Editing Friedrich Theodor Vischer (section)

== Critical legacy ==
{{POV section|date=November 2024}}
Vischer was not an original thinker, and his monumental {{lang|de|Aesthetik}}, in spite of industry and learning, has not the higher qualities of success. He attempts the hopeless task of explaining art by the [[Georg Wilhelm Friedrich Hegel|Hegelian]] dialectic. Starting with the definition of beauty as "the idea in the form of limited appearance," he goes on to develop the various elements of art (the beautiful, sublime and comic), and the various forms of art (plastic art, music and poetry) by means of the Hegelian antitheses—form and content, objective and subjective, inner conflict and reconciliation. The shape of the work also is Hegelian, consisting of short highly technical paragraphs containing the main argument, followed by detailed explanations printed in different type.{{sfn|Chisholm|1911}}

Still, Vischer had a thorough knowledge of every branch of art, except music. Much valuable material is buried in his volumes.{{sfn|Chisholm|1911}}

In later life Vischer moved considerably away from Hegelianism, and adopted the conceptions of sensuous completeness and cosmic harmony as criteria of beauty; but he never found time to rewrite his great book. According to [[Hugh Chisholm|Chisholm]], 'His own work as a literary artist is of high quality; vigorous, imaginative and thoughtful without academic technicality.'{{sfn|Chisholm|1911}}

He would not abstain from grossly unfair remarks, e. g. in vol. 2 of ''Auch Einer'': "In der lächerlichsten aller Kultursprachen hat Shakespeare geschrieben" about English (Shakespeare wrote in the most ridiculous of all civilized languages), or "Übrigens war der Taugenichts Beyle ein Narr" on Stendhal (Besides, the good-for-nothing Beyle was a fool).{{Citation needed|date=September 2018}}