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Updated: June 14, 2025
The following year, 1795, appeared his most important contribution to aesthetics, in his Aesthetical Letters. In these letters he remarks that beauty is the work of free contemplation, and we enter with it into the world of ideas, but without leaving the world of sense.
Man, in his physical condition, suffers only the power of nature; he gets rid of this power in the aesthetical condition, and he rules them in the moral state. What is man before beauty liberates him from free pleasure, and the serenity of form tames down the savageness of life?
It was so the earliest Christians, who had all things common, understood the life of Christ, and I believe that the latest will understand it so. I have spoken first of the ethical works of Tolstoy, because they are of the first importance to me, but I think that his aesthetical works are as perfect.
He will, therefore, please up to a certain point all classes of readers, without exception, because he seeks to unite the simple with the sentimental, and he thus gives a commencement of satisfaction to the two opposite exigencies that may be brought to bear on any particular part of a poem; but the author, in trying to unite the two points, does not fully satisfy either one or the other exigency, as you do not find in him either pure nature or the pure ideal; he cannot rank himself as entirely up to the mark of a stringent critical taste, for taste does not accept anything equivocal or incomplete in aesthetical matters.
It is only by being frank or disclaiming all reality, and by being independent or doing without reality, that the appearance is aesthetical. Directly it apes reality or needs reality for effect it is nothing more than a vile instrument for material ends, and can prove nothing for the freedom of the mind.
A very refined aesthetical education accustoms the imagination to direct itself according to laws, even in its free exercise, and leads the sensuous not to have any enjoyments without the concurrence of reason; but it soon follows that reason, in its turn, is required to be directed, even in the most serious operations of its legislative power, according to the interests of imagination, and to give no more orders to the will without the consent of the sensuous instincts.
This is the reason why the aesthetical judgment leaves us free, and delights and enraptures us. It is because the mere conception of this faculty of willing in an absolute manner, the mere idea of this moral aptitude, gives us in itself a consciousness of a manifest advantage over the sensuous.
But even if the moral judgment and the aesthetical judgment were both satisfied, this object would produce this effect on one and the other in quite a different way. It is not morally satisfactory because it has an aesthetical value, nor has it an aesthetical value because it satisfies us morally. Let us take, as example, Leonidas and his devotion at Thermopylae.
All other exercises give to the mind some special aptitude, but for that very reason give it some definite limits; only the aesthetical leads him to the unlimited.
The aesthetical appearance can never endanger the truth of morals: wherever it seems to do so the appearance is not aesthetical. Only a stranger to the fashionable world can take the polite assurances, which are only a form, for proofs of affection, and say he has been deceived; but only a clumsy fellow in good society calls in the aid of duplicity and flatters to become amiable.
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