175.
Sensuousness in Present-day Art.—Artists nowadays frequently miscalculate when they count on the sensuous effect of their works, for their spectators or hearers have no longer a fully sensuous nature, and, quite contrary to the artist's intention, his work produces in them a "holiness" of feeling which is closely related to boredom. Their sensuousness begins, perhaps, just where that of the artist ceases; they meet, therefore, only at one point at the most.
176.
Shakespeare As a Moralist.—Shakespeare meditated much on the passions, and on account of his temperament had probably a close acquaintance with many of them (dramatists are in general rather wicked men). He could, however not talk on the subject, like Montaigne, but put his observations thereon into the mouths of impassioned figures, which is contrary to nature, certainly, but makes his dramas so rich in thought that they cause all others to seem poor in comparison and readily arouse a general aversion to them. Schiller's reflections (which are almost always based on erroneous or trivial fancies) are just theatrical Reflections, and as such are very effective; whereas Shakespeare's reflections do honour to his model, Montaigne, and contain quite serious thoughts in polished form, but on that account are too remote and refined for the eyes of the theatrical public, and are consequently ineffective.
177.
Securing a Good Hearing.—It is not sufficient to know how to play well; one must also know how to secure a good hearing. A violin in the hand of the greatest master gives only a little squeak when the place where it is heard is too large; the master may then be mistaken for any bungler.
178.
The Incomplete As the Effective.—Just as figures in relief make such a strong impression on the imagination because they seem in the act of emerging from the wall and only stopped by some sudden hindrance; so the relief-like, incomplete representation of a thought, or a whole philosophy, is sometimes more effective than its exhaustive amplification,—more is left for the investigation of the onlooker, he is incited to the further study of that which stands out before him in such strong light and shade; he is prompted to think out the subject, and even to overcome the hindrance which hitherto prevented it from emerging clearly.
179.
Against the Eccentric.—When art arrays itself in the most shabby material it is most easily recognised as art.