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to Hegel's Philosophy
Cornell University
Library
The
original of this
book
is in
restrictions in
text.
http://www.archive.org/details/cu31924030652352
THE INTRODUCTION TO
HEGEL'S PHILOSOPHY OF FINE ART
71^0 f
s-%.
THE INTRODUCTION TO
HEGEL'S
PHILOSOPHY OF FINE ART
BERNARD BOSANQUET,
M.A.
LONDON
KEGAN PAUL, TRENCH &
CO.,
1886
PATERNOSTER SQUARE
A< IT-HS^:
(Tlfo?
rights of translation
and of reproduction
are reserved.)
TRANSLATOR'S PREFACE.
Hegel's
is
"
English reading
the
of which, in
its'
public,
know
is
of three
Mr.
viz.
Bryant's
translation
of
Part
II.,*
entire work,-f-
Mr.
and
sophy of Art,"
prefaced
by Hegel's
Introduction,
may be
New
t Chicago,
% Edinburgh, Oliver
and Boyd,
1886.
TRANSLATOR'S PREFACE.
is
chiefly
attractive
detail.
its
am
by the
force
and freshness of
be
copious
I
the whole
of
translation
selections,
have adopted
late
the
entire
the best
course
This Introduc-
so
and
is
as he can
far
all,
lecture-notes,
especially
editors from
tolerably complete in
itself.
It is
mentioned works.
Mr.
Hastie's
translation
Nor
analysis.
I
viz. to trans-
in
is
of very
that which
is
entitled,
tion
in
or
"JSstketik,"
is it
is
excellent in style
pages
it
also
done
my
but
becomes an
interest to
may
be of
students of philoI
have therefore
TRANSLATOR'S PREFACE.
The
prefatory essay
Art
is
tion proper,
which
continuous
is
in
may be
discussion
The
" Eintheilungl'
thus rendered
a separate chapter in
contents
is
My
Chapter
The
the original.
V.,
table
is
of
those portions of
brackets,
my
which forms
to follow.
easier
it
in
square
J.
" History of
to the
German
Literature
"
work invaluable
translator.
*
Of these, Chapter
which
it
corresponds.
CONTENTS.
PAGE
CHAPTER
...
..
vii
I.
[a.
Beauty of Art
...
Treatment ?
Treatment appropriate to Art ?
.(Esthetic confined to
0.
y.
Is Scientific
5.
*.
Answer
Answer
to
Scientific
...
j8.
to 7.]
...
...
...
[1.
Empirical Method
(a) Its
Range
(b)
It generates
(c)
The Rights
Art-scholarship
...
...
2.
Abstract Reflection
3.
The
Philosophical
notion of]
...
...
...
...
...
...
...
...
...
20
II.
8
13
...
...
2
5
...
...
...
CHAPTER
...
...
...
...
...
...
...
...
...
...
...
28
...
3s
...
...
27
27
...
...
...
(26-42).
...
...
41
CONTENTS.
CHAPTER
III.
Artistic Beauty,
beginning with current ideas of art (43-105).
PAGE
Artistic Inspiration...
(c)
Dignity of Production by
Man's Need
(b)
Feeling of Beauty
(<r)
Art-scholarship
(d)
Taste
...
...
...
60
...
...
...
Theory
...
(0)
...
The Content
...
Mere Repetition
...
...
of Nature
...
...
...
Humani nihil ?
...
...
Hand
74
78
...
...
...
It
(77)
Nor
explicitly
Purpose
own Purpose
...
...
80
80
82
...
83
85
...
90
79
...
...
...
87
...
...
addressed
...
79
...
...
its
70
72
...
...
Sleight of
Art has
67
68
(79-106)
...
(<r)
(0)
is
...
Amusing merely as
What is Good to Imitate ?
(b)
(a)
65
66
the
...
...
...
(77)
Some
...
...
(00) Imperfect
(7)
in
63
Art.
(00) Superfluous
(0)
...
...
...
of Art Sensuous]
...
Spiritual
(7)
...
Symbol of
(77) Sensuous as
(a)
57
...
...
...
48
48
50
54
...60-78
...
...
...
...
...
...
to
3.
...
...
Man
...
...
...
2.
...43-78
to
...
as Revelation of
91
...
94
...
95
9c
...
Moral
...
Truth
gg
...
ick
CONTENTS.
CHAPTER
IV.
Kant
...
[()
l/~
(b)
(c)
The
[d)
...
...
...
...
...
...
...
...
...
...
Winckelmann, Schilling
^.
Schiller,
3.
The Irony
...
...
...
...
...
CHAPTER
...
...
113
116
...
...
111
112
...
107
110
...
...
120
V.
The Condition
of Artistic Presentation
Part
I.The Ideal
II.The Types
(a)
(j8)
(7)
4.
of Art
..
Symbolic Art
Classical Art
Romantic Art
is
the Correspondence
133
141
144
H5
148
IS'
Architecture
157
160
(/3)
Sculpture
162
(y)
164
(a)
(i.)
(ii.)
(iii.)
5.
Porm
Conclusion]
Painting
167
Music
169
Poetry
171
...
173
The
Infinite,
the supra-
with
futile
its
problems by such
But,
all
standing, Hegel
concrete.
is
faithful to the
human
experience.
"
we
are
My stress
PREFATORY ESSAY.
development of a soul
little
else
worth study."
is
For "a soul" read "the mind," and you have the
subject-matter to which Hegel's eighteen closeprinted
The
to insist
present intro-
on
this neglected
undergone by
when sedulously applied to life,
and restrained from generating an empty " beyond."
By so doing I hope to pave the way for a due
speculative notions
art.
That
is
a truth most
And
nothing
less
life.
it
is
to
The
spiritual
world, which
present, actual,
is
rest.
It is for this
reason that
propose, in the
place, to explain,
Introduction
to
the
"
''
is
We
know, to our
cost,
That
commonly thought
as
to say,
is
miracle, at
of,-
if
it
is
so
by a
sort of
world,
present
senses, than
as such.
in
It is
its
imperceptible
rather
to
otir
peopled by persons,
who
live eternally,
communion with
actual
us, as also to
in the future.
our
It
own with
even perhaps
And
of
it
life,
it.
sophy.
are
The
is
" things
not seen
Plato,
world.
indeed,
way
"
of Plato or of Hegel
projection
not a double or a
conceptions in a
its
wavered
of the existing
between
the
two
But
world of
When we
spirits
with him
is
is
no ambiguity.
in his pages,
and read of
The
no world of ghosts.
law, property,
spirit
and national
PREFATORY ESSAY.
unity
of fine
intellect
art,
that has
attained
scientific
self-conscious-
real,
spirits,
nothing
infinite or divine
so long as
"What
is
for those to
whom
the
drawn
titles
of
Their object
sense.
falls
do not know.
life.
am
am
is
within
-.
This distinction
is
real,
and governs
insisting
on
this.
No
I
*
All of them,
by the very
own thought
and
force
separa-
of
imagination
transmute
into
an
But
their
bility,
they gave
that
life,
meaning.
its
in
themselves
this gulf
and
inaccessibility
others
in
that
all
to
effort
apprehension.
defies
hardest of
indolent
the
to
not to heighten
The
occasion
this
inaccessi-
it.
lessons in interpretation
is
to
We
believe that great men mean what they say.
are below their level, and what they actually say
seems impossible to us, till we have adulterated it
to suit our
own
imbecility.
what
realities,
they
Especially
we
when they
pronounc e to be rea L_
And
hard
is
easy
and so
PREFATORY ESSAY.
apply forthwith our idea of 'reality as something
separate in space and time, and so "refute" Plato
with ease, and remain as wise as
And
true
is
it
we were
Plato, handling
that
and
ideas
before.
of vast
mind
as
Thus he
our sense
thereby
our world.
That
doctrine of ideas
his
was
in
really
truth
that
is
veiled
from
us
partly
by
his
preconceptions.!
There
" this "
is,
"
other
"
world, which
is
merely
whiter,"
ideas,
is
and
one of
is
just,
Aristotle's
kind.
t Whewell, I think, misinterprets Plato's language about
astronomy in this sense. Plato is not decrying observation, but
demanding a theoretical treatment of the laws of motion, a
remarkable anticipation of modern ideas.
quite changed to
is
person," or
me
to
"
such
literally true
since
knew such a
an idea."
The expression may be
and we do not commonly exaggerate,
underrate
vastly
but
me
instance, in a
good
import.
its
We
read,
for
authority,
much
so
is
the observation of
called
lifer
"
verify the
flower/i.
everjy large
a "butter-c
hemlock."
no metaphor, but
environment
is
is
ulve^it least as
s
ofj
al objects.
wish b
"
per*
it
world.
into
"m
by
makes our immediate
is
But there
Without going
enabling us to
as a
It
mere apprehension
I
much
or blindness.
transfo
the surroundings in
liter;
metaphysics, which
white umbel-
hundreds of other
wijth
Ti
differences of percepti
his
classification, just
day."*
is
for the
ma
!Jf
unquestionably
My individual
%n an Oxford
Tutor.
PREFATORY ESSAY.
between the species of ranunculus, although
my
create
doi
it
But when we
knowledge of them.
corr
we may
venture
much
do
by conscious
intelligence
The
may
is
is
is
unity?
this
it
is,
unity
it
visible
and
so,
Wh;
to be.
tangible, like
made up
What
Is
come
unit
a governin
unity of a
that
so
is
an
tr.
"ideal;
only
even
of
an
army?
Here,
an
too,
ide;
Without mutu;
intelligence and reciprocal reliance you may ha\
a mob, but you cannot have an army. But all the:
conditions exist and can e:- ist in the mind only. A
is
does that
it
is
but
The world
it
also needs
mind
it
to
for nc
a heap of san
make
it.
life
is
tl
seeing eye
is
between the
mind
is
spirit or intellect is
mind, just as
the
and the
spirit
is
flesh.
The
self-conscious spirit.
opposition
<Nevertheless,__the
sense or sense-p
different
a distinction
Paul's
St.
_sees_
er ceptio n
To
latter.
to the other
is
an element
is
in
a thing of beauty.
above
sense.
the
it
This relation
the world
beauty, ifl__
and
seen,"
They
present world.
are a value, an
import,
which
may
degraded
misunderstanding, to be
The
house,
the
the
cathedral,
into
judge's
a symbol.
robe,
the
the savage
but
for
symbols of domestic
State.
its
*"
the
life,
civilized
man
they are
intelligent
beings,
it
and of
actions.
"
PREFATORY ESSAY.
apprehension of
by
task
I
fulfilling
its
and completeness,
reality
is
the
controversial, of one or
phrases.
The
"infinite"
opposite of anything
the description of
life
we knowTas
the very
a"oEthesjs_of_any
appears
to"
be
ceive to be attainable
it?
by denying every
fcTfned
most precious
of
common
in
And
this
logic,
though
what
be,
is
tha
fills
could wis!
much-abused tern
different in nature to
yet rightly
explain
predicate
He
life.
infinity,
i<
we can con
purpose that
because his
it
As
or valuable.
real, present,
life, it is
will
attempt
infinity in the
t(
discussing
Hegelian philo
sophy.
