�On the ground for enjoying tragic subjects� and �On the contemporary German theatre�,

�On the ground for enjoying tragic subjects� and �On the contemporary German theatre�,

A Chapter by J. Marc
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In �On the ground for enjoying tragic subjects� and in �On the contemporary German theatre�, Friedrich Schiller analyses the many aesthetic effect of tragic subjects, among other things, that they reflect to us values we cherish but which, unfortunately,

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On the reason for appreciating tragic subjects         (1791)                                       

No matter how much some new aesthetes make it their duty to defend the arts of fantasy and sentiment against the general belief that these arts aim at our enjoyment, it is, somehow, as if they defend themselves against a demeaning reproach, for this belief will persist, nevertheless and more than ever, on its solid grounds, and the beautiful arts will not be willing to exchange their long-established, indisputable and charitable profession with a new one, into which people would very kindly want to expand it.

 

Unconcerned that directing their determination at our enjoyment, degrades this same enjoyment; they will be rather more proud of the advantage that their activities immediately perform the same enjoyment, which any other directions and activities of the human spirit only fulfil indirectly. That the goal of Nature for the human being is his happiness - even if the human being himself, in his moral dealings, should know nothing of this goal - anyone, who only presumes, anyway, of a goal in Nature, will really not doubt.

 

The beautiful arts have in common with Nature, hence, or much more with its instigator, the goal of bestowing enjoyment and making happy. They award playfully, what their more serious sisters let us only gain laboriously; they offer, here, the prize which, there, can only be obtained, sourly, at the cost of many efforts. With strained diligence, we must obtain the enjoyments of intelligence; with painful sacrifice, we must acquire the approval of reason; we must attain sensible joy, through serious privations or we must pay the excess of the same through a succession of sufferings; Art alone assures to us pleasures, which may not only be matched, which do not cost any sacrifice, which can not incur any remorse.

Who will put, however, in the same class the merit of amusing oneself in such a manner, with the miserable merit of entertaining oneself? Who will be enticed, hence, to dispute to the beautiful art, really, this goal of enjoyment and happiness, because it is elevated beyond this same goal?

The well meaning intention, to pursue moral goodness as the highest of any goal, which already produced and took into protection, in the artistic field, so many average talents, has also in the theoretical field caused similar damages. In order to instigate the Arts with a rightfully elevated level, in order for them to gain the favour of the state, the respect of all the human beings, people drive them out of their uncharacteristic territory, in order to offer them a profession, which is foreign and really unnatural to them.

People believe to do them a great service, when they substitute their frivolous goal of amusing themselves with a moral one, and this pronouncement must support the fact that they, very much, have an obvious influence on morality.

People find it contradictory, that this same Art, which advances the highest goal of Humanity in such great measures, perform only this action temporarily and should only devote its very last attention to such a common goal, as pleasure is usually considered. However, if we had an appropriate theory of pleasure and a complete philosophy of Art, we would be in condition to lift very easily this apparent contradiction.

From this situation, we would derive that a free appreciation, in the way that Art brings it forward, rests, throughout, on moral conditions, that the whole moral nature of the human being is, in that condition, active.

From that, we would further derive that the institution of this pleasure is a goal, which can be reached simply only through moral means, that, hence, Art, in order to perfectly reach the pleasure as its genuine goal must proceed through moral act.

For the appreciation of Art, it is, however, perfectly indifferent whether its goal is a moral one or not, or whether it can reach its goal only through moral means or not, for in both cases, it has to deal with morality and must deal with the moral feeling in its narrowest meaning; however, for the perfection of Art, it is not at all indifferent, whichever of both is its goal and whichever is its means.

This excerpt is 702 words long. This essay is 5 465 words long. If you want to read more excerpts please send a request to [email protected]



© 2009 J. Marc


Author's Note

J. Marc
copy the passage that is not clear to you

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Added on May 3, 2008
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J. Marc
J. Marc

Antananarivo, Madagascar



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