Коллектив авторов - The German Classics of the Nineteenth and Twentieth Centuries, Volume 05

But if we examine in what sense this surpassing of the Actual by Art has been understood by the most, it turns out that, with this view also, the notion of Nature as mere product, of things as a lifeless result, still continued; and the idea of a living creative Nature was in no wise awakened by it. Thus these ideal forms also could be animated by no positive insight into their nature; and if the forms of the Actual were dead for the dead beholder, these were not less so. Were no independent production of the Actual possible, neither would there be of the Ideal. The object of the imitation was changed; the imitation remained. In the place of Nature were substituted the sublime works of Antiquity, whose outward forms the pupils busied themselves in imitating, but without the spirit that fills them. These forms, however, are as unapproachable, nay, more so, than the works of Nature, and leave us yet colder if we bring not to them the spiritual eye to penetrate through the veil and feel the stirring energy within.

On the other hand, artists, since that time, have indeed received a certain ideal impetus, and notions of a beauty superior to matter; but these notions were like fair words, to which the deeds do not correspond. While the previous method in Art produced bodies without soul, this view taught only the secret of the soul, but not that of the body. The theory had, as usual, passed with one hasty stride to the opposite extreme; but the vital mean it had not yet found.

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From Addresses on Religion (Discourse IV).

This refers to the second book, which takes the form of a dialogue between the inquirer and a Spirit.

An allusion to the second book.

The audience gathered in the building of the Royal Academy at Berlin.—ED.

J.G. Hamann. Hellenistische Briefe I, 189.