It is
infinity
was a symbo
it is
on
Mud
For
in fact, the
Finit
popular philosophy.
limit.
infinity,
which
may be
infinity of Hegel
is
modern
Infinite
Now, common
in general
the Infinite of
is
identified
the false
'It arises
from attempt-
we
without making any advance^
may go on
towards
its
for
ever
achievement.
its
reservations
change
its
of this nature.
is
is
no more
limitation than
._
"A
free
from
defect in
Meaningless
art.
size,
effort to satlify
enormous
accumulation of work without adequate idea or purBut such efforts, however stupendous, never
pose.
attain their goal.
They
to transcend a recurrent
to enumeration
ad
limit,
infinitum.
precisely
analogous
hundred thousand
To
PREFATORY ESSAY.
aggregation of cost or size
is
therefore to
fall
into the
in
the form
of
"
is
the pursuit of
first,
will
on producing
somehow
straight
infinity
or
line
we
if it
not do so at last.*
We
might as well go
may
serve as
hope that
An
infinite
are considering.
attaches to
faction.
because
it.
Its root-idea
That which
it
is
is
self-completeness or satis-
or for justification
without boundary,
itself for
and therefore.in
all
explanation,
human existence
When, on
as "
infinite.''
this
as an historical
e.g.
we
consider
phenomenon, as
as elucidating the
p. xii.
go beyond
depress
it
at
once into a
finite
itself as
then we
The
object
incomplete
finite is
<
the infinite
upon us the
tation.
in the highest
degree
sense
world
and
in
some degree
to
elements of that
all
in as far as
nature of self-consciousness to be
infinite,
they
It is the
because
it
itself
circle or a sphere.
The
distinction
in the antithesis
between the
infinite
"
or concrete, or in the idea of the monotonous infini
"
"
is
the
or
gouffre,"
which is one with the abtme"
appraised
to rest
by
on a mere
sentiment.
So
far
It is
from
the infinite
seen
and
being remote,
can be truly
abstract, unreal,' nothing but the infinite
PREFATORY ESSAY.
present, concrete,
us
of
and
The
real.
always refers
finite
attainment.
have
in
infinite,
mind when,
we speak
in philosophy,
of the
conscious of
is
its
the religious
Now, whether we
like the
term
Infinite or
life
not,
can be ex-
realities.
ture, evolution,
and
relation to individual
life,
we
are
treating of matters
round
it,
upon
turn
its
abstract, " Is
But when
decision.
man
rages
free
fitfully
much can
in place of the
we
man
still
fullest
"
When,
satisfaction?"
in
then
we have
before us
the
phenomena of
civilization, instead of
an
idle
The
fulfilment.
and
In them
first
i.e.
man
that
finds
which and
As
and
something to
rights.
live
for,
It is in these
something
in
for the
more
in
'
His
institutions
will,
which
is
himself,
human
history of
more barbarously
freedom.
irrational,
Nothing
is
is
the
m ore shallow,
Laws
extended
ImcT'T-nie's
capacities.
and every
relations.
To
are "a
necessary" aspect of
involves
positive
PREFATORY ESSAY.
house because
it
If
freedom
"
" freer
means absence of attributes,
than any edifice. Of course a house may be so ugly
that we may say we would rather have none at all.
empty space
may
Civilization
say
" rather
are
we
it
bring
and
spiritual,
The
civilization,
free.
effort
to ^grasp
this
we may
only in_^ivj3jzaIIanVthat
is
"
serious.
is
It
True philosophy
here,
as
away
mind
is
free
preacher,
moment
'
when
But
wills.
beyond
"
and
it
Plato,
refers
the allegorist
the
soul's
and
freedom
imaginative
to
a fleeting
tion,
"
tion.
to
remote
into the
with
its
future,
Finally,
is
it
influence.
'Pictorial imagina-
in
past
the notion of an
impossible to omit
all
reference to
When
an unspecula-.
God
that
is
and that
deny
to
a Trinity of persons,
this is to represent
who know
heathen
He
not God," he
He
men
as "the
feels as if
is
he had
inclined to ask
dead
resuscitate
possible .value
logomachies
for
life
that
no
must
have
conducts. Now,
or
question of
difficult
and.
am bound
though
by
conception.
no hesitation
to
I
far the
side
of that
own
prejudices form
matter
is
here, as elsewhere,
human
He
life.
literal truth,
gives
and we
will
Verbally contradicting
have it to be metaphor.
Kant, he accepts, completes, and enforces Kant's
" Revelation can never be the true ground
thought.
of religion," said
accident,
and
Kant
religion
intelligent nature."
ledge of
God
"
is
an historical
Revelation
is
man's
intelligent nature!"
We
are,
of God in
PREFATORY ESSAY.
customed to such phrases, and our imagination
equal to
We
its
is
that God,
off, is,
who
is
way
is " in "
them, as a book
is
actually in
of mind, which
rate,
only
thought
is
is
in
the
human
hard from
its
very simplicity,
made
The
and we
self-consciousness.
it.
We
imagine
embodied.
form as
spirit to
And
then
human
body.
This error really springs from imagining the two as existences of the same kind, and
so conflicting, and from not realizing the notion of
spirit as
way
mind
or self-consciousness, which
of conceiving
its
is
the only
its
even needs
it.
so nearly,*
fails
here
symbol
perhaps
thought
hit Hegel's
division from
Him?"
of vulgar mysticism.
conceived
shape,
because
embodiment, or because
of
its
Now,
Hegelian idea.
human
being
as
either
own.
Spiritual
this
incapable
of
it
just
is
According to Hegel,
The
notion
bodily
any concrete
it
is
only in the
expression.
is
its full
Spirit^exists in the
arise.
an
body
is
and gesture,
man
the civilized
distinguislT
The human
*
and
visible to
fine
lines
Closer
is
He
He
hears,
and
can
feet."
00/1/,
t-iicr/i i ujtr
this is the
Thus anthropomor-
phism
in fine art
is
portrayal of divinity.
to
sense,
it
If the
must be
in
Deity
is
to be symbolized
The
anthropomorphism
in particular.
It is
is,
in
This
views, which,
fact,
is
to
be interpreted entirely
in
this
however profound,
may
perhaps continue
to
account of the
"
attributes which
by stamping
it
actual soul
make
the
"
i.e.
body
human
Nor has
distinctively
Among
spiritually discerned,
As
a boun-
claim, in contradistinction to
what
ance, for
is
best
it
we
Many who
life.
distrust
real.
They
will
admit that
fine art
trifles,
l;ff>
''<
Vf^pp
All such will find themselves in sympathy with the
power of
his genius
and
all
the
The
that
was possible
is
all
Yet
to all
who
HEGEL'S .ESTHETIC.
INTRODUCTION.
CHAPTER
I.
The
Their subject
more
is
particularly,
restrict
it,
their province
is
Art
we
may-
The name
"
^Esthetic " in
its
natural sense
is
"^Esthetic"
first
of
Engl. Transl.,
ii.
25.
[Chap.
I.
considered in
evoke
to
so inappropriate,
or, strictly
names,
it
feelings
of
speaking, so superficial,
"Kallistic."
e.g.
We
beauty.
and so
is
permit
therefore,
shall,
it is
the
a name, therefore,
it
common
may be
name
artistic
has up to
As
language.
retained.
The
proper
more
By
may
we
Such a
at once exclude
of our
limitation
But
this is
its
boundaries at pleasure.
we
are to under-
common
life
we
We will
not just
now
all,
art.
flowers, beautiful
of beautiful
human
beings.
how
ChAp.
far
I.]
beauty ascribed
them,
to
how
or
of
speaking
far,
We
may, however,)
artistic
beau ty stands I
higher th an nature.
art is
the
beauty_ _that__is
born
is
of
the
born
again,
as the
are hi gher t h an
anrl
much
even
a man's head
for
content,
its
products
its
is
appearances, by so
if
'-
least
be characterized by
intellectual
its
is
min d and
Indeed,
considering in
it,
"
nature.
in
ria1 llrp
that
In respect of'
for instance/
away
own
being,
is
1
but yet, in
Geiste
allusion
to
is
we
"born of
its
indifferent,t_js
consider
walpsr
it
in
and of the
Spirit."
itself
from other
things.
its
regarding
fore,
it
by
itself
or for
its
own
[Chap.
we
are not
not as beautiful.
To
say, as
we have
said, in general
terms, that
mind and
its artistic
beauty,
is
"higher"
For
is
designates
if
I.
in the
space of the
as
its artistic
and comprehends
_of truth,
whatever
is
beautiful
created thereby.
_
is
capable
and
as
mode
of being, as a
"element
is
contained
Moreover,
we
mod e whose
in
the mind
Tnc omplei
really substantial
itself.
though
less
into his
Chap.
I.]
The
a science,
e.g.
in a"'
realm of nature
the
has
not
been
arrayed
and too
we
But
and
In dealing
find
which
~
would have little interest.
above prefatory remarks upon beauty in
vagueness,
nature and in
upon the
art,
relation
between the
owing merely to
But
of
it falls
and therefore
itself,
till
it
later.
The
/3.
us
is
first
thing that
whether
the difficulty
.
genius,
all
suggest
fine art
doubt, pervade
difficulties.
may
Beauty and
the business of
life like
to
itself
shows
itself
Jo
art,
no
a kindly
all
our
OBJECTIONS REFUTED.
[Chap.
I.
where there
is
Yet
vice.
and
life,
is
vicious, better, at
any
than
rate,
art
if
decoration,
untold wealth of
its
purposes of
life.
appear to
And
even
if
fall
still
outside the
the creations of
keeping
evil
a distance,
at
still
it
is
so
far true
demand
its
exertion.
and pedantic to
is
not in
Hence
it
may seem
itself of
a serious nature.
life
unsuitable
what
if
the
to be a luxury,
various
to
ways
their
it
to take
relation
being granted
up
in
and, as
Chap.
it.
is
I.]
IS
at least to
make
it
With
disadvantages.
been ascribed to
various ways
art,
and
sum
of advantages than of
this
it
as a mediator
between reason
and
gained
and duty by
reason
for
the attempt
in
And
in themselves.
it
is
it
still
doubly a servant
to
higher
and
service can at
frivolity
on the other
and
in
such
under
its
own
sake.
seems to labour
supposing
to be
it
such purposes
still
is deception.
by
art for
its
being
OBJECTIONS REFUTED.
Now, it will
in appearance.*
an aim which-is~rea4
I.
[Chap.
some success
if
in
ought not_to
it
this
just
-the true
of the mind in
In
all
these respects
were unworthy of
as
is
even
alleged,
if it
it
is
it
way
may
scientific
to
of conceiving
appear as
consideration
at best a pleasing
consider
accordance with
is
it,
if fine art
;
because,
amusement, and
in contradiction
as
and semblance.
)
y.
it is
still
more prob-
if fine art
were
way,
it
scientific treatment.
The beauty
for strictly
of art presents
Das Schdne
in dem Sckeine."
itself
;
its
CHAP. L]
IS
sphere
of
its
is
and
activity
what we enjoy
over,
the freedom of
in
scientific intelligence.
is
precisely
we appear
and
More-
its
demand another
productions
its
In
its crea-
we seek
regularity.
for
thought
we would exchange
And
which
Not only
self.
has^ art at
the
is
in her imagination
lastly,
is
more
command
of natural forms in the brilliant variety of their appearance, but also the xreative imagination has power
to expaflate inex haust ibly
ducts of itso&m.
