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He invented this style of speaking, and made it express the supersensuous, the incommunicable. Lowell wrote, while still under the spell of the magician: "Emerson's oration was more disjointed than usual, even with him.
Reason is supersensual, and its antagonist is appetite, and the objects of appetite the lust of the flesh. II. Reason and its objects do not appertain to the world of the senses, inward or outward; that is, they partake not of sense or fancy. Reason is supersensuous, and here its antagonist is the lust of the eye.
The god does not descend to inform the statue; but the statue is made after the Idea figured forth by the divinity it is intended to represent; and through that Idea the image is as intimately connected with the Godhead, as, by the bond of Soul, everything else that is manifest to our senses is connected with the phenomena of the supersensuous World.
Many people have it, or think they have it, as a result of reasoning, or it has been, they say, grounded and rooted in their minds by the earliest teaching. There are those, perhaps, who have no other reason than this tradition, for their supersensuous ideas. Such people, as soon as they come to reason seriously on or about those ideas, begin to doubt and to lose their hold.
There is nothing unscientific in the idea that, beyond the lines of force felt by the senses, the universe may be as it has always been either a supersensuous chaos or a divine unity, which irresistibly attracts, and is either life or death to penetrate. Thus far, religion, philosophy, and science seem to go hand in hand. The schools begin their vital battle only there.
My will, which I myself, and no stranger, fit to the order of that world, is this fountain of true life and of eternity. But only my will is this fountain; and only when I acknowledge this will to be the true seat of moral excellence, and actually elevate it to this excellence, do I attain to the certainty and the possession of that supersensuous world.
In general, then, it seems to me abundantly clear that the humanistic movement has both limited and secularized Christian preaching. It dogmatically ignores supersensuous values; hence it has rationalized preaching hence it has made provincial its intellectual approach and treatment, narrowed and made mechanical its content. It has turned preaching away from speculative to practical themes.
Beyond the shadow of any doubt he is convinced that the universe was made for him, and that it is his destiny to live for ever in the immaterial and supersensuous realms he and his kind have builded of the stuff of semblance and deception.
Hence, both those lower elements in human nature, the nature and extent of whose force it either cloaks or minimizes, and those imponderable and supersensuous values which it tends to ignore and which are not ordinarily included in its definition of experience, return to vex and plague it.
Then follows a long and juiceless Begriffszergliederung, which may be passed over as containing little that is of importance for the understanding of Schiller's individuality. At last he comes to the subject of tragic pathos, as the most important phase of the practical-sublime. Here he lays down the dogma that the final aim of art is the representation of the supersensuous.
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