Now if we abide in these entirely vacant forms, which originate in the absoluteness of the abstract Ego, nothing can then be regarded as of value in itself, that is, essentially and on its own account[124]. It is exclusively produced by the subjectivity of the Ego. But this being so, it follows that the Ego remains lord and master over everything. In no sphere of morals or law, of all that is human or divine, profane or sacred, is there anything at all which would not in the first instance have to be posited by the Ego, and which consequently could not equally be nullified by the same agency. This is nothing less than making all that exists on its own actual and independent warranty a mere semblance, not true and a part of reality on account of itself and by its own instrumentality, but a mere show in virtue of the Ego, within whose power and caprice it remains at the free disposition of such. To suffer its presence and to destroy it stands purely in the favour of the Ego, which has attained the absolute standpoint as essentially the Ego, that and nothing more than that.
Thirdly, the Ego is a living, active individual, and its life consists in bringing home its individuality to itself no less than to others, in giving expression to itself and revealing itself among phenomena[125]. For every man during his life endeavours to realize himself and does realize himself. In relation to the beautiful and art this means that he lives the life of an artist, and shapes his life artistically. But, according to the principle now discussed, I live as artist when all my action and expression whatever, in so far as it has to do with a content, is for myself on the plane of mere semblance, and assumes a formal content which is wholly at my disposal. So I am not truly serious either about this content or, speaking generally, about its expression and realization. Genuine seriousness only issues from a substantive interest, a subject-matter which itself possesses a rich content, such as truth, morality, and so on—in other words, from a content which as it stands I regard as essential, so that I only become essential on my own account, in so far as I have absorbed myself in such a content, and have come to conform myself to it in the entire range of my thought and action. At the standpoint at which the artist is the Ego, which both posits and resolves everything through its own essential fiat[126], for which no content of consciousness appears as absolute and essentially independent, but only as itself a semblance created and destroyable, such seriousness can find no place, nothing here receiving a right to be save the formalism of the Ego.
No doubt for others my self-revealment, in which I appear to them, may be taken seriously, inasmuch as they interpret me as though in reality I was in earnest about the business; but therein they are deluded, poor, borné creatures, without the faculty or the power to comprehend and attain to the height of my argument. And by this it is brought home to me that everyone is not so free (e.g., that is formally free) as to see in all which is usually of value, dignity and sanctity to mankind, merely a product of each man's own possibilities of inclination, which is operative in permitting him to determine and make rich the course of his life, or the reverse. It is thus that this virtuosity of your ironical artist's life comes to be credited as some god-like geniality, for which every conceivable thing is a purely spectral creature, to which the free creator, knowing himself to be absolutely unattached, does not yoke himself, for he can ever annihilate the same no less than create it. Whoever has reached such a standpoint of god-like geniality consequently looks down in his superior fashion on all other mortals. They are ruled out as narrow and dull, in so far, that is, as law, morals, and the rest retain for them a validity that is assured, obligatory, and essential. And the individual who thus lives this artist life, which he does no doubt associate with others, whether friends or mistresses or I know not what, yet as man of genius sets no real stock on such relations as they stand to his individual personality and particular actions. All these are as nothing in their contrast to the universal which is his in its own and independent warranty, namely that genius which faces all such with irony. This is the universal import of the genial god-like irony as this concentration of the Ego in itself, for which all bands are broken, and which can only live in the bliss of self-enjoyment. This irony was the discovery of Herr Fried, von Schlegel, and many have chattered about it after him, or it may be are giving us a fresh sample of such chatter.
The proximate form of this negativity which has been called irony is, then, on the one hand, the illusory nature[127] of all that is matter of fact, or moral, or of substantive content, the nothingness of all that is objective and of essential and independent worth. So long as the Ego adheres to such, a standpoint as this, everything appears to be null and void, the personal subjectivity alone excepted, which thereby becomes hollow and empty, and nothing but conceit itself. Conversely, however, from the opposite point of view, the Ego may also fail to find satisfaction in this self-delight; it may prove an insufficient supply to its craving, so that it now feels a thirst for what is secure and substantive, definite and essential interests. From a situation such as this there arises unhappiness and the contradiction, that whereas, on the one hand, the individual seeks to penetrate into truth and longs after objectivity, yet on the other he is unable to divest himself of this isolation and self-seclusion, is unable to overcome this unsatisfied and abstract soul-inwardness, and consequently is seized with a fit of sentimental yearning, which we have also marked as one of the emanations of the philosophy of Fichte. The discontent of this quiescence and impotence, which is unable either to act or set its hands to anything, lest it have to surrender the harmony within, and which remains unreal and empty, even though it may be essentially unflecked, despite all its craving for reality and the absolute—is the source of morbid saintliness[128] and yearning. A soul that is fair or saintly in a true sense acts and is a reality. But all that yearning and heart burning is merely the feeling of the nothingness of the empty and vain personage, who has it, and yet has not the power to cast himself adrift of this empty void, and fill himself with that which is solid and substantive. In so far, however, as the irony is made an art type it did not restrict itself in giving artistic shape to the life and particular individuality of the man who appropriated the irony. Over and beyond the artistic content of his own actions, etc., the artist had also to produce objective works of art as the creations of his imagination. The principle of such productions, which mainly are confined to the domain of poetry, is once more the display of the god-like as Irony. The ironical here, however, as genial individuality, consists in the self-annihilation of what is noble, great, and