It
may
beyond
their
be supposed
li
mit in pro -
that, in presence
free creations,
thought
its
it,
universal formulae.
pelled
by
its
form to busy
itself
the
to criticize
is
com-
OBJECTIONS REFUTED.
io
enjoyment is of
[Chap.
from
necessity excluded
I.
science.
And
sociation therefrom,
what
is
real
world
we may
think,
it
follows,
And
further, -it
!oT content,
is
is
necessary.
jof necessity,
it.
Now,
we
but to
not
all
For the
sity
which
may
is
to say, of a behaviour
But
in
the mind,
in the imagination,
tific
explanation.
Thus
in range
in
scientific study,
seems rather
origin, in effect,
showing
in its
own
* " Gisetsmassigkeit."
and
right to resist
THAP.
I.]
These and
icientific
:ontain facts
he argumentation
*_
ve choose,
there fs'lhe~fa-ct
e.g.,
we may
omnipresent
is
and from
this, if
'mpulse of Beauty in
human
ire
Thus,
nomenon of beauty
:o
they
in part, too,
in part
;
nature,
and then go on
so endlessly various,
and
therefore,
as
seems
jbvious,
:here
it
is
our busi-
objections
Raisonnement"
a disparaging term
be
in Hegel.
OBJECTIONS REFUTED.
12
scientifically considered,
art can
it
[Chap.
I.
is
objects
but
art
servile.
which
That
is
free in
its
end as
in its
which
it
in
as an accidental means,
and
by
alien objects
finite purposes,
but,
from
moreover a
For, on the
and
is
interference,
the
is
meansj
it fulfils
independence
which medium,
itself in
and
liberates
free from
conformity with
its
proper aims.
Fine art
|
is
its
it
is
highest task
when
it
has taken
same sphere with religion and philosophy, and has become simply a mode of revealing to
its
till
place in the
"Das
Gdttliche?
Chap.
I.]
13
there
is
to
no other
wisdom and
the understanding of
their (
of their religion.
to-,
The
as
is
thus rescues
actuality
itself
and
from the
finiteness of sense,
thought in cognition.
rates out of
*
'
is
"
the freedom of
)^
able
is
advance creates
it
to
"
gene-
first
its finite
actuality
and the
its
infinite
general
if it
The
"-'
OBJECTIONS REFUTED.
14
[Chap.
I.
An
exist.
essential to existence.
is
itself,*
for
were
it
be, did
it
itself as also
for Mind.
mode
what
of appearance in which
is
in itself real
If,
its
conceptions
termed a
life
if at all,
which
and
as determinate existences
deception, this
is
true.
art gives
is
to
be
our
its
own world
of feeling, that
is,
sense.
which we
set
this
strictly
than
Genuine
is
true of art,
reality
" Schiene
The
life
is
und erschiene."
which we treat common circumstances and
in
Chap.
I.]
15
objects.l
actual in
still
retaining
its
essential
etc.
.Art
liberates
the
states,
real
events,
import of
bad and
fleeting world,
and imparts
phenomenal |
to
common
realities
of
life.
Just as
little
called a deceptive
semblance
in
if
that
had
immediate existence, but only the intellectual presentation of it, for the element of its portrayals, and
* " Das An und Fiirsichseyende."
OBJECTIONS REFUTED.
its
[Chap.
I.
occurrences, complications,
way
fluity in the
and
unstable semblances.
its
Again, the
duced by
art
principles.
in
advantage that
refers
us
it
is
the
semblance
which
revelation
in itself
away from
it
points beyond
itself
itself,
and
to something spiritual
though
all
infected
the time
its
truth
is
true,
contaminated and
The
mhando
But
to
art,
in
breaking through
th e products of
if,
on the one
we must no
is
side,
less
art.
we
Chap.
I.]
the
mind's genuine
form of
interests
enough
art. is
Only a
tent.
certain
to a restricted con-
it
circle
go
own
in its
itself therein, if it is
as is the
medium of
There
and so
it
is
is,
no
friendly to sense as
medium.
of truth
Of
such a kind
and more
come
world, or, to
is
which
art
is
no longer
the highest
consciousness of the
which
modern
to
art.
and be adequate to
at
is
to
The
consciousness.
into
to limit
to
17
artistic
satisfies
We are
above
which they
within
us
and
reflection
down
this
in
flight
require a
Thought"
above
fine art.
phenomenon
for
may
a corruption, and
OBJECTIONS REFUTED.
18
ascribe
it
to the
feelings,
civil
and
selfish
Or we may accuse
the
political life as
hindering the
freeing themselves,
art,
I.
condition of
[Chap.
and
aims of
needs and
such
interests, in sciences
this
However
all this
may
be,l it
certainly
is
the case,
wants which
therein,
beautiful days of
Greek
art,
us,
life
of to-day, makes
in respect of
The
it
reflective
a necessity
what have
validity as
artistic
interest
maxims
are
for
But what
artistic
is
required
production
is,
hap.
MODERN REFLECTIVENESS.
I.]
niversal
if
19
is
mood and
snsuous phenomenon.
condition
niversal
is
which
finds
is
as,
con-
not favourable to
it
its
As
art.
is
utterance
all
ige is of
world and
reflective
his
mpossible for
him
its
conditions,
to abstract from
jy
means of
elations of
ill
that
In
it
by
and
it
and bring to
is
and
will
pass,
life,
is lost.
all
is,
and remains
for
us,
Herein
ind
:han
it
life,
and rather
asserts
its
is
its
transferred
into
former necessity, or
What
is
genuine "truth
our ideas
assumes
now aroused
its
in
enjoyment,
OBJECTIONS REFUTED.
20
[Chap.
I.
consideration.
art,
simply as
satisfaction.
two to our
intellectual
Art
in
art,
is
a much
invites us
to consideration
in
full
of
it
",
what
art
e.
As
we
is.
soon as
we propose
it
scientific discussion.
false
is
nevertheless,
be
ideas others
may have
lies the
consideration may,
On
unscientific.
its
arrangement, classification,
etc.,
but
it
has to unfold
own
inner nature.
is
is
brought,;
lacking to the
"Explication?
treat-
Zhap.
I.]
merit.
In as
an object
af
21
far,
and metamust
For
medium
its
content, partly
and element,f
which
in
respect of
is
dental.
its
Thus
it
is
innermost progress of
its
content and of
we must
prescribed by
necessity.
its
call to
its
media of
mind the
outline
treatment of
scientific
art
expression that
The
in
number and
feelings,
and
appears
still
imagination,
raises
to have importance.
problem which
nature.
* " Material,"
:
OBJECTIONS REFUTED.
i-z
[Chap.
I.
it
is
by
it
that such
by the use
life,
on
life
is
of thought as
man
We
absolutely
rather cuts
cannot speak
but only
difficulty,
It will
capable of contemplating
itself,
is
and of possessing a
and
to think
all
innermost
is
that
is
generated by
precisely that in
and essential
nature,
is
itself
gaining
and
behaving according to
its
its
this
pro-
essential
may
Now
in
art
mode
its
products
truth
mind
In
nature.
Thought
itself.
real
and
its
(spirit),
if
their
blance of
sensuous
being,
is,
is
to begin
Chap.
I.]
23
itself
thinking
(mind)
spirit
still
lies herein,
but just as
much
to recognize itself in
its
in
it
of
other form,
its
to
itself.
itself
And
itself as if forgetting
nor
is it
what
is
itself
in subjecting
inmost nature.
and notion,
when
its
it
to scientific considera-
it
can in the
last resort
time
it
its
own
essence
only be satisfied
all
the products of
its
own.
But, as
we
r
,
OBJECTIONS REFUTED.
24
more
shall see
is
[Chap.
far
I.
from being
its
true rati-
fication
Just as
little
sideration
by unbridled
indicated,
it is its
caprice.
As
Hence
it
follows
spiritual
interests
content,
may
inexhaustible soever
The same
be.
its
its
form suitable to
it.
we
are in a position to
types of
art.
Thus,
hope,
we have begun by
defining the
Wissenschaft"
dominate it.
i " Gestaltung :" shaping, as
if
arrangement of shapes.
Thap.
ART NOT
I.]
:ontent
of
;onfine ourselves,
irt
CAPRICIOUS.
25
we propose
is
to
fine
is
it
art.
CHAPTER
II.
we now
consideration,
ways of
to
we
mode of
scientific
to
hinder us
from
On
art merely, so to
history
of
art,
initiating
discussions
in series as a
about extant
On
and
artistic
production.
we
see science
abandoning
its
Chap.
II.]
1.
As
ART-SCHOLARSHIP.
regards the former
starts
27
side, it is
the indispensable
And just
he
is
as in the present
it
man
a cultivated
less
obligatory for
to possess
art,*
dilettante
(a) If
such information
as art-scholarship,t
The
of wide range.
acquaintance
with
is
really to be recognized
it
first
the
necessity
immeasurable
works which
is
region
modern
in part
exact
an
of
times,
in part
own
its
observation.
age, to
its
nation,
and
to
its
environment, and
very special
kind,
seeing
that
is
the
related
individualized
to
individual
and demands special matter to aid in its comprehension and elucidation. And lastly, this kind
detail
" Kunstkenntniss."
t " Gelehrsamkeit."
28
METHODS OF ESTHETIC
SCIENCE.
[Chap.
II.
memory
for information,
in
to have
Within
{p)
this
is
a work of
art,
starting-
universal
in other sciences
point,
Now
criteria
and
rules, and, in
still
This
is
not the
and
it
may,
writings in
there
therefore,
For
particularly,
Poetica
mention a few
to
instance,
is
contained in which
more
suffice
"
is still
among
and Longinus's
of interest
and
to speak
"
Ars
on the Sublime
"
suffice to give
meant to stand
by such
writers were
as
Chap.
ART-PRESCRIPTIONS.
II.]
be produced.
The
29
by these physicians of
art
had even
less
assured
was the
restoration of health.
propose merely
that
is
much
circle
of artistic productions,
for
And
again, such
reflections
which
establishment
formulae
in their
of
are
in
generality proceed
although this
particulars,
art.
to
no
the
is
amounts
"
"
He
to nothing,
e.g.
reader."
This
"
epistle is full of
a book for
all
men,
much
that
and the
e.g.
this
is
who
just like so
instructing his
livelihood,"
Another kind of
* "
interest
Paranetischen Lekren."
in the
METHODS OF AESTHETIC
30
SCIENCE.
[Chap.
II.
genuine works of
art,
but in the
purpose which
aspect,
this
In
the
Taste
in this sense
treatment, the
much
brought
in
among
works of
art,
man
But
judges
and incidents
insight and his feel-
or characters, actions,
its
apprehension thereof.
Such
if
*
!
>
'
Chap.
II.]
our idea of
it,
31
then further
inasmuch as a need reveals itself for closer determinations, which are also found in our idea of the matter,
we
it
debatable ground.
as
it
if
to be fixed in definitions.
But
in
on uncertain and
might indeed appear at first
But
may be
found
is
With a view
scientific
to such questions
it is
held a point of
We
criticize
will
do
the
this
but
we
some
come
will
of the
more
interesting
illustration,
best rendering.
painting
and
architecture.
METHODS OF ESTHETIC
32
brings
also
forward
SCIENCE.
view,
Hirt's
[Chap.
II.
though without
mentioning him.
