplete and often awkward or deficient beings—regardless of how many rules and laws were legislated—unless they were able to adequately cultivate the sentiments necessary for an appreciation of both the Beautiful and the Sublime. In Schiller’s mind, as in the mind of many of the greatest classical thinkers, the relationship between the aesthetic principles of Beauty and the moral laws of universe were not separate; they were simply distinct reflections of the same universal order and harmony characterizing a cosmos composed according to Reason, and man’s innate ability to conceptualize and act on the principles of Reason, unlike beasts which had to rely on their inborn instincts, making them never free to venture beyond these predetermined guides. Schiller’s reflections on the nature of art and its relationship to the development of a truly free and harmoniously composed society were in many ways spurred by the reigning philosophical system of Kant, the archetypal strict Apollonian system where virtue and morality were by and large framed as a question of “following the rules.” So in his first letter, Schiller writes:
Rather than a strict Apollonian or Kantian definition of Beauty which simply involves following “the rules” and adhering to formal principles—Formalism—Schiller introduces the idea of the “play instinct” as the mediating and transcendent instinct between what he identified as a “sensuous instinct” (man’s material condition) and the “formal instinct” (man’s reason). The “play instinct” serves as the fundamental driver for any truly creative mind whose mastery of form was understood as a means of granting him the freedom to create and participate in a truly thriving culture driven by new creative breakthroughs in both the sciences and arts. So in his ninth letter, Schiller writes about art’s mediating role in fully cultivating the higher faculties of man:
In the first letter, Schiller begins by stating that few would disagree on the moral maxims and “categorical imperative” of Kant’s ethical system, but that no one in reality really learns or seeks to realize their true natural human potentials and desire to do good by simply “following the rules.” For, Schiller points out that one can follow rules without desiring to do so or not because of his love of Beauty, Truth, and Goodness. In fact, for many following the rules takes the form of a blind adherence to formalism and rarefied forms of religion in which self-righteousness and virtue signalling, or simply slavishly going along with convention, either out of fear or for the purposes of maintaining appearances, upends the natural end for which The Laws and a philosophical investigation of the fundamental principles of nature were first laid out i.e. for the sake of living a happy and good life that benefits not only the individual, but society as a whole. For Schiller, anything short of performing one’s duty out of love and a desire for Truth and Goodness as ends in themselves constituted an individual’s failure to develop into a complete and whole individual—the condition of what Schiller called “the beautiful soul.” It was by man perfecting himself as a true and whole human being that he could show his genuine love for God and be his neighbor’s keeper. Otherwise, one could technically “follow the rules,” but as Paul stated in 1st Corinthians 13:
Schiller understood that the ugliness and deformity of human character could never be fundamentally changed by simply introducing any kind of Legalistic or tyrannical system of reward and punishment—the kind typified by Pavlovian systems of control and classical conditioning, or purely religious dogmas based on faith without reason—but that were society to ever become truly free and stable, not destined to “boom and bust” cycles characterized by the vacillation between barbarism and anarchy, then a proper education of the sentiments and desires of the general population was a necessary condition for freedom. Schiller recognized that this could never be achieved by a system rules alone, however noble, diligently codified, or brutally enforced. Schiller ultimately pointed out that such systems would ultimately only enforce the notion of men as natural beasts, evidenced by the monumental and strict systems of reward and punishment established across societies to get everyone “in line.” While one could argue that there is a high percentage of “following the rules” and “compliance” in totalitarian states and Legalistic tyrannies, one can’t necessarily say that these are “good societies,” and definitely not genuinely creative societies that thrive on the cultivation and flourishing of the highest faculties of its citizens. Additionally, despite the refining power of Beautiful forms, Schiller also recognized that there occur times in which reality requires individuals to violate the desire for their own natural self-preservation, comfort, pleasure, or self-interest. Beyond simply the question of rules and the ordered principles of Beauty, Schiller recognized that while the Beautiful in all its manifestations served as a guide for harmonizing both the sensual dimensions of man as well as his reason, in his “Guides of Life” he identified the need in both art and life for a second guide, “the Sublime.” Schiller describes this sentiment in the following manner:
In this respect, one can think of the opulence of richly adorned kings and their ancient palaces in which courts and rulers were everywhere surrounded by Beauty, including beautiful architecture, fine linens, lavish feasts, and illustrious speakers. However, in such cases, especially when a majority of the population still lived in deplorable conditions, the “stability” of a society depended on being able to provide the serfs and plebs with enough bread and circus for them to not revolt (as in the Roman Empire). Schiller recognized the limitations of Beauty unbridled by any higher system of lawfulness, that there were times in which a “higher system” of nature had to kick in. Schiller gives us a wonderful example of the Sublime in action by hearkening back to Homer’s Odyssey:
Further on in his essay “On the Sublime,” Schiller reflects on the liberating power of the Sublime:
With the Sublime in mind, and returning to Schiller’s ninth letter, we find the poet’s requirements for the mature and fully-ripened artist:
Schiller encouraged his readers to seek out the Beautiful as a guide and surround themselves and society with it in order to educate tastes, elevate desires, and chase away deformity, but also cautioned them not to place their fate in it alone. While Beauty makes life’s journey seem briefer, more enjoyable, and desirable even in the face of major trials, on the edges of life’s uncertain pathways awaits the Sublime, eternally—something which immortal and undying poets like Homer, Aeschylus, Dante, Shakespeare et al were always conscious of and actively sought to capture in their works. Alas, Schiller reminds us never to trust in one guide alone, neither “the first for dignity, nor the last for luck!” David Gosselin is a poet, researcher, and translator in Montreal, Canada. He is the founding editor of The Chained Muse. His personal Substack is Age of Muses, where he publishes historical deep-dives, original poetry and a variety of writings for a new renaissance. His new book A Renaissance or New Middle Ages: Magic, Mystery, and the Trance Formation of the West can be purchased hereYou're currently a free subscriber to Rising Tide Foundation. For the full experience, upgrade your subscription.
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