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The Beautiful Soul ration, come together, and man acts with passion and<br />

Kant rejected the lowest level of feeling, utter heter- joy on the basis of reason. At the level of reason we<br />

onomy; but his view of the emotions remained trap- can trust in our feelings confidently, because duty has<br />

ped on the level of the Understanding. And just as become our very nature and our will determines<br />

man on the level ofheteronomy is inclined to blindly necessity. Only thus are we free.<br />

submit to the rule of his impulses, so on the level of The person who has attained this state of moral<br />

Understanding he characteristically finds himself beauty, says Schiller, possesses a beautiful soul (sch_'ne<br />

caught in a dichotomy between the Understanding's Seele). It is the same concept that Plato terms the<br />

capacity for lawful thought and a completely sepa- "golden soul," the condition about which Nicholas<br />

rate, infantile emotionality,<br />

of Cusa says: He who acts on the basis of reason and<br />

Kant, who after all was a very moral man, reproduces God's primaryquality, His creativecapacattempted<br />

to resolve the dichotomy through the ity, as an imago viva, a living replica of God, becomes<br />

categorical imperative. For Kant, freedom and neces- himself a second God. Schiller, the master of poetic<br />

sity are not identical, but form an antinomy; and in composition, calls this the state wherein one has<br />

doubtful cases, morality demands that man fulfill "taken God into his will."<br />

necessity at the expense of freedom. The man for whom the Kantian antinomies no<br />

Schiller, for whom moral beauty was the pinnacle longer hold true, the schb'neSeele, is the creative genius<br />

of human character, found Kant's rigid ethics some- who in one sweep possesses all the endowments of<br />

what repellent. In "On Grace and Dignity" ("rOber individual human nature: "For if genius is to unite<br />

Anmut und Wfirde") he asks how an individual's the individual impressions it has received from infi-<br />

Gemfit, his soul, can be constituted so that it not only nitely manifold reality, it must proceed according to<br />

harmonizes with beauty, but brings beauty into exist- objective laws under the difficult to perceive but<br />

ence. This cannot be done by altogether suppressing unfailing influence of pure reason."<br />

sensuousness, as Kant demanded. Beauty, the expres- For Kant, genius is a mystical concept. In his<br />

sion of absolute self-development and self-determi- worst work, his Critique ofJudgment, he goes so far as<br />

nation, can exist only where nature retains its free- to maintain that genius has no place at all in science;<br />

dom. Wherever sensuousness is suppressed, however, at most, genius exists within the domain of art. As<br />

reason must deal with its stubborn resistance through Heine accurately observed, Kant had one fundamensubstantial<br />

force and compulsion, tal problem: he was not a genius.<br />

On the other hand, unconditional rule by the By contrast, Schiller states that"our pure spiritual<br />

instincts is equally impossible; man's moral sense, nature is endowed with a sensuous one, not in order<br />

which uniquely distinguishes him from all other to throw if off like a burden or strip it away like a<br />

living creatures, would rise up in revolt. Above all, coarse husk--no, but to unite it most intimately with the<br />

man's aesthetic sense--which is never satisfied by higher self." And further, on Kant's method: "In the<br />

mere matter, but finds delight in freely developed Kantian moral philosophy the idea of duty is set forth<br />

form--would turn away in loathing from a prospect with such harshness that a weak mind could easily be<br />

involving only carnal appetites, tempted to seek moral perfection through a morose,<br />

It is interesting to note that Schiller compares the monastic asceticism."<br />

first alternative suppressing material desire--with Kant is like the monk who has to muster all his<br />

an oppressive monarchy; the second, rule by the moral energy to suppress his evil fantasies, who<br />

instincts, he calls an equivalent form of despotism, shudders at sensuousness because for him it seems<br />

only this time administered by many heads rather dirty, and who therefore never thinks it possible to<br />

than one--namely, by the most degraded classes. Here develo p the emotions through education from the<br />

Schiller has taken the argument developed in Kant's level of sensual appetite to the level of reason. What<br />

essay "Toward Perpetual Peace" that Lockean abso- a contrast with Schiller, who knew this process of<br />

lutism and Rousseauvian democracy are merely two development as clearly as he knew the means of<br />

sides of the same coin, and applied it to the deficiencies achieving it! Schiller explains that it is a question of<br />

of Kant's own theory,<br />

using education to accustom and instruct the impulses<br />

Having, so to speak, used Kant's own categories to the demands of reason, while at the same time<br />

to reject the ethics of both absolutism and democracy, reason must be ready constantly to seize the reins<br />

Schiller discusses the higher condition in which free- whenever the impulses want to rebel against it.<br />

dom and necessity no longer represent an antinomy. The education of men to reason must proceed in<br />

In this state, reason and sensuousness, duty and inspi- tandem with the education of the feelings to reason.<br />

30 June 1980 / CAMPAIGNER

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