Hirt,
in
his
brochure about
artistic
beauty (Horen* 1797, seventh number), after speaking of the beautiful in the several arts,
sums up
his
That
is
be an object of eye,
ear, or imagination."
is
to say, he
is
or can
Then he
adequate to
its
the
is
in
in
we ought
tion \
*
by
Die Horen
the
gesture, bearing
Schiller, in
contact.
Trans.,
ii.
173.
Zhap.
THE CHARACTERISTIC.
II.]
33
in con-
Dreviously selected."
we go on
see that
what
to ask
involves in the
it
first
place a content,
is,
we
as, for
irtistic
is
law of the
''
tion of
its
content and be a
The
Df that content.
member
priateness with
form
irtistic
expression
sets
in
relief
intended to represent.
conception in
If
detail
of the
we
it
it
desire to illustrate
in the
teristic
this
inasmuch
it
mode
is
mode
to this, the
is
we may
involves as follows.
:he content
the
of things
*
t
" Helldunkel."
"
Drama," Gr.
Spapa
METHODS OF ^ESTHETIC
34
to time, at intervals
[Chap.
in all this,
II.
put on their
eat, sleep,
clothes, say
But
they
SCIENCE.
in
forth.
immediate
it
is
nothing
to
be excluded, so that
may
be without import.
So,
it
moment have no
that
at
action in question,
of
which
in
reference to the
to
its
distinctive character.
only so
belongs
much ought
to
the
display* and,
work of
essentially,
must announce
This
fied
in
is
itself as otiose
a certain aspect.
may
be
Meyer, however,
it
left
as his
no
art.
the
for nothing
superfluous.
and
art as
to
justi-
in
his
opinion that
For he thinks
that
Erscheinung."
The Philosophy
Chap.
II.]
but
it
how
it
has displayed
works of
find
it
be
to
general
in
itself in actual
this, if
true,
we examine
no doubt, that
the criticism,
Hirt's definition
for
characteristic
but,
even
is
and
productions, in
includes caricature,
character
artists,
is,
art,
Apart from
ance.
we
itself
3;
caricature
in
intensified, to exaggeration,
superfluity
of
superfluity ceases to be
may be
must be
a caricature
it
the
definite
and
is,
the characteristic.
what
is
so to
But a
properly required in
whereby the
iteration,
made
unnatural.
caricature
shows
characteristic
Moreover, what
itself in
teristic representation
may be
itself
of the nature of
of what
of course, a distortion.
is,
is
is
ugly,
which ugliness
Ugliness, for
its
it
part, is
may
be
ful,
in
this respect
:ontains
Then
some
a mere formal
truth,
rule,
it
furnishes
which nevertheless
what
Meyer
36
METHODS OF ^ESTHETIC
opposes to Hirt's
artistic principle,
He
self prefers.
SCIENCE.
i.e.
what he him-
shown
in the artistic
principle, however,
he
subject
this
is
and Winckelmann's
pronounces
to
himself
the
speak
to
led
principle *
of
effect
neither
II.
is
with
[Chap.
the
that
works
must
in-
In dealing
Mengs
of
Ideal,
and
he desires
to
of an enlightened
enigma more
solve the
Goethe
says
"
it
is definite,t
and seems
to
precisely.
The
highest
of the
principle
we
find in
in hand,
it
consider what
is its
and
after that
pre-
go on
to
significance or content.
us simply as
behind
The
it,
it
stands
we assume something
further
" Besti?)nnend."
"Is spiritualized."
it.J
Chap.
THE SIGNIFICANT.
II.]
37
fable,
ing.
no value
jfa.ce,
!
soul,
human
Just so the
in itself.
mind and
still
and
whole
meaning
immediate appearance.
This
work of
its
art
should have
is
eye, a man's
a revelation of
figure, are
always
within the
itself
the
is
way
which a
in
employed
but
it
should reveal
art
work of
just
is
life,
is
soul,
art.
medium
^feeling,
in a
work of
or different
characteristic.
notion, then,
we
find
distin-
its
significance
much
to be known by
its
itself in
the
means, inas-
the inner.
38
We cannot go
(c)
But the
into detail
on
[Chap.
II.
this head.
and of
Germany
especially
works and
and
their effects,
have had
its
the
with
it,
is
From
itself
this
genuinely
those of the
existence, whether
foreign
content
element
common
in
to
{e.g.
ages, or
the
their
no doubt,
all
could
:he
Srst instance, to
Chap.
RIGHTS OF GENIUS.
II.]
of art
that
is,
of romantic
became necessary
to
art,
and
With
its side,
its
self-con-
on
therefore
it
co-operated another,
39
art, too, in
a profounder fashion.
extended
its
we
spoke, has
Its
side.
with
the
condition
historical
such
made with
works of
sense
and
circumstances
works
requisite historical
art,
and
an
in acquaintance
that
externally
appreciation
mind,
information,
supported
is
which,
if
by the
work
mode
of consideration,
METHODS OF ^ESTHETIC
40
although no doubt
abstract principles
who does
[Chap.
and
categories,
not
may
and
aware of
give
for
let this
way
But
it
before
II.
it
a reader
SCIENCE.
it
art,
and
the study of
may be
enter.
taken to be the
art, starting
first
mode
of
works.
2. There is an essential distinction between this
and the opposite aspect, the wholly theoretical reflection, which made an effort to understand beauty as
such out of
itself alone,
and
to get to the
bottom of
its idea.
It is
well
known
that Plato
was the
first
to require
ticularity,
in
to
individual
be known according to
* "
Das Wahre
its
Chap.
PURE THEORY.
II.]
41
idea,
by
But
own
in its
idea
may
its
itself
we ought not
but
ideas,
to abide
by
The
.3.
indicate
its
it,
by
anticipation,
must
real
own
Only thus
is it
apprehended
It is
then
out of
its
sided reflection.
pFor
it
its
42
METHODS OF AESTHETIC
SCIENCE.
On
and
II.
totality of attributes,
itself as well as
[Chap.
its
its
detailed
particulars, as
anotherj
the transition
sality
and
ticulars
is
of which
they
consideration of which
appear.
we have
The modes
of
we have
it is
just
principle,
CHAPTER
III.
I.
as
Made and
prefatory remarks,
as Sensuous.
we approach
as we are undertaking
we must begin with its
nasmuch
ifically
ill
we have
to treat it,scien-
it
Not
we map
Conceftioti.
for a division, if
it is
its
principle in the
itself.
In presence of such a
y the question,
f
we begin with
eauty
itself,
that
enough
not admitted
by
to
;
make
it
a pre-supposi-\
u"
44
whatever
it
monstrated,
We
i.e.
its
[Chap.
III.
truth de-
displayed as necessary.
will
difficulty,
in the
In ordinary science
first
of these points.
little difficulty
might even, at
It
nomena,
was a
is;
attaches to the
first sight,
were presented
look
that, in
should be demonstrated
it
etc.
with what
prima facie
such an object
it is.
that there
presents
is
them
("
("
beweisen
weisen
").
") it is
it
may
e.g.
be doubted
sufficient to
show
thought
there
is
a soul, a mind,
i.e.
some-
from what
is.
If,
is
material
i.e.
its
own
ictivity
BEAUTY A FACT?
IS
Ihap. III.]
)r
has produced.
mestion whether
45
if
the
for instance,
ate
degraded
not naturally
ideas,
Our
sense.
perceptions
still
in
our
more
is
external
intuitions,
observations,
and
even
if
enough to transport us
passion.
irresistibly into
is
or
is
it
mode
brought
in
which
it
in
itself,
it
if
we have an
is,
or that there
is
demonstrated
This proof,
in
terms of
if it is
its
necessity.
developed in a really
scientific
46
[Chap.
III.
But
is.
to
If
I
we
the beautiful in
art,
we should have
when
as,
far as
we begin with
essence of
its
in as
treat of the
But
art.
and propose to
art,
it
as demanded by
sideration,
which
lies
^or
philosophical study,
it
is
is
develops
itself
out of
own
its
necessity in
binds
itself
which
it
together with
is
placed towards
itself into
itself,
returns into
part
itself,
as
is
it
just as
has,
much a
at the
same
is
it
circle that
derives
time, a
This connecitself,
as well
Chap.
III.]
own
as a forward, to which in
its
on and on,
it is
in as far as
matter out of
range of
itself,
and issuing
knowledge.
scientific
nature
fertile
it
impels
by creating
it
47
itself
fresh
Therefore,
it
is
not
its
we
is,
to derive
it
according
antecedents in science.
and of
its
particular branches.
is
system of philosophy.
discuss this system,
we have
For
of
But as we cannot
in this place
art with
it,
the views
in
question,
in
order
do
in the sequel.
By
this
mode
of treatment our
itself,
and
48
[Chap.
III.
What we know,
work of
of the
art,
general predicates
(i)
We
by means of human
activity.
To be
(2)
essentially
to be more or
less
is
To contain an end.
As regards the first
taken to be a product of
has given
rise (a) to
point, that a
human
work
of art
activity, this
view
known and expounded, and learnt, and proseFor, what one can do, it might
,
cuted by others.
supposing universal
familiarity
artistic production, it
with
the
rules
of
is
theories
*
and
"Machen."
"NacA-macken."
:hap.
RULES IN ART.
III.]
ibservance,
have
49
arisen.
mechanical
is
is
deas
and put
is
it
required
in act
For'
empty
to
exercise of will
receive
it
among
our
be supplemented by anything concrete, or anyhing that goes beyond the precepts conveyed in
This
;eneral rules.
irecepts of the
elves to
>ut
what
is
f true art.
>ut
is
spiritual
activity
indefinite generalities
e interesting,
e.g. "
tieir
drawn up with
their
content,
such rules
reveal
themselves, in
lasmuch as
1
artistic
artist, as
production
is
For it is
work by drawing on
ound
as spiritual activity to
fill
wholly inadequate,
50
its
resources,
[Chap.
III.
than any
creations
Such
may
rules
abstract
can
formulae
dictate.
if
of practical
utility
just
indicated
in place of
it,
the
came
art
to be regarded
no longer
gifts.
This mind,
it
peculiar
is
free
play to
its
particular
gift,
as
though
to
it
were a
its
it
is
is
the interference of
indeed,
and
to be guarded therefrom,
And,
inasmuch
as
Talent
endow
is specific,
and genius
universal
capability, with
Chap.
INSPIRATION IN ART.
III.]
We
activity.
treat
shall
this
51
the sequel.
In this place
we have only
of falsity in the view before us, in tha^all consciousness respecting the man's own_activjty was held, in
the case of artistic production, not merely superfluous^
a state,
object,
said,
it is
and
genius
in part it
is
in part excited
state,
To
such
by a given
its
own
free
in general_terms, as
champagne
bottle
in
is
not
Germany
earliest
in
while doing
I
will
so,
distanced
all rivals
by a long
closely into
interval.
the confusions
52
as such.
We
view
though the
that,
III.
it
essentially in need
is
of cultivation
by thought, and of
mode
it
which
artist's talent
in
[Chap.
on the
reflection
main feature of such production is unquestionably external workmanship, inasmuch as the work of art has a purely technical side,
most
which extends into the region of handicraft
especially in architecture and sculpture, less so in
skill in
producing.
poetry.
all in
Skill in
material,
may
stubbornness.
more
and mind
So
own mind
is
and outer
to the inner
world.
artist
may
more than
movement
itself
others.
only with
as,
so to speak, feeling
Chap.
