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2. Paul De Man, "Aesthetic Formalization: Kleist's

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2. Paul De Man, Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. The Rhetoric of Romanticism Paul de Man tOC Columbia University Press NEW YORK hropomorphism and Trope in Lyric (or whatever aberrant verbal lie) the entire possibility of the r a text such as "Obsession"- ere always is an infra-text, a hy­ s" underneath. Stating this re­ :,henomenal, spatial terms or in -"Obsession," a text of recollec­ rls remembrance to the flat sur­ ices"-produces at once a her- 1ding of the unintelligible. The 10 e text to the other is not just a nderstood as recollection or in­ Aesthetic .sport," but the sheer blind vio­ Formalization: ~ with the same enigma, do­ l'lorically, an army of tropes. Kleist' s Uber das Lie'' (or its various sub-species, veil as pseudo-historical period Marionettentheater r "classicism" are always terms the furthest remove from the mourning is called a "chambre ewe r&les," then this pathos of IN A letter to Korner dated February consciousness of eternity and 23, 1793, Schiller gave the following description of the perfect md as song. True "mourning" aesthetic society: can do is to allow for non­ I know of no better image for the ideal of a beautiful society than a ~ non-anthropomorphic, non­ rical, non-poetic, that is to say, well executed English dance, composed of many complicated figures and turns. A spectator located on the balcony observes an infinite ies of language power. variety of criss-crossing motions which keep decisively but arbitrar­ ily changing directions without ever colliding with each other. Everything has been arranged in such a manner that each dancer has already vacated his position by the time the other arrives. Every­ thing fits so skilfully, yet so spontaneously, that everyone seems to be following his own lead, without ever getting in anyone's way. Such a dance is the perfect- symbol of one's own individually asserted freedom as well as of one's respect for the freedom of the other.1 Schiller's English translators and commentators, Elizabeth Wilkinson and L. A. Willoughby, cite the passage as a fitting description of Schiller's main theoretical text, the Letters on the Aesthetic Formalization in Kleist Aesthetic Formalization in Kl4 Aesthetic Education of Mankind. It is said to reflect "the philo­ gory but a principle of artia sophic and aesthetic complexity of the [book's] form as a ulties, activities, and modei whole." 2 What strikes them as particularly suggestive in the thetic its power and hence model of the dance is what they call the tautology of art, "its intimate link with knowle inherent tendency to offer a hundred ·different treatments of tions that are always in pla: the same subject, to find a thousand different forms of expres­ the horizon of discourse. · sion for the thoughts and feelings common to all men. muted in Schiller's letter k The perpetually repeated figures-so highly formalized that they berless instances througho11 can easily be recorded in notation-admit of only as much in­ in the cogent commentary c dividuality in their successive execution by the different dancers It appears in this COIIIJl as can be expressed through the grace of bodily movement." 3 of its aspects. First, and me The privileged spectacle of the dance, which recurs in many a wisdom that lies some) authors and many texts, is also a particularly fitting figure for knowledge, yet that can on "the second nature of true wisdom which, though indistin­ cess it is said to overcome. S guishable from the spontaneous play of childhood's inno­ reference to systems of loJ cence, is reached only on the other side of knowledge, sophis­ enough to be patterned ori tication, and awareness of self." 4 guage. Such a degree of fom The Schiller text, with its commentary, condenses the is here called "the tautologJ complex ideology of the aesthetic in a suggestive concatena­ Wilkinson and Willoughby tion of concepts that achieve the commonplace, not by their "thoughts and feelings COD\I banality but by the genuine universality of their stated aspira­ and infinitely varied mode , tions. The aesthetic, as is clear from Schiller's formulation, is art is in fact what defines primarily a social and political model, ethically grounded in an Mankind, in the last analys assumedly Kantian notion of freedom; despite repeated at­ On the other hand, as a p tempts by commentators, alarmed by its possible implications, enough to produce its own to relativise and soften the idea of the aesthetic state (Aesthe­ tautology functions as a ffl tischer Staat) that figures so prominently at the end of the Let­ for the reproduction of its o ters on Aesthetic Education, it should be preserved as the radical others. Neither in Schiller's assertion that it is. The "state" that is here being advocated is this letter is any allowance J not just a state of mind or of soul, but a principle of political tween these two functions. value and authority that has its own claims on the shape and In the same literary trac the limits of our freedom. It would lose all interest if this were theme tell a different tale 811 not the case. For it is as a political force that the aesthetic still behind Schiller's ideology c concerns us as one of the most powerful ideological drives to Marionettentheater is among tl1 act upon the reality of history. But what is then called, in con­ It has engendered a traditioi scious reference to Kant and to the questionable version of Kant not exclusively in Gennan, ri that is found in Schiller, the aesthetic, is not a separate cate- anthology of critical essay,;' 'ietic Formalization in Kleist Aesthetic Formalization in Kleist 265 said to reflect "the philo­ gory but a principle of articulation between various known fac­ f the (book's] form as a ulties, activities, and modes of cognition. What gives the aes­ ticularly suggestive in the thetic its power and hence its practical, political impact, is its 11 the tautology of art, "its intimate link with knowledge, the epistemological implica­ ed different treatments of tions that are always in play when the aesthetic appears over I different forms of expres­ the horizon of discourse. We hear these claims, somewhat common to all men. muted in Schiller's letter to Korner (though present in num­ highly formalized that they berless instances throughout his writings) but clearly sounded -admit of only as much in­ in the cogent commentary of his interpreters . .on by the different dancers It appears in this commentary in two closely interrelated lee of bodily movement." 3 of its aspects. First, and most traditionally, in the paradox of LCe, which recurs in many a wisdom that lies somehow beyond cognition and self­ uticularly fitting figure for knowledge, yet that can only be reached by ways of the pro­ n which, though indistin­ cess it is said to overcome. Second, and more originally, in the ?lay of childhood's inno­ reference to systems of formalization and notation rigorous side of knowledge, sophis- enough to be patterned on the model of mathematical lan­ guage. Such a degree of formalization is made possible by what rnmentary, condenses the is here called "the tautology of essential art," a term used by in a suggestive concatena­ Wilkinson and Willoughby to designate the universality of ommonplace, not by their "thoughts and feelings common to all men." As the privileged 1ality of their stated aspira­ and infinitely varied mode of expression of this universality, n Schiller's formulation, is art is in fact what defines humanity in the broadest sense. ~l, ethically grounded in an Mankind, in the last analysis, is human only by ways of art. dom; despite repeated at­ On the other hand, as a principle of formalization rigorous >y its possible implications, enough to produce its own codes and systems of inscription, the aesthetic state (Aesthe­ tautology functions as a restrictive coercion that allows only ently at the end of the Let­ for the reproduction of its own system, at the exclusion of all he preserved as the radical others. Neither in Schiller's letter nor in the commentary on t is here being advocated is this letter is any allowance made for the possible tension be­ . but a principle of political tween these two functions. m claims on the shape and In the same literary tradition, other versions of the same lose all interest if this were theme tell a different tale and reveal some of what is hidden force that the aesthetic still behind Schiller's ideology of the aesthetic. Kleist' s Uber das werful ideological drives to Marionettentheater is among the furthest-reaching of these texts. 5 what is then called, in con­ It has engendered a tradition of interpretation, primarily but questionable version of Kant not exclusively in German, rich enough to produce at least one :etic, is not a separate cate- anthology of critical essays, 6 and it has inspired poets and Aesthetic Formalization in Kleist Aesthetic Formalization in JG novelists, most prominently Rilke and Thomas Mann, as well stance, by the semantic a1 as academic critics.
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