Aesthetic impression

What the two arts we have spoken of accomplish for these lowest grades of the objectivity of will, is performed for the higher grades of vegetable nature by artistic horticulture.

The landscape beauty of a scene consists, for the most part, in the multiplicity of natural objects which are present in it, and then in the fact that they are clearly separated, appear distinctly, and yet exhibit a fitting connection and alternation. These two conditions are assisted and promoted by landscape-gardening, but it has by no means such a mastery over its material as architecture, and therefore its effect is limited. The beauty with which it is concerned belongs almost exclusively to nature; it has done little for it; and, on the other hand, it can do little against unfavourable nature, and when nature works, not for it, but against it, its achievements are small.

The vegetable world offers itself everywhere for æsthetic enjoyment without the medium of art.

but so far as it is an object of art, it belongs principally to landscape-painting; to the province of which all the rest of unconscious nature also belongs.

In paintings of still life, and of mere architecture, ruins, interiors of churches, &c., the subjective side of æsthetic pleasure is predominant, i.e., our satisfaction does not lie principally in the direct comprehension of the represented Ideas, but rather in the subjective correlative of this comprehension, pure, will-less knowing. For, because the painter lets us see these things[283] through his eyes, we at once receive a sympathetic and reflected sense of the deep spiritual peace and absolute silence of the will, which were necessary in order to enter with knowledge so entirely into these lifeless objects, and comprehend them with such love, i.e., in this case with such a degree of objectivity. The effect of landscape-painting proper is indeed, as a whole, of this kind; but because the Ideas expressed are more distinct and significant, as higher grades of the objectivity of will, the objective side of æsthetic pleasure already comes more to the front and assumes as much importance as the subjective side. Pure knowing as such is no longer the paramount consideration, for we are equally affected by the known Platonic Idea, the world as idea at an important grade of the objectification of will. But a far higher grade is revealed by animal painting and sculpture. Of the latter we have some important antique remains; for example, horses at Venice, on Monte Cavallo, and on the Elgin Marbles, also at Florence in bronze and marble; the ancient boar, howling wolves, the lions in the arsenal at Venice, also in the Vatican a whole room almost filled with ancient animals, &c. In these representations the objective side of æsthetic pleasure obtains a marked predominance over the subjective.

The peace of the subject which knows these Ideas, which has silenced its own will, is indeed present, as it is in all æsthetic contemplation; but its effect is not felt, for we are occupied with the restlessness and impetuosity of the will represented.

It is that very will, which constitutes our own nature, that here appears to us in forms, in which its manifestation is not, as in us, controlled and tempered by intellect, but exhibits itself in stronger traits, and with a distinctness that borders on the grotesque and monstrous. For this very reason there is no concealment; it is free, naïve, open as the day, and this is the cause of our interest in animals. The characteristics of species appeared already in the representation of plants, but showed [284] itself only in the forms; here it becomes much more distinct, and expresses itself not only in the form, but in the action, position, and mien, yet always merely as the character of the species, not of the individual. This knowledge of the Ideas of higher grades, which in painting we receive through extraneous means, we may gain directly by the pure contemplative perception of plants, and observation of beasts, and indeed of the latter in their free, natural, and unrestrained state. The objective contemplation of their manifold and marvellous forms, and of their actions and behaviour, is an instructive lesson from the great book of nature, it is a deciphering of the true signatura rerum.53 We see in them the manifold grades and modes of the manifestation of will, which in all beings of one and the same grade, wills always in the same way, which objectifies itself as life, as existence in such endless variety, and such different forms, which are all adaptations to the different external circumstances, and may be compared to many variations on the same theme. But if we had to communicate to the observer, for reflection, and in a word, the explanation of their inner nature, it would be best to make use of that Sanscrit formula which occurs so often in the sacred books of the Hindoos, and is called Mahavakya, i.e., the great word: “Tat twam asi,” which means, “this living thing art thou.”

53 Jakob Böhm in his book, “de Signatura Rerum,” ch. i., § 13-15, says, “There is nothing in nature that does not manifest its internal form externally; for the internal continually labours to manifest itself…. Everything has its language by which to reveal itself…. And this is the language of nature when everything speaks out of its own property, and continually manifests and declares itself, … for each thing reveals its mother, which thus gives the essence and the will to the form.”