III.]
little
53
or no spiritual content
to be present in consciousness.
little
is
still
before
And
mind and
life
we
often
enough see
of
mind and
poetry.
The
character.
In poetry
which must be
all
full
reverse
is
</3'
of man,
move
and
Goethe's
an immaturity,
and even of a rudeness and barbarism, that are absoThis phenomenon, that the greater
lutely terrifying.
part of those attempts display a predominant mass of
thoroughly prosaic and in part of frigid and commonplace elements, furnishes the chief objection to the
common
may be
said,
fire.
were the
first
is
inseparable from
genius,
was only
their
mature
54
manhood
* that
inspiration,
Thus,
was not
till
III.
substantial,
[Chap.
his old
age that
Homer
too,
devised and
work of
third view,
art as a product of
human
activity, refers to
an external object,
is
dead.
We
down
appropriately elaborated
parts, while the
animation on
stone, or
is
work of
its
to
all
its
semblance of
wood and
canvas,
or,
minutest
is
common
speech and
letters.
But
this
Scherer,
ii.
152,
was completed
and Appendix,
1.
c.
"
Schiller's " Wallenstein
Chap.
III.]
55
what makes
a work into a production of fine art it is a work of
art on l y in as far as, being the offspring of mind^it
continue sjt o belong to the realm of mind, has receiver^
;
thebaptism_of the
human
which attaches to
its
and exhibited more purely * and transparently than is possible on the soil of common
unartistic reality. This gives the work of art a higher
rank than anything produced by nature, which has
work of
art,
So, for
instance,
better than
existence in
For everything
At any
anything natural.
nature
is
able,
like art,
divine ideals.
to
spiritual
rate,
n>'
represent
its
is
transient, vanish- -,
aspect,while the
Though, indeed,
* Free from
it is
work of
art 1
irrelevancies.
56
[Chap.
III.
by mind
genuine pre-
its
reality.
of art
common
turn disputed
in
is
consciousness.
It is said that
nature and
its
merely
human
activity as a
we at once come upon the misGod does not work in man and
finite creation,
conception,
that
abandoned
tion of art.
if
we mean
we
is
of God, in a
nature.
the
mode
Jjod_is __a_
is
quite other
Spirit,
and
itself.
him
it is
opera-
it
only
in
man
in
that
spirit,
medium
is
far
is
the
below
Chap.
III.]
consciousness in value.
isjjperatiye neither
mena
itself
of nature
known
In
57
in the
in the
work of
God
th e products of art
pheno-
it
makes
sensuousness of nature
is
not a
mode
of appearance
by man
as a creation of mind,
question,
which
will
said.
duction
may
What
On
man's need to
is
better
For,
means
it
may
be
let
alone
which
is
and
the aim of
art,
we cannot
more con-
crete than
it is
to
58
the answer.*
We
[Chap.
III.
points.
The
on
man
universal
its
is
its
art,
a thinking consciousness,
i.e.
he
/
is,
is.
The
things of
as
mind
is
is
realizedness.J
obtains in a twofold
in as far as
own
way
man
consciousness, with
all
that
and works
moves
in the
his
human
fix
what
i.e.
what
it
is
summoned
self
Secondly,
himself.
ing on a
is
man
is
by
number of
introduction.
t
i.e.
artists.
Chap.
MAN MUST
III.]
ACT.
59
the
medium which
is
directly
by the modification of
own
and then
Man
characteristics.
subject
his
world of
the outer
to strip
them
finds repeated in
stubborn
its
foreignness,
child's
impulse involves
first
into
is
his
own
doing.
mode
art.
And
it
medium
of self-production in the
external things as
is
treats in this
it is
known
to us in the
man
less,
i.e.
his
own
This
is
the cause of
may
it
of
work of
it,
all
be as bar-
as
and
lips.
* Reality derivative
It is
only
from
his
feef,
among
own
reality.
or as
cultivated
60
men
from
mode
of self-utterance emanate
spiritual education.-^
The
universal
as an object in
satisfies the
he makes
and
all
himself,
need of
way
in this reduplication o
in
sell
freedom whei
evoking thereby,
what
this spiritual
corresponding
in a
self without,
lies
He
II]
self,
[Chap.
The
tradistinction
specific
all
action anc
its
need of
art,
however, in con
religious imagination
and to
moral,
t<
We
2.
have so
work of
the
far
art in
which
made
for
man's
it
its
sense,
is
made by man.
and
is
mor
He means
t "
is
intendei
BUdiing."
Chap.
III.]
to arouse feeling,
feeling
which we find
Looking
ing.
6t
suits us
-that,
is
pleasant feel-
men have
treated
feelings,
sion
for
it
fear, for example, and compasand then, how these could be pleasant how,
ought to evoke,
art
feelings
produce
satisfaction.
traceable particularly to
Moses Mendelssohn's
is
times,
men
the
far, for
mind
feeling
what
is
is felt
distinctions
and
and are not distinctions of the actual objectFor instance, fear, anxiety, alarm,
itself.
matter
terror, are no doubt of one and the same sort of
abstract,
feeling variously
but
modified,
in
part
are
mere
itself,
for
in
quantitative heightenings, in
instance,
subject
{i.e.
an
existence
a person) has an
it.
is
In the case of
fear,
given in which
the
interest,
62
and so
finds
[Chap.
III.
immediately
in
Now,
in itself is
be manifold
and,
in itself, as
again,
may
is
such
in
is
diversity
feeling,
forms of feeling
essential
and
is
is
forthcoming
forth.
But
in different
definite
comprehend
nature
they remain
its
purely
circle of
comes
a
mode
is
and
For
reflection
its
upon
itself
i.e.
Chap.
SENSE OF BEAUTY.
III.]
its isolation,
matter in question
engaged with
and
jectivity
it,
its
the
first
the work of
itself,
In feeling
states.
place,
and, while
is
just
is
it
this
and that
And
why men
is
for the
art,
given
63
its
its
are so
same reason
indefiniteness
attentiveness to
subjective peculiarities.
Now,
(b)
as a
work
of art
is
not merely to do in
for this
is
a purpose which
it
would have
in
common,
but
hit
of
searching
is
to
correspond to
of
out
it,
and of discovering a
In this search
beauty.
no blind
it
instinct
particular sense
made
rigidly definite
a sense
is
nature,
in its
by
own
Hence
independent essence of discerning beauty.
it followed that education came to be demanded for
this sense,
be called
tion
and
taste,
apprehension
of
the
beautiful,
was yet
feeling.
64
We
how
[Chap.
abstract theories
taste,
and how
The
external
III.
prevailed,
was
its
was
references to individual
the power to
than
of taste.
For
came
to a
art,
a definite judgment
acquired
works of
been
at that time
to
this reason
standstill
in
such education in
its
turn
by help
should exist.
Yet
the
depths
of
the
taste,
matter
for
these
and abstract
reflection, but the undivided reason and the mind
while taste was only directed to
in its solid vigour
depths
sensibility
valid.
taste
all
distinctions of taste
and
its
pettifogging particularities.
Chap.
VALUE OF ART-SCHOLARSHIP-
III.]
65
It feels that
ground
this,
as
and, shrinking
before
power,
its
And
thus,
as
we should
expect,
men have
works of
to consider
man
of taste.
so far as
it
The
art
and with
The
or
turn.
con-
a given work of
art,
we have
already pronounced
owing to
art,
individual,
is
its
For a work of
essentially originated
ditions of the
and place of
its
production, then
artist,
and
in parti-
development attained
by
these aspects
his art.
Attention to
all
is
indis-
and even
tion,
it
to the
enjoyment of a work of
ship, is chiefly
us in
its
occupied
own way
is
to
and
All
its
all
that
it
can do for
art
is
is
entitled to rank as
history, etc.
66
something
essential, still
supreme element
general.
art in
defective side)
it
art,
which
and towards
is
in the relation
work of
[Chap. III.
this is its
little,
or
work of
It
art.
may
even form a
and
historical information.
art-scholarship, if only
it
and an
intelligent
even
if
is
of a
positive,
Still,
even
so,
genuine kind, at
closely
is
work of
art,
and
with a relation to
now
man
work of
it
is
invested
as a sensuous being,
and so
its
(a)
more
will
and
so
relative
to
on
we
essential rela-
know-
Chap.
HOW
ART,
III.]
ledge of art in
its
FAR SENSUOUS.
67
universal idea.
The work
(a)
to sensuous apprehension.
It is
itself
addressed to sensuous
feeling,
imagination, just as
without, or our
is
own
may be
addressed to sensuous
us-
Even
of art
reflection.
position
its
is
of such a kind
that as sensuous
in
it.
it
is
is
it
at the
no way meant
to possess
natural
life,
of
art,
it is
in as far as
mind,
it
art has
exists for
itself.*
If
we examine
sensuous aspect has no independent warrant or justifian animal has in its own separate
So it must simply be such as is enough to appeal to man's
Its
work
it
and
is
as
how
art explains
to be a natural product
e.g.
mere surface
painting.
>
68
more
closely in
to man,
we
[Chap.
III.
find
The
mode
lowest
apprehension.
It consists
is
purely sensuous
may
often
mental fatigue
The
us.
mind, however, does not rest in the mere apprehension of external things
them
objects for
is itself
by
sight
own
its
as
it
makes
them
and hearing,
desire.
and
relates itself to
man
he
and
interests to
by
the objects as
self-satisfaction
by
sacrificing
them
to
itself
it.
not
Mere
pictures of the
it
wood
that
wants to
it
eat,
wants to
use, or
would be of no
Chap.
ART EXCLUDES
III.]
service
to
Just as
desire.
DESIRE.
little
is
its
its
impulse urges
it
it
69
possible
for
For
freedom.
just
and
is
neither free in
will,
man
He
allows
it
to,
it
the mind.
\Yox
work of
art,
although
has sensuous
does not require concrete sensuous existence and
natural life; indeed, it even ought not to remain
it
on such a
level,
seeing that
Hence
it
is
is,
it
bound
to exclude from
of
art,
and
inorganic,
it,
for its
modes of mind.
70
present
mode
second
may
in
is,
and
perception
contrast
desire,
purely theoretical
no
consuming them
particulars, in
as
III.
in
[Chap.
the
The
interest in
satisfying itself
by
their means,
them
in
and
law,
and
There-
is
particulars,
^For the
In as far as
man
of this universality,
it
same time
for.
do the
only to
his
its
ground
therein, cannot
work of science, is in
by art, than the
is
the
i.e.
person.
Chap.
III.]
and may-
in its individuality,
size, etc.
71
its
way
in
which such an
it
abandon
all
it
act thus.
art just as
it
work of
presented before
it,
mits
its
differs
by the
On the other
it
in its
hand,
itself
fact that
destruction.
own
artistic
in
it
from
per-
indepen-
service
by
its
contemplation
scientific
72
[Chap.
III.
individual existence,
mute
it
into
universal thought
its
an
and notion.
work of
art,
yet
it
work of
the mind seeks neither the concrete framework of
For, in the sensuous aspect of a
sensuous.
art,
and
is
What
it
to be sensuous,
is
of
its
in
works of
art
is
And
look,
work of
the
is
mind externally
that the
mind
supposing
if it
did so,
it
would
smell, taste,
Chap.
III.]
