He who wishes to rise above the culture of work without transcending the region of experience will scarcely discover any other basis than the individual with his self-consciousness, his “being-for-self.” For, however far work with its influences may penetrate into the innermost recesses of the soul, there always remains something which is able to resist it. Something original seems to spring up here, which fits into no scheme and bows down to no external power.
If, therefore, a newly aroused longing for greater immediacy and happiness in life drives man once more to the subjective and to the individual, he can emphasise this factor conceptually in order to depreciate the other systems of life. For, whether the individual belongs to an invisible world of thought or to a visible structure, his task and his worth is then assigned to him by the whole; his activity will have a definite direction determined by the whole, and his power will be called into play only so far as it fitted into the framework of the whole organisation. If all such relation to the whole is discarded, and the individual becomes bold enough to place himself simply upon his own capacity, and to acknowledge no other standard than his own decision, an infinite course seems to open up before him. What lies in him is now able to develop with complete freedom, and he need take neither a visible nor an invisible order into anxious consideration. The individual, raised to such sovereignty, will make far more out of himself, and will mean far more than the narrow and often over-awed individual of earlier ages. True, even in earlier times opposition from the individual was not lacking, but the circumstances of the Modern Age are especially conducive to his development and recognition. We know how the modern man extricated himself from the ties which bound him, and how he boldly placed himself in opposition to the world. We know how much more freely thought rules in modern life; how much more deeply an over-subtle reflection penetrates everywhere and takes all stability from things. We know, too, how the external form of civilisation, with its acceleration of intercourse, and its development in a thousand directions, sets the individual more free. Is it to be wondered at if the modern individual regards himself as the centre and undertakes to shape the whole of life from himself?
The individual can attain complete independence only when he liberates his soul from all external connections, from every objective relation, and, as a free subject, simply lives his own states of consciousness. This is achieved above all in the disposition—transcending all form and shape and bound to no particular object—which has obtained an independent position chiefly as a result of the Romantic movement. In this a complete detachment of life, an inward infinity, and a complete independence seem attained; every individual has his own course and his own truth; no limit is set to life, no command given, but he can with the utmost freedom develop every impulse and exhaust its possibilities according to its nature. Thus a life arises, profuse and extremely active: a life fine and delicate in nature; a life which is in no way directed beyond itself.
But all agitation, profuseness, and refinement could hardly have prevented this emotional life from becoming hollow, if, when it turned to the individual, it had not united to itself another movement, which is flowing with a powerful current through the age. We mean the movement towards art, and beyond that towards an æsthetic conception of life. From ancient times there has always been an antithesis of an ethical and an æsthetical fashioning of life: of a preponderance on the one hand of the active, on the other hand of the contemplative relation to reality. Emphasis on the activity of man has led to the formation in modern systems of life of a culture of work and utility. An æsthetical, contemplative mode of thought can with good reason feel itself superior to that culture. In contrast to utility, it promises beauty; over against the heaviness and weariness of the way of life of a culture of work, it promises a joy and a lightness; in opposition to effort, hurriedly and continually striving further and further, it promises an independent self-consciousness, and an inward calm. But, as this movement towards art blends with that towards the subject it lapses into a narrow course and assumes a distinctive character. Here, art has less to comprehend the object than to stimulate and please the subject; it will strive less after content and a further construction than with lyrical cadences, to give expression to changing moods. It has a difficult task given to it which can only approximately be solved—the task of expressing something fundamentally inexpressible and resisting all attempts to give it form. But in that art undertakes such an impossibility, and exerts its power to the uttermost, it brings about a refinement of the soul as well as an enrichment of expression. It enables much to be grasped and comprehended which, without it, passes like a fleeting shadow. It permits the observation of the most delicate vibrations of the soul, and throws light into depths which would otherwise be inaccessible.
A distinctive type of life is thus formed from the side of literature and art, and this feels securely supreme over all the embarrassments of the culture of work and of the masses. The centre of life is transferred into the inner tissue of self-consciousness. With the development of this self-consciousness, life appears to be placed entirely on its own resources and directed simply towards itself. Through all change of circumstances and conditions it remains undisturbed; in all the infinity of that which happens to it, it feels that it is supreme. All external manifestation is valuable to it as an unfolding of its own being; it never experiences things, but only itself—that is, its own passive states of consciousness—in the things.
