The World as Will and Idea, Vol. I — Arthur Schopenhauer, trans. Haldane & Kemp
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The translator’s English as printed (R. B. Haldane & J. Kemp). The original-language text is not held; names are romanised as the translator printed them.
appears in such a form that it is purged and isolated from all that is foreign to it, and may now be grasped by the man of weaker comprehension and no productive faculty ; if further, it is forbidden in art to start from the concept, we shall not be able to consent to the intentional and avowed employment of a work of art for the expression of a concept ; this is the case in the Allegory.
An allegory is a work of art which jneans-something .different from what it represents. But the object of perception, and consequently also the Idea, expresses itself directly and completely, and does not require the medium of something else which implies or indicates it. Thus, that which in this way is indicated and represented by something entirely different, because it cannot itself be made object of perception, is always a concept.
Therefore through the allegory a conception has always to be signified, and consequently the mind of the beholder has to be drawn away from the expressed perceptible idea to one which is entirely different, abstract and not perceptible, and which lies quite outside the work of art The picture or statue is intended to accomplish here what is accomplished far more fully by a book.
Now, what we hold is the end of art, representation of a perceivable, comprehensible Idea, is not here the end. No great completeness in the work of art is demanded for what is aimed at here It is only necessary that we should see what the thing is meant to be, for, as soon as this has been discovered, the end is reached, and the mind is now led away to quite a different kind of idea to an abstract conception, which is the end that was in view.
Allegories in plastic and pictorial art are, therefore, nothing but hieroglyphics ; the artistic value which they may have as perceptible representations, belongs to them not as allegories, but otherwise, That the "Night” of Correggio, the “ Genius of Famo ’’ of Hannibal Carracci and the “ Hours ** of Poussin, are very beautiful pictures, is to be separated altogether from the fact tliat~£F^^"are allegories. As allegories they do not accomplish more than a legend, indeed rather less. We are here again reminded of the distinction drawn above between the real and the nominal significance of a picture. The nominal is here the allegorical as such, for example, the “ Genius of Fame. The real is what is actually represented, in this case a beautiful winged youth, surrounded by beautiful boys ; this expresses an Idea.
But this real significance affects us only so long as we forget the nominal, allegorical significance ; if we think of the latter, we forsake the perception, and the mind is occupied with an abstract conception ; but the transition from the Idea to the conception is always a fall. Indeed, that nominal significance, that allegorical intention, often injures the real significance, the perceptible truth.
For example, the unnatural light in the “ Night ” of Correggio, which, though beautifully executed, has yet a merely allegorical motive, and is really impossible. If then an allegorical picture has artistic value, it is quite separate from and iudependent of what it accomplishes as allegory.
Such a work of art serves two ends at once, the expression of a conception and the expression of an Idea, Only the latter can be an end of art ; the other is a foreign end, the trifling amusement of making a picture also do service as a legend, as a hieroglyphic, invented for the pleasure of those to whom the true nature of art can never appeal.
It is the same thing as when a work of art is also a useful implement of some kind, in which case it also serves two ends ; for example, a statue which is at the same timp- a r.a.Tidp.1abrnm nr a caryatide ; ot_a bas-relief, which is also the shield of Achilles., True lovers of art will allow neither the one nor the other.
It is true that an allegorical picture may, because of this quality, produce a vivid impression upon the feelings; but when this is the case, a legend would under the same circumstances produce the same effect For example, if the desire of fame were firmly and lastingly
5o8 the world as IDEA. BK. la rooted in the heart of a man, because he regarded it as his rightful possession, which is only withheld from him so long as he has not produced the cliarter of his ownership ; and if the Genius of Fame, with his laurel crown, were to appear to such a man, his whole mind would be excited, and his powers called into activity ; but the same effect would be produced if he were suddenly to see the word “ fame,” in large distinct letters on the wall. Or if a man has made known a truth, which is of importance either as a maxim for practical life, or as insight for science, but it has not been believed ; an allegorical picture representing time as it lifts the veil, and discloses the naked figure of Truth, will affect him powerfully ; but the same effect would be produced by the legend: “Ze temps dicouvre la verity." For what really produces the effect here is the abstract thought, not the object of perception.
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