excellent. Consequently the independent figures of art will also have to illustrate the principle of absolute subjectivity, and to do so by exhibiting all that is of human worth and dignity as a mere naught in this process of self-annihilation. This implies not merely that we are not to take seriously justice, morality and truth, but that there is really nothing in what is highest and best. In short it amounts to this, that irony contradicts and annihilates itself as manifested in individuals, characters and actions, and consequently is an irony which overreaches itself[129]. This mode or art-type, abstractly considered, approaches closely to the principle of comedy. At the same time we ought fundamentally to distinguish the comic from the ironical as thus associated. For the comic must be limited to the making null what is essentially itself of no worth, that is to say, a false and contradictory appearance, a whim, for instance, a piece of egotism, a particular caprice, as set over against a mighty passion; or even some principle, assumed to be efficacious, or rigid maxims may be thus exposed in their nullity. But it is wholly a different matter, when what is in fact moral and true, generally something with really substantive core, is asserted in an individual and through the same as essentially of no account. Such an individual is then nugatory and despicable in his character, and the weakness and absence of character are thus introduced into the representation. In this distinction, therefore, between the ironical and the comic the point of real importance is what is the nature of the content which is destroyed. They are in the case of irony evil, good for nothing subjects, persons unable to hold staunchly to their fixed and important purposes, only too ready to give it up and to permit its destruction within them. Your "Irony" loves this irony of the characterless. For true character implies on the one hand an essential substance in its purpose, and on the other adherence to such a purpose, so that individuality would be rifled of its veritable existence, if it was compelled to let it drop and give it up. This doggedness and stability constitutes the keynote of character. Cato can only live as Roman and republican. Now if irony is made the keynote of the representation, we have the extreme antithesis to art accepted as the true principle of the work of art. For what we have here is in part insipid figures, in part figures that have neither content nor defined position[130]. Seeing that what is of substance in them is proved to be an illusion. And, last of all, we have into the bargain those yearning floods and unresolved contradictions of the soul. Compositions of this kind are not likely to arouse real interest. And for this very reason it is precisely from the advocates of this Irony that we have the continuous round of lament over the public's want of critical sense, artistic insight and genius, which of course cannot appreciate the lofty ways of such an Irony; in other words what the public does not like is this very mediocrity, which is the half of it mere trifling[131], and the other half without distinctive character. And it is right that these spectre-like, moon-shine gazing natures are no favourites; it is a comfort to think that this insincerity and hypocrisy is not in fashion, and that what men, on the contrary, demand imperatively are full and veritable interests, and no less so characters which remain true to the weighty substance at their core. We may add as a matter of historical interest that it was Solger and Ludwig Tieck who above all accepted irony as the highest principle of art.
This is not the place to speak of Solger at the length he really merits; and I must content myself with a few general remarks. Solger was not, as the others were, satisfied with a superficial philosophical culture. A truly speculative impulse of his innermost nature made him probe the very depths of the philosophical idea. And in doing so he came upon the dialectical phase of the Idea, that transition point which I call the infinite absolute negativity, the activity of the idea in its negation of itself as infinite and universal, in order to pass into finiteness and particularity, and with no less truth once more in order to annul this negation, and in so doing to establish again the universal and infinite within the finite and particular. Solger did not get beyond this negativity; and unquestionably it is a phase[132] in the speculative idea; but nevertheless, as exclusively conceived in this dialectic unrest and dissolution of the infinite no less than the finite, it is only such a phase contributory, and not, as Solger imagined, the Entire Idea. Unfortunately Solger's life was too early broken off to permit him to grasp the concrete evolvement of the philosophical Idea in all it implies. And so he never got beyond this aspect of negativity, which possesses an affinity with the dissolution by irony of all that is determinate no less than essentially substantive, a negative movement which he identified with the principle of artistic activity. Yet in the actual conditions of his life, and with due reference to the stability, seriousness, and sterling qualities of his character, he was neither himself an ironic artist in the sense we have previously described, nor was his really profound instinct for true works of art, a sense which a long course of study of art had developed greatly, either of such an ironical character. So much we will venture in the vindication of Solger, whose life, philosophy, and actual contributions to art merit being wholly kept separate from the apostles of irony previously named.
With regard to Ludwig Tieck, his culture, too, dates from that period in which Jena was the literary centre. Tieck and others who belonged to these superior people are on excellent terms with such modes of expression, without being able to tell us much what they mean. Thus Tieck always insists on the importance of Irony. But when it comes to delivering judgment on great works of art, though his recognition and description of their greatness is no doubt beyond reproach, yet if one imagines that in any particular example—let us say "Romeo and Juliet"—we have the opportunity put for an explanation of that in which here the irony consists, we are wide of the mark. We hear nothing more whatever about Irony.
V[133]
1. After the above introductory observations we may now pass on to the consideration of our subject itself. We are, however, still within the introduction; and being so I do not propose to attempt anything more than indicate by way of sketch the main outlines of the general course of the scientific inquiry which is to follow it. Inasmuch, however, as we have referred to art as issuing from the absolute Idea itself, and, indeed, have assigned as its end the sensuous presentation of the Absolute itself, it will be incumbent on us to conduct this survey of the entire field in such a way, as at least to disclose generally, how the particular parts originate in the notional concept of the beauty of art. We must therefore attempt to awaken some idea of this notion in its broadest significance.