An examination of Schiller's concept of harmony: With social reference to the use of the word '"harmonie" in the philosophical writings

Abstract

Many recent studies have examined Schiller's use of language within his philosophical essays. S.S. Kerry has suggested that certain words appear here as "concept-myths" - that is, they stand for a complex system of ideas and hear several associations at once. In this thesis it is contended that the word "Harmonie" is one such "concept-myth". Although the word had been part of the German language since the time of Frauenlob, it was not used widely until the 18th century, when the ideas of Leibniz and Shaftesbury began to be reflected in popular philosophical writings. Schiller extended the use of the word by seeing in the ideas which he felt to be implied by it in its musical sense an analogue for his own concept of the ideal human personality. This thesis does not undertake to examine every example of Sculler's use of the word "Harmonie", but it is shown that, in the philosophical essays, he uses the word to cover both various agreements between the different sides of the personality and various relationships between the personality and the outside world. There are three types of agreement within the personality (intuitive, moral and counterfeit) and corresponding to these are three harmonious, or seemingly harmonious, relationships between the personality and the outside world, each one of which has its own political and historical implications. Intuitive harmony (sinnlich) and moral harmony (moralisch) are truly harmonious states, whereas counterfeit harmony (falsch) is a compromised condition which may have dangerous consequences. The task of Art is to bring about true harmony in the individual and thus, by implication, in society. To strive towards true harmony is seen by Schiller as the task of each individual and the word "Harmonie" with all its implications thus becomes a code-word containing a guiding principle for all walks of life.