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The super-sensuous cause, therefore, the cause of which the principle is in the soul, can alone render grace speaking, and it is the purely sensuous cause having its principle in nature which alone can render it beautiful.
Vulgarity and nobility are two ideas which, wherever they are applied, have more or less relation with the super-sensuous share a man takes in a work. There is nothing noble but what has its source in the reason; all that issues from sensuousness alone is vulgar or common.
It is here only that the beautiful could be calculated by relation to the technique of the structure, which can no longer take place when the necessity is on one side alone, and the super-sensuous cause which determines the phenomenon takes a contingent character.
How is this principle of resistance, this super-sensuous force, manifested in the phenomenon of the affections? Only in one way, by mastering or, more commonly, by combating affection.
The highest aim of art is to represent the super-sensuous, and this is effected in particular by tragic art, because it represents by sensible marks the moral man, maintaining himself in a state of passion, independently of the laws of nature. The principle of freedom in man becomes conscious of itself only by the resistance it offers to the violence of the feelings.
Peter was a materialist: he loved things, their shapes and colours, with a passion that blinded him to the beauty of the colourless, the formless, the super-sensuous. He slipped his fingers up the chalice's slim stem and round its cool bowl, and smiled for pleasure that such a thing existed had existed for four hundred years to gladden the world.
But it is not only the unimaginable or the sublime in quantity, it is also the incomprehensible, that which escapes the understanding and that which troubles it, which can serve to give us an idea of the super-sensuous infinity. Who does not love the eloquent disorder of natural scenery to the insipid regularity of a French garden?
Misty ideas circulate in their heads, like a world in formation, and make them believe that they are inspired. They take obscurity for depth, savage vehemence for strength, the undetermined for the infinite, what has not senses for the super-sensuous. And how they revel in these creations of their brain! But the judgment of the connoisseur does not confirm this testimony of an excited self-love.
But if on one side he is free, even in his relation with a visible world, as the fact of beauty teaches, and if on the other side freedom is something absolute and super-sensuous, as its idea necessarily implies, the question is no longer how man succeeds in raising himself from the finite to the absolute, and opposing himself in his thought and will to sensuality, as this has already been produced in the fact of beauty.
Accordingly, I repeat it, correct taste disallows all painting of the affections, however energetic, which rests satisfied with expressing physical suffering and the physical resistance opposed to it by the subject, without making visible at the same time the superior principle of the nature of man, the presence of a super-sensuous faculty.
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