53. The Human Character

This description fails when confronted with the overall view of the work of art. It can already be seen in a cast. If you want to judge the eye in this way, it fails because the eye is directed upwards and Laocoon does not see any of his sons. [The compassion for the sons is] not visible, because Winckelmann has invented it. But this group is illuminated by the light of understanding when one sees what is there and is clear about it: this Laocoon with the drawn-in abdomen, with the protruding chest, with the upward-looking, surrounding eyes, the hair standing on end – when we see all this, it is clear to us that here the effect of the human being is no longer overcome by the sense of self, but we are confronted with the moment when this sense of self has disappeared. The ego has just emerged, and at this moment it no longer follows the effect of the ego, which would hold the strong reins with regard to the expressions of the soul life. Individual limbs go their own ways. Nature... [the pain] draws in the abdomen, the upper body is protruding, other limbs go their own ways; everything is torn apart. Through the loss of soul that has just occurred, it shows what man is when the ego is truly suppressed and the individual strong limbs go their own ways in a final flurry.