A life of such a kind gives rise, in different directions, to distinctive tendencies, which, through their antithesis to the traditional forms, are sharply accentuated. This system thinks especially to turn the whole of human existence into something positive, to limit it on none of its sides, to raise it everywhere to activity, joy, and pleasure. In the older systems of life, especially in the religious, it finds far too much feeble renunciation, far too much sad negation: such a depreciation of life is henceforth to give way to a complete and joyful affirmation. But an affirmation appears to be possible because in this system, through that reference to and excitement of subjectivity, all that in any way affects man is transformed in activity and advance; because before all else the subject feels its own life in every experience and takes pleasure in this. It must be added that the self-refinement of life, its mobility and delicacy, free it from all the heaviness of existence, and that the free play of forces which exist here transforms the whole of existence into something lightly poised. We find this to be especially the case when we turn to art, which joins beauty to power, or, rather, strengthens life in itself through its embodiment in the beautiful.
This free, joyous, and as it would seem purely self-conscious life is throughout of an aristocratic and individual character. In that it is adapted to the old experience, that to only a few is given the power and the disposition for independent creation and independent life, it addresses itself to these few and summons them to the greatest possible development of the individuality of their nature, to the most decisive detachment from the characterless average of the masses. For, without a completely developed consciousness of individuality, without an energetic differentiation and isolation, life does not seem to attain its greatest height. Thus the matter is one of making all the relations and all the externals of life as individual as possible. Everything which places the development of life under universal standards, and, through these, limits that development, is rejected as an unwarrantable limitation and an intolerable restriction. This individualising of our existence extends also to the matter of our relation to time. One moment may not be sacrificed to another; the present may not be degraded to the status of being a mere preparation for the future, but every moment should be an end in itself, and, with this, life is considered as being solely in the present. And so life is a ceaseless change, a perpetual self-renewal, a continuous transition; but it is just this which preserves to life its youthful freshness and gives to it the capacity to attract through every new charm. Hence this system presents the most definite contrast to the interminable chain and the gigantic construction which the culture of work makes out of the activities of the individuals.
Æsthetic Individualism appears most distinctive in the way it represents the relation between the spiritual and the sensuous. It cannot take its attention from the external world, in order to centre it upon human perception, without strengthening the psychical. But, as its own system is based upon sense experience, it is impossible for it to acknowledge an independent spirituality and to contrast it with the sensuous; the spirituality which it recognises always remains bound and blended with the sensuous. For it an entirely mutual interpenetration is the highest ideal, a spiritualising of the sensuous, and a sensualising of the spiritual to an exactly equivalent degree. This high estimate of the sensuous, and the endeavour to harmonise the spiritual with it, put this new system of life in the sharpest opposition to the older systems, especially to religious Idealism, in which the supremacy of the spiritual is essential.
From such a basal character this system evolves a distinctive relation to the individual values and spheres of life. Artistic literary creation becomes the soul of life; the source of the influences for the fashioning of a new man. The social, political, sphere is reduced to the level of a mere outside world, which urges less to activity on our own part than provokes a sceptical and critical attitude. The lack of attention to all that which fits man into a common order, be it into the State with its laws, or the civic community with its customs and arrangements, permits the free relation of individual to individual in social contact, friendship and love, to develop so much more forcefully. In particular, it is the inter-relationship of the sexes, with its many-sidedness and its inseparable interweaving of spirituality with sensuousness, which occupies thought and dominates literary production. Strike out the erotic element from specifically modern literature, and how insignificant the remainder would appear! It is also in the relation of the sexes that this scheme of life insists on the fullest freedom. There is a marked tendency to regard an acknowledgment of fixed standards and of traditional morals in this connection as a sign of weakness and of a narrow-minded way of thinking.
Since this scheme seeks to realise an æsthetic conception of life and an artistic culture in opposition to all the restraint of tradition and environment, it will come into particularly severe conflict with traditional religion and morality. It must reject religion, or at least what hitherto has been called religion, because, with its blending together of the spiritual and the sensuous in a single world, it can by no means acknowledge a world of independent spirituality; its thought is much too “monistic” for that. It must reject religion also for the reason that, with its immediate affirmation of life, it cannot in the least understand the starting-point of religion, the experience and perception of harsh inner contradictions in our existence. Religion, with all the heroism that it truly shows, is here regarded as a mere lowering of vital energy; a chimera which pleases the weak.