Nature meets us everywhere, at first with reserve, and in form more or less severe. She is like that quiet and serious beauty, that excites not attention by noisy advertisement, nor attracts the vulgar gaze.
How can we, as it were, spiritually melt this apparently rigid form, so that the pure energy of things may flow together with the force of our spirit and both become one united mold? We must transcend Form, in order to gain it again as intelligible, living, and truly felt. Consider the most beautiful forms; what remains behind after you have abstracted from them the creative principle within? Nothing but mere unessential qualities, such as extension and the relations of space. Does the fact that one portion of matter exists near another, and distinct from it, contribute anything to its inner essence? or does it not rather contribute nothing? Evidently the latter. It is not mere contiguous existence, but the manner of it, that makes form; and this can be determined only by a positive force, which is even opposed to separateness, and subordinates the manifoldness of the parts to the unity of one idea—from the force that works in the crystal to the force which, comparable to a gentle magnetic current, gives to the particles of matter in the human form that position and arrangement among themselves, through which the idea, the essential unity and beauty, can become visible.
Not only, however, as active principle, but as spirit and effective science, must the essence appear to us in the form, in order that we may truly apprehend it. For all unity must be spiritual in nature and origin; and what is the aim of all investigation of Nature but to find science therein? For that wherein there is no Understanding cannot be the object of Understanding; the Unknowing cannot be known. The science by which Nature works is not, however, like human science, connected with reflection upon itself; in it, the conception is not separate from the act, nor the design from the execution. Therefore, rude matter strives, as it were, blindly, after regular shape, and unknowingly assumes pure stereometric forms, which belong, nevertheless, to the realm of ideas, and are something spiritual in the material.
The sublimest arithmetic and geometry are innate in the stars, and unconsciously displayed by them in their motions. More distinctly, but still beyond their grasp, the living cognition appears in animals; and thus we see them, though wandering about without reflection, bring about innumerable results far more excellent than themselves: the bird that, intoxicated with music, transcends itself in soul-like tones; the little artistic creature, that, without practise or instruction, accomplishes light works of architecture; but all directed by an overpowering spirit, that lightens in them already with single flashes of knowledge, but as yet appears nowhere as the full sun, as in Man.
This formative science in Nature and Art is the link that connects idea and form, body and soul. Before everything stands an eternal idea, formed in the Infinite Understanding; but by what means does this idea pass into actuality and embodiment? Only through the creative science that is as necessarily connected with the Infinite Understanding, as in the artist the principle that seizes the idea of unsensuous Beauty is linked with that which sets it forth to the senses.
If that artist be called happy and praiseworthy before all to whom the gods have granted this creative spirit, then that work of art will appear excellent which shows to us, as in outline, this unadulterated energy of creation and activity of Nature.
It was long ago perceived that, in Art, not everything is performed with consciousness; that, with the conscious activity, an unconscious action must combine; and that it is of the perfect unity and mutual interpenetration of the two that the highest in Art is born.
Works that want this seal of unconscious science are recognized by the evident absence of life self-supported and independent of the producer; as, on the contrary, where this acts, Art imparts to its work, together with the utmost clearness to the understanding, that unfathomable reality wherein it resembles a work of Nature.
It has often been attempted to make clear the position of the artist in regard to Nature, by saying that Art, in order to be such, must first withdraw itself from Nature, and return to it only in the final perfection. The true sense of this saying, it seems to us, can be no other than this—that in all things in Nature, the living idea shows itself only blindly active; were it so also in the artist, he would be in nothing distinct from Nature. But, should he attempt consciously to subordinate himself altogether to the Actual, and render with servile fidelity the already existing, he would produce larvae, but no works of Art. He must therefore withdraw himself from the product, from the creature, but only in order to raise himself to the creative energy, spiritually seizing the same. Thus he ascends into the realm of pure ideas; he forsakes the creature, to regain it with thousandfold interest, and in this sense certainly to return to Nature. This spirit of Nature working at the core of things, and speaking through form and shape as by symbols only, the artist must certainly follow with emulation; and only so far as he seizes this with genial imitation has he himself produced anything genuine. For works produced by aggregation, even of forms beautiful in themselves, would still be destitute of all beauty, since that, through which the work on the whole is truly beautiful, cannot be mere form. It is above form—it is Essence, the Universal, the look and expression of the indwelling spirit of Nature.
Now it can scarcely be doubtful what is to be thought of the so-called idealizing of Nature in Art, so universally demanded. This demand seems to arise from a way of thinking, according to which not Truth, Beauty, Goodness, but the contrary of all these, is the Actual. Were the Actual indeed opposed to Truth and Beauty, it would be necessary for the artist, not to elevate or idealize it, but to get rid of and destroy it, in order to create something true and beautiful. But how should it be possible for anything to be actual except the True; and what is Beauty, if not full, complete Being?