For
smell, taste,
as such,
and
and with
feeling
its
73
enjoyment.
artistic
immediate sensuous
air,
qualities
taste with
On
etc.
account
this
in
art,
theirj
sensuous relation.
is
The
art.
Thus
art
on
its
sensuous
is
f and
owing to simple powerlessness and to the limitations on his actions that man, when evoking worlds
of art into existence, fails to present more than the
mere surface of the sensuous, than mere schemata.%
In art, these sensuous shapes and sounds present themselves, not simply for their own sake and for that of
it is
their
all
the depths
;'
74
of consciousness.
is
spiritualised,
It is
thus that, in
art,
[Chap.
III.
the sensuous
i.e.
shape.
Q3) But for this very reason
it
we have a product
ductive activity.
which
is
spiritually pro-
by
how, that
indispensable to
art, is
is,
the sensuous
operative in the
artist as
This, the
in
itself as
perties
work of
art
in
the
it
nevertheless, at
unconscious
skill
in
nor
is
it,
scientific pro-
itself exclusively in
For instance,
creation to try
Handgriffen."
Zhap. III.]
:hen putting
ind so forth
simply be
ornament or decoration.
produce bad poetry, for in
is
it
;
75
two separate
activities
abstract reflections as an
mode
This genuine
of production
extrudes
array before
in
so
a
it
what
or wit,
the
till
it
does
it
embodies
in
sensuous shape.
of the world,
actively
sensuous form.
spiritual
it
element
it
the
constitutes
It is the rational
or, again,
man
with that of a
man
of esprit *
main stakes of
life,
that hold
men
of what
the power
is
together, of
is
in general reflections,
to others
what occupies
it
to others
and the
like.
* "
For
Eines geistreichen?
76
shapes
and
itself into
place,
to
III.
which, therefore,
circumstances of
external
[Chap.
kinds
all
is
from emerging
in its
own
shape.
From
follows
it
unquestionably
\
generally,
on
at
rests
talent
y-equires a sensuous
in the
once, that
on
in
natural
gifts
speaking
because
its
medium.
It is true that
mode
" talent,"
of production
we speak
which has
an
all
it
not, like
Fancy, a natural
intellectual one),
mode
(as well as
specifically scientific
natural
endowment.
talent
in
in
it
mode
Chap.
of
III.]
must
be
as
the
essential plasticity
art
inasmuch
77
subjectively present in
the artist as
and natural impulse, and, considering that it is unconscious operation, must belong
to the natural element in man, as well as to the
rational.
Of course, natural capacity leaves room
natural
disposition
for other
production
just as
is
conscious nature
much
artistic
of a spiritual and
that
its
self-
spirituality
plastic,
go beyond
this point,
it
is
artistic talent of
is
busies
itself for
with vivacity
itself,
some
and
industry,
in
medium,
utterance
and
comand in seizing on this species of
munication as the only one, or as the chief and the
creating shapes in
most
suitable
one.
ment
is
without
sculptor
finds
particular sensuous
And
up
thus,
too,
precocious
effort, is
everything
transmute
itself
into
78
model
[Chap.
III.
it.
moves
their
(y) Thirdly,
is
also in
from nature
is
poem.
or,
in
of a spiritual kind,
any
it
case,
even
if
the content
human
by representing
the
relations, in the
reality.
spiritual
fact,
such as
79
CHAPTER
III. {Continued).
The
or the
II.
End
is
[jy
form of works
in the
work f
we
The
glance at the
which
may
and
art,
make
the
art.
common
occur to us
conis
Ac-
way
s uccess
and the
that corre-
of such
'
satisfaction.
80
made
to be
it
therein,
is
is
by man as a copy
he can do it with the means
a second time
command.
at his
III.
now
[Chap.
repetition as^__,_
But we
-.
may
at
(ad)
and represent
animals,
imitate
etc.,
And _JooJdrig_jcQpre
ance.
labour
circle of acquaint-
closely,
superfluous
-this
more remote
as
presumptuous
sport
which
Comes
(/3/3)
restricted in its
far
short
of
nature.
means of representation
i.e.
For art is
and can
;
for
instance,
it
invariably gives
rise, if it rests in
the
life,
Turks, being
Mohammedans,
tolerate,
Just so the
as
well
is
General, abstract, as
much
to another.
t
"
Heuchelei?
lit.
" hypocrisy."
Chap.
DECEPTIVE IMITATION.
III.]
81
say,
'
soul,'
accusation
The
"
prophet, moreover,
it is
recorded in
Ommi
and
who
Selma,
told
modern
the
in
We
them.
at
is
might add to
one of
Biittner's
example
monkey, which bit
this ancient
master,
beautiful
in
spite
of
copy of
his
this
Rosel's
"
Diver-
valuable
work, because
when we
must
at
reflect
of art
by
it
once occur to
mending works of
But
instances,
who mean
predicating, as
its
we ought simply
to exalt a
highest and
work
ultimate
82
poor an
quality, so
as this.
effect
[Chap.
III.
In general,
we
may sum up by
and,
if it tries,
after
"trying to crawl
an elephant.
_m
doubtless open to
is
man
like nature.
And
to be pleased at producing
already present in
its
own
right,
But enjoyment
by his Jabour, skilly and jndustry
and admiration, even of this kind, naturally grow
.
ingly
like
There are
and
been wittily
instance
quite perfectly
man
is
and as soon as
of the song.
We
a conjuring
trick,
nature, nor a
/
it
we
is
then recognize in
neither
work_ of artj
the
for
discovered that
free
it
nothing but
production
we expect
" Kunststuck:
of
frorn~the
CHAP.
III.]
other than
quite
note,
it
music as
such
when, as
interests us
is
human
83
beings something
this,
which only
human
skill in
man
feeling.
limited,
of himself.
and
it
becomes
ing
is
For
t3ugEt~ himself to
throw
"of
Tiis
frivolous
is
through a small
displayed~thTs"~skill
lentils
He
^copy-
who had \
lentils
and meaningless
as
art.
purely formah_to
make
it
is
purpose of
'
84
[Chap.
That
if
we go
men, landscapes,
and ugliness
in considering beasts,
or characters,
actions,
is
and speak of a
difference of beauty
III.
maxim
this
must
in question,*
is
left
but ab-
stract imitation.
and
their distinction in
jective taste as
an ultimate
and admits of no
fact,
And^infact^if
discussion.
we
start
in select-
that
is,
from their
taste,
then
all circles
of
be likely to
fail
thinks his
alone
not,
6ne
parties.
may
may
be, every
husband
his wife
their
it
If we,
viduals and
contrast.
though
Among
of a patron.
them will
meh7 for tn-
How
Which
accidental
is
often
full
taste,
to
the taste of
we hear
it
said that a
is
European
to imitate.
Chap.
III.]
IMITATIVE.
85
Chinaman has
as far as the
quite a different
in turn
we look
peoples
works of
at the
Indeed,
forth.
if
they
may
and
their
and sublime,
music
horrible noise
may sound
idols,
most
sculptures, paintings,
or ugly.
(-y)
But even
principle of art,
jective
if
and
we
if
and individual
abstract from
beauty
taste,
itself
we
is
an objective
to be based on sub-
shall
still
soon find on
For
if
we look
it
will at
is
essentially
At
least, if
we
desired
86
[Chap.
III.
we
latter arts,
make a long
should have to
by
various ways, and
in
circuit
But
bility.
we admitted
if
probability
we should
what
is
not
is
and
all
still,
moreover,
possible to ex-
it
original f imaginations.
,'
The end
we
something
in
what
any case can bring t6TKe"birth
and not works of art. It is, indeed, an
only tricks
lie
which
imitation "of
in
the
medium
natural phenomena.
important study to
seeing thaf
light,
representa-
know how
of
its"
an
to'
no
less,
down to their
subtlest characteristics^
figures of objects
Of imitation.
"
Phantastischett."
"Fantastic" means "odd or wild."
Hegel only means "original," "creative."
t
it
to colour.
Chap.
ism
"
III.]
HUMANI
NIHIL."
87
influence in
unnatural as
it
was
conventionalism, as
artificial
inartistic, into
right in this
that there
it is
is
something
it
aims
is
And,
still
fine art.
shape of natural reality constitutes an essential condition of art, yet, nevertheless, neither
natural world
its
rule,
nor
is
The
its
to be presented.
supplies us with
the given
end.
is
What
is
is
the
this content
consciousness
that
it
is
the
the
in
us
nihil
in
that
me
is
familiar saying,
alienum puto."
arousing and
tions, inclinations,
in
it
forcing the
animating
Homo sum
aim
Its
the
and passions
human
being,
is
humani
therefore placed
slumbering
emo-
whether cultured or
88
in
its
inmost and
to experience
move and
in its
and to
and
mind possesses
in the Idea
misfortune and
make men
and
and no
misery,
make
less to
inmost nature of
and luxuriating
all
held, art
is
to
that
is
roving in
in the seductive
This endlessly
bound
to embrace,
intelligible
pleasure and
all
of sense-stimulating visions.
is
thought
it
that
all
its
all
realize the
varied content,
able to
to present
lofty in
is
depths and
its
and to perception
of real
eternal,
spells
that
all
breast in
as a delight to emotion
the
and
create,
human
to stir the
corners
secret
III.
what man's
has power
uncultured, to feel
soul
[Chap.
experience
and partly
consists,
may
in
welcomes
all
we
life
desire to
phenomena.
its
The
of this deception
by means of
all
artistic
possibility
semblance
rests
man, traverse
Chap.
III.]
medium
the
otherwise
this process
tion
it
cannot
will.
In
is
is
89
or
reality,
whether
produced by another means
that is, by images, symbols, and ideas, containing or
this effect is
Man
actual.
that
are
Hence
it
can frame's
all
the^samejf"
semblance of
it
is
mode
suffices to
burden, in grief
in
horror* and
passions
fear, love,
and
rejoicing,
in
life.
to its
pathos
and
the dragging
life,
the
movements by means of
pre-eminent power of
Now,
as this
art.
mode
" Ersckiittern."
'
90
[Chap.
III.
man
sensuous and
selfish
emotions,
it
him
most
to the
and so
it
would
empty form
and content.
the
(c)
It is
side, in that
kind of significance
all
and
by
mutual
interference
cancel
and contradict,
one
another.
them staggering
it
either
same way
as argu-
men
itself
" Raisonnement."
Chap.
"
III.]
compels
EMOLLIT MORES?
us, therefore,
an aim for
it,
91
more
of a higher and
its
way into
be assured of
way
its
being attained.
life
Just in the
of
men
are,
same
of course,
But
in opposition to so
formal*
these
and
what
single
end they
must have
for
their
As
miti-
In respect to this
ascertain in
capacity
lies
first idea,
we have only
to art
it
is
to
that the
has
its
Bru-
applied.
it
i.e.
is
92
Now,
desire
is
[Chap.
III.
pro-
in
occupies the
it
power
retain the
passion
I is
is
Even
if
stronger than
in
but
as this separation
"
The
I," it is
still
is
only
made
order to pronounce
in
The savageness
of no account whatever.
oneness of the
man
cular passion
is
man
the
its
as such
of passion
as universal
Now,
it
art, to
is
them,
still
this
is
by
if it
itself
were actually
to
enough
to have a
man
thereby at
is
presenta-
tion,
he simply
is.
Chap.
III.]
from them, in so
far as
Hence
frequently
it
comfort
in art.
who
the man,
and concentrated
utter
in
his
senting
to
may
it
when attacked by
artist that
grief
own
93
to begin with
is
utterly
his
any
sunk
rate,
inner state.
Still
more of a
what
relief,
is
the utterance of
For
shapes.
at deaths
much
is
talked about he
thereby relieved.
that to
weep or
is
when
And
so
it
it,
it is
and
to speak one's
fill
is
a means to
momentary
reason that
immediate sunkenness*
conscious
of
it
as
man
is
a feeling,
and becomes
in
now
Art, by means of
its
enter
into
an ideal
representations, while
* " Befangensein."
94
[Chap.
Of
course
we may
is
fjJaway
immediate
its
abstrac-
art, in
man,
for
man
tion
and
III.
is
raising
is
always
place,
sentations
it
beyond
this,
power
To
it
involves.
its
For the
mg.
characteristic that
art
was to
bridle
must again
about a determinate kind and an essential end of
this education.
* " Theoretisch" I have no doubt that it has here the meanflewpe?v without a trace of allusion to
"theory." It is
ing of
opposed
Chap.
ART AND
III.]
The
(aa)
suffers
ITS
"
MORAL."
95
of passion
more
at
it
any
yet,
when
of art
their
may be
This
It therefore requires
effect is
art, it
essentiality.
(j3j3)
pronounced to be that
it
should
teach.
Thus, on the
movement
which
lies in this
movement, even
in fear,
compassion,
in a
complacency, entertainment,
and
tion
and
art)
is
effect
but,
on the other
held to find
its
instructiveness, in the
*
side, this
purpose (of
its
moral.
96
useful influence
[Chap.
III.
in
tian saw,t
("
tains,
As
art.
ask,
it
or
is
")
con-
in infinite degrees,
whether
explicitly
all
and diluted
of
et delectare poetae,"
meant
implicitly
we
have, then, to
to be directly or indirectly,
contained
the work of
in
art.
If,
speaking generally,
purpose which
is
we
universal
it
cannot but be
purpose
its
in relation to
is
its
itself spiritual,
not contingent,!
own
sake.
Such a
From
this point of
view
itself,
it
is
the more
Person,
" Kernsfiruch."
% "
i.e.,
the
exists or not.
it
find
the standard
exist," as
is bound to admit
and that only in the
it
trivial,
Chap.
III.]
is
97
expressed
Art was,
is
appro-
instructress of peoples.
may
be treated as
proposition,
an indirect way
in
in the concrete
art.
art,
is
is
just
what makes
thel
thel
and sensuously
lutely individual,
the
work of
but sets in
made
abso-
particularized.
from
If
this principle,
is
itself,* in
is
a thing divided
is
98
[Chap.
III.
become ex-
And
further, if the
purpose of art
limited to this
is
merely
But
which
among
pronounced to be
attendant.
that
is
itself unessential,
it
amounts
this
is
into a
its
own
is
is
else,
case, only
useful
to
one
and are
This brings
made no
but
itself,
rooted in something
be an end on
it
a means.
the several
in
substance
on which
its
conception
is
its
it is
longer to
degraded
instruction.
(yy) This
when a question
end and aim
is
for the
about a supreme
This aim
in
much
as
art
is,
Chap.
III.]
same time
the
to incite to purification,
99
and
in this way-
useful purpose
Regarding
the
and supreme
didactic purpose.
its
But
furtherance.
moral improvement,
We may
goal.
art in reference to
it is
Every
genuine work of art may have a good moral drawn
from it, but, of course, in doing so much depends on
from taking morality.
another to abstain
Mary Magdalene,
sinner
into
who
sin,
repent,
the beautiful
many
it
sin before
look so beautiful to
you can
if
repent.
But
consistently
It
would not
it
would, on
the contrary, display the moral instruction as the substantive purpose of the
work of art,
For
art
has
ioo
the choice
among
its
[Chap.III.
subjects, in contradistinction to
them.
for
In order that
we may be able
to form a thoroughly
is
of
all for
first
point of morality as
best sense at the
way
it
we are
To
man moralf
is
not enough to
Morality involves
reflection
be
make
and the
down
lays
own
and
its
and then
self,
this
by doing good
fulfilment's sake,
solely from
good.
Now
almost
duty which
morality
is
is
it
is
the
chosen for
in
reflective aspiration
goodness as an ideal.
"
Moralitat" almost = conscientiousness or scrupulosity.
The above sentence is hardly true with the English word
after
t
" moral."
Chap.
III.]
iei
upon,
will,
is,
and
taken by
is
itself,*
is
then acted
of
that
all
and the
and
is
heart.
f
is
he
But,
in
accordance with
it,
etc.,
will,
but
higher impulses.)
starts
Fur sick, v
is
often used
will
in
its
where there
"an
is
reconciliation
no notion of de-
sich."
t "Gemiith."
%
As
e.g. if
we suppose
that
an act done
at the bidding of
The
would be
command
of
"rejonciliation
''
in
io2
[Chap.
III.
it.
itself for
tion
cular,
the
when
the former
latter, just
more
is
as the latter
concretely,
it
is
its
own
character
in
the
warm
the
feelings,
the
duty
for duty's
individual interest,
sensuous
inclinations
hard
conflict
necessity
conception
of inward
further, as
empty
freedom
and
of
and
as the
natural
itself
compared
with
full
These are antitheses which have not been inby the subtlety of reflection or by the
vented, either
Chap.
III.]
and
in
the
human
all tin
culture
consciousness, although
that
them up
forced
tradiction.
was modei
it
distinctly,
ar
most unbending
culture and the modern
pi;
to the point of
Intellectual
man
of understanding create in
co:
to side,
is
side as
on the
man
common
itself
reality
01
we
and earthly
S'
ter
drivi
their
enjoyments
on the other
side,
he exalts himse
and freedoi
imposes on himself
as
world of
mind
is
dignity simply
maltreating
it,
it
living
and
flourish
by denying the
its
rights
and
rights of nature ar
Such a discrepancy
modern
its
for
si<
on the
porality, oppressed
by
as
itself
other.
a prisoner in
from
and, shuttle-cocked
in this contradiction,
culture
in life
and
its
Yet
tl
104
The
these antitheses.
consciousness a mere
itself
out finding
fro,
fixity of
oiight,
Then
it.
from the
III.
petual to and
[Chap.
If the culture
abstraction
possesses
dissolving
truth,
;
other
the
similar
in
one-sideness
lies in
mere
postulate, but
is
in
self-
no
its
This
fajth
and
which always has present to the mind's eye precisely this resolved antithesis, and in action makes it
will,
its
does
is
" An
it.
is
it
IVakre."
"
this antithesis,
its
1
Chap.
III.]
aspects in
not,
ios
are, in reconciliation.
Now,
(d)
we
have to vindicate
less
shall
nc
by
such,
instruction
thereby has
something
its
else.
If,
as
itself,
we now
we must,
but
in
continue to
in the first
What
is
the aim
of the question,
? "
What
"
is
the use ?
The
".
meaning
perverse-
set before
what ought
to
be
work of
art
would
Against
this
it
is
necessary to
form of sensuous
artistic shape,
of repre-
and
purpose in
revelation.
itself,
For other
in this representa-j
objects,
such as
106
instruction, purification,
endeavour
after
[Chap.
III.
to
do
conception.
this point of view, into
which
itself,
from
It is
have
apprehend
to
necessity, as indeed
of
idea
the
it
was from
in
art
reflective
inner
its
and
general
within
discovered
grasped
it
far as
i
how
it
it
overcome
to
its
no
but
was not
till
own conception
which alone
and
and, indeed,
aesthetic
in
less
philosophy
and, just in as
anti-
not only
Hence
origin,
itself felt,
to
For that
origin.
culture,
reflective
that
its
we
that
is
art.
re-awakening
the re-awakening of
it is
this
as a science
re-awakening
owes
its
true
CHAPTER
IV.
SHALL touch
briefly
upon the
partly for
to,
more
closely indicate
doing
so,
sha
ai
we mea
In
recognizing
its
hi
its
we
as
side
historical
artistic
beaut
unit
tr
subjective feelings
i.
and emotions.
led the
way by
n<
108
[Chap. IV.
knows
itself as in-
itself in
finite.*
in itself
its
turning-
if
inadequate, and
refuted.
is
But, in as far as
Kant
it
fell
which cannot be
strained
to
the
it
above the
antithesis,
In
theoretical.
with
its fixity
propound the
it
as consisting in
See
Or conscientiousness
moralistic view.
what was
% "
An st'ch."
KANT ON JUDGMENT.
Chap. IV.]
he succeeded
but
ing
its
true
neither
in
and
sole reality.
scientifically
presenting
unfol
as
si
in
it
further,
in
and reconciliation
one which
own
is
true
merits.*
itself
this soluti
and actual
in its nature
and on
The
necting which
Kant
is
by
cc
wh
and he
it
calls the
power of judgment
An
it,
reflective "
and has
wl
to f
no
it
upon
end
this
it
has to impose
law that of
this
Teleology.
it
itself;
To
comes."
[Chap. IV.
as a mere
" ought,"
beings,
Kant
hits
is
judg-
on the
it
as well.
Thus
determines
it
Yet even
not to
in
know
are supposed
mode
of reflection.
cesthetic
judgment as
we
ideas,
as such with
its
in this free
agreement of the
is
Now
knowledge,
faculties of
this
appetitive faculty.
interest,
If
and
and complacency.
complacency
be devoid of any
It
i.e.,
is,
devoid of relation
we have an
interest,
to
our
by way of
on behalf
CHAP.
THE
IV.]
"
UNIVERSAL DELIGHT?
what
on the one
tion
we
which
relate
side,
is
distinct
If,
it.
is
for instance, I
by
it,
what Kant
asserts
is,
attribu-
but to which
object,
in
only in
is
own
In that case,
Now,
itself.
The
aesthetic
<
This
is,
we saw
as
end
its
in itself.
tion.*
(3)
is
The
mind
validity.
The
itself
and on
its
own
estimate\
the natural
i.e.
perceived
To
of a universal delight.
that this
is
An
merits %
ii2
is
[Chap. IV.
too,
The good,
to no judgment thereupon.
which
is
tions.
subsumed under
for good
universal
when
is
it
theory, should
than that,
else
in
contemplating beauty,
we
are not
under
it,
which
in all
other cases
is
ment.
(c)
character
is
At bottom
of an end.
this
Any
i.e.
logically,
its
a plant or an animal,
and
is
so immediately a
teleology that
we have no
way
a teleological
its
natural
pro-
organized teleo-
datum
to us in this
given reality.
is
is
It is in this
to be displayed to us
Zweck-massigkeit."
Chap. IV.]
113
as teleological.
In finite teleology * end and means
remain external to one another, inasmuch as the end
medium
of
its
of the end in
accomplishment.
its
The
beautiful,
itself,
in
it
as distinct aspects.
cease to be limbs.
For
in
separately they
purpose dwells in
its
tains,
The
not wear
it
it.
its
beautiful,
Kant main-
does
and outer
is
the
beautiful
object.
(<a?)
ful,
in the
Necessity
"Fur sick."
I
U4
is
[Chap. IV.
relation
tial
The one
is,
aspects
if the
one
and
is,
is.
itself,
just as cause,
The
e.g.,
effect.
such a
is
relation
to
i.e.
is
constructed in accordance
But Kant
Now, what we
supposed
in
all
Kantian laws
other cases
is
is
pre-
In the
inasmuch
And
an
thus, again,
agreement
in
beautiful in art as
itself is
in
Particulars, as such,
universal,
and
this
very contingent
is
now
in
by the
Chap. IV.]
conception of feeling in
its
inwardly and in
By
115
reveals itself as
it
its
this
thought
itself,
its hostility
Thus
feeling,
pleasure,
one.
is
Yet even
this apparently
complete reconciliation
merely
nevertheless,
and not
of our production,
to be the naturally
far
for
the
results of the
for us
starting-point
and
real.
true
of
conception
artistic
beauty.
Kantian
defects
before
it
could
assert
itself
as
By
Kant.
n6
[Chap. IV.
And
so
it
artistic
which apprehend
and as an absolutely
hostile
For
element.
:'
in
not
art.
to
about
its
its
relation
artistic
it
Thus we
feel
it
to be a
more
The
CHAP. IV.]
117
noticeable in
many
of his poems.
are
Goethe's
objectivity.
agreeable
But
straightforwardness *
and
in
At
the
withdrew Goethe,
Yet
too,
just as Schiller
scientific
stimulus
immersed himself
in the
study of
which
in these
of
Schiller's
volition
and thought.
productions
is
whole set of
" Unbefangenheit."
On Goethe's discoveries in morphology and errors in
<;
Popular Lectures," series i., lecture ii.
optics, see Helmholtz's
but compare Schopenhauer, " Werke,"vol. i., " Ueber das Sehn
*
t
i.i
[Chap. IV.
/Esthetic
Education."
human being
vidual
an
ideal humanity.
be the
in
is
This genuine
by the
says, is represented
upon
State,*
human
being, he
which he takes to
normal form
itself into
a unity.
human
lives in
time ennobling
dem ands
characteiv-Jbut nature^dernands
viduality,;
diver sity a nd
legislative authorities
Now
have
In presence of the
aesthetic
To
t
"
people
is
etc.,
man."
^ESTHETIC EDUCATION.
Chap. IV.]
119
aim of
this education
For the
is,
by
and
the
spirituality
tion,
and
uniting with
throughout,
rationalized
flesh
the
may
Beauty
and blood.
is
This notion of
in
Schiller's
the praise of
now
be invested with
thus pronounced to be
be the genuinely
his
element,
natural
in it
women
fact that
he makes
because
it
was
and
natural.
Now this
and essence of
art,
and laboured
work
" Ueber
Anmuth und
Wiirde," "
Of Grace and
Dignity," a
120
Idea
and
[Chap. IV-
sole truth
in this sense
By means
reality.
and although
absolute standpoint,
art
peculiar nature
^interests of
its
humanity, yet
it
and its
Art was now accepted, even if erroneously
in one respect, which this is not the place to discuss,
yet in its higher and genuine vocation. No doubt
notion of art
discovered.
new
Winckelmann
way
that led
him
to develop
art,
to rescue
it
its
For Winckelmann
history.
suc-
new methods
theory, however,
his
To
subject,
and the
scientific
On
art.
knowledge of
the
art
less influence.
A.
W. and
Friedrich
von
Schlegel,
in
as
much
THE SCHLEGELS.
Chap. IV.]
121
anything
critical
Neither
But
it
understanding,
And
branches of art a
new standard
of judgment in con-
times too
No
much
that
their
age,
e.g.
the
work of the older painters of Italy and the Netherand, again, they
lands, the " Nibelungen Lied," etc.
endeavoured with zeal to learn and to teach subjects
that were little known, such as the Indian poetry and
;
mythology.
122
times themselves
[Chap. IV.
admiring
fell
e.g.
or even
value,
standpoint as
Out of
if it
and subordinate
this tendency,
grew
Irony.
in
one of
in all its
its
its
aspects, in
deeper root,
to
art.
Fried,
it,
take
Fried,
it
in
As
a
it.
ciples with
we need only
it
beyond
we
philosophy, in so
Fichte's
if
knowledge, of
all
utterly abstract
which
and formal.
I is
matter
is
is
is,
and
For
and that
no more than,
negated therein
annihilated
is
by absorption
* " Gesinnungen."
for
every positive
FICHTETHE EGO.
Chap. IV.]
which
is
recognition
on the other
am
I, is
I,*
every content
side,
is
123
Whatever
I.
and what
Now,
if
we abide by
I,
and regarded \
is
and
in
of everything,
human
by the
be
as well
making
But
I.
I,
that
actual in
and
it
is
there
This amounts
its
real for
if so,
being given
its
I,
is
and
real
its
of the
of things
empty forms
these utterly
in the absoluteness
nature,
actual
to
my favour
by
is
is,
To admit
it
it
to the
remains, and
or to annihilate
it
and simply as
war
in Faust (Part
erschuf^etc, appears
I.
2)
"Die Welt,
to
be a parody
nichts
't
an undfiir
sick
German must be a
misprint.
" So
werthvoll betrachtetP
124
viduality to
and
its
its
own
[Chap. IV.
a living, active
I is
consists in bringing
life
indi-
its
this receives
life artistically.
But, accord-
my action
and utterance
when
all
to
this
,
realization.
eyes in as far as
my own
in
such a
my
thing
The
its
a semblance for
semblance.
t
is
Not
literal.
artist is
own power,
"
At
action.
(i.)
it.
Das alles an
The
(iii.)
in
whom no
for
it
the standpoint
is
Its
abstract,
own
sich setzende
content of
(ii.)
Everya
Chap.
IV.]
125
but only as
an
itself
artificial
and dissoluble
come
of the
I
By
I.
others, indeed,
present myself to
asmuch as they
my
self-display in
interpret
me
into being,
1
it
as though
which
seriously, inI
were really
are
talent
standpoint.
by he
is
matters,
tent
by
living
is)
as to see in
and sanctity
own power
for
all
that
mankind,
of caprice, where-
an ironical
artist life
And
then this
apprehends
skill in
itself as
mere dead
creature, to
which the
free creator,
is
a
a
knowing
way
He who
it.
Formal freedom
is
of mind in
t "Genialitat:" the character or state
is
which genius
self-enjoyment of genius.
126
down
who
on
all
mankind
the individual
in superiority
[Chap. IV.
And
essential validity.
life
in
them
for
assigns
to
right
towards
it.
This
is
that
his
or
actions,
ticular
own
etc.,
relation
this
what
universal
is
all
endure to
its
is,
/which
par-
in
live in
will
only
This
itself
futility t
of
as irony
all
in prating
about
it
then, or
it
that
is
is,
matter of
fact,
or moral
and of
is
value.
objective,
If the
essential
all
and actual
all
* " Selbstgenuss."
I do not think it means self-indulgence,
but the above-described enjoyment of reposing in the superiority
of the ego.
" Eitelkeil," also
t
this attitude.
= " conceit
Hegel uses
it
" which
;
on purpose.
is
FALSE SAINTLINESS.
Chap. IV.]
appears to
own
it
and as
as nothing worth
127
futile,
excepting
its
subjectivity,
may
and
may
quence to
prove insufficient to
feel
itself,
itself,
so as in conse-
Out of this
may
enjoyment of
there
but yet
is
itself,
and to
s trip
ab stract inwardness
itself free
school.
Fichte's
feebleness,
we have also
The discon-
which
or
surrendering
for
remains none
itself,
craving
is
does
to
and
of
mind ), and so
(of
and
is
a reality.
But
all
its
the less
the
is
For a
all
that
* "Eitle?
" Sehnsuchtigkeit."
t
% " Krankhafte
SchonseligkeW
Schonseligkeit seems
to
by " saintly
soul."
128
futile * subject
escape this
[Chap. IV.
and to
its futility,*
fill
t itself
with some-
form of
far,
art, it
artistic
of the
artist.
own
to produce external
The
is,
was bound
form,
sented by his
fancy.
life
come
which for
in
The
rjiyjne__as_Jhe_lKmical.
ironical,
"genial"
as
what
and excellent; and thus even the
objective shapes of art will have to represent the mere
individuality, consists in the self-annihilation of
is
noble,
great,
man
by displaying what
as null in
its
we
self-
are
in
inasmuch as
it,
characters,
itself,
taken
and
and so
is
in its exhibition
actions,
irony at
in the abstract,
* " Eitlen,"
it
refutes
own
has nothing
and annihilates
expense.
This mode,
" Eitelkeit?
its
all
through individuals,
may be
used etymologically, as a
irMfoxxsBiu.
COMEDY AND
Chap. IV.]
comedy
of
IRONY.
129
comic
affinity the
ironical.
what
is
in itself null,
phenomenon
for instance,
a whim, a perversity, or
mighty passion
may be shown
thing
to be null.
when what
is
in
But
reality
it
is
an individual and
is
by
his
means.
quite another
moral and
maxim
any
true,
itself as null in
Such an individual
representation.
cal
it is
is
brought to nothing.
fixed
surrender
"
it
and
and
essential
let it
purpose,
be destroyed
but
in
hand an
ready
them.
to
The
For true
essential import
purpose
abandon
it)
3o
work of
figures
is
means that
For the
art.
[Chap. IV.
result
is
in part insipid
a nullity
and
yearning moods
Representations of
And
this
for
this reason it is
and genius
in the public,
inasmuch as
does
it
That
is
to
say, the public does not like all this mediocrity, half
And
these
natures
unsubstantial languishing
pleasure
is
well that
afford
no
is
it
it
man
has a desire no
and genuine
interests
lives.
may be added
who more
This
is
length which
*
is
Haltung: "bearing"
bearing of one
supreme
and Ludwig Tieck.
who
SOLGER.
Chap. IV.]
131
him
tical
the
to
And
philosophic idea.
upon the
therein he hit
name
of
" infinite
negates
itself as
finiteness
give
it
become
universal, so as to
dialec-^
this
and
particularity,
negation
in
turn,
infinite in the
tains,
And
so he
itself,
artistic activity.
Yet
in his
actual
life,
and strength of
considering
his character,
an ironical
artist,
genuine works of
developed
in
protracted art
132
[Chap. IV.
an ironical nature.
So much
in vindication of Solger,
art
whose
merit to be distinguished
life,
philosophy, and
As
regards
Ludwig
centre.*
in
which
for
Tieck
mean by them.
and portrayal of
excellent, yet, if
we fancy
that
work
as
Romeo and
Juliet,"
we
though
their greatness
now
is
art,
is,
e.g.
in
such a
are taken in
the Irony.
ii.
is
248.
for
CHAPTER V
DIVISION OF
After
I.
THE
SUBJECT.
is
it
nov
Bu
we
are
in the introduction,
still
and an
introductior
which
will
considerations.
as
proceeding
fr
even assigned as
of the absolute
review in a
way
om
its
scientifii
we have spoken
of ar
the absolute
itsel f,
we
shall
have to conduct
how
thi:
th<
thi
we must attempt
is
Therefore
to awakei
itself.
its
form
lies in
i34
which
attribution
this
These two
and united
involves
is
show
[Chap. V.
The
totality.
first
the requirement
is
to be offered to artistic
be
itself to
in
its
Otherwise
jiature
we only
mode
is
its
nature