this volume appeared for the most part since
1792, in the "Thalia" and the "Hours" periodicals. The first "On the
Ground of our Pleasure in Tragic Subjects" (1792), applies Kantian
principles of the sublime to tragedy, and shows Schiller's lofty estimate
of this class of poetry. With Kant he shows that the source of all
pleasure is suitableness; the touching and sublime elicit this feeling,
implying the existence of unsuitableness. In this article he makes the
aim and source of art to consist in giving enjoyment, in pleasing. To
nature pleasure is a mediate object, to art its main object. The same
proposition appears in Schiller's paper on Tragic Art (1792), closely
connected with the former. This article contains views of the affection
of pity that seem to approximate the Aristotelian propositions about
tragedy.

His views on the sublime are expressed in two papers, "The Sublime" and
"The Pathetic," in which we trace considerable influence of Lessing and
Winckelmann. He is led especially to strong antagonism against the
French tragedy, and he indulges in a lengthy consideration of the passage
of Virgil on Laocoon, showing the necessity of suffering and the pathetic
in connection with moral adaptations to interest us deeply.

All these essays bespeak the poet who has tried his hand at tragedy, but
in his next paper, "On Grace and Dignity," we trace more of the moralist.
Those passages where he takes up a medium position between sense and
reason, between Goethe and Kant, are specially attractive. The theme of
this paper is the conception of grace, or the expression of a beautiful
soul and dignity, or that of a lofty mind. The idea of grace has been
developed more deeply and truly by Schiller than by Wieland or
Winckelmann, but the special value of the paper is its constantly
pointing to the ideal of a higher humanity. In it he does full justice
to the sensuous and to the moral, and commencing with the beautiful
nature of the Greeks, to whom sense was never mere sense, nor reason mere
reason, he concludes with an image of perfected humanity in which grace
and dignity are united, the former by architectonic beauty (structure),
the last supported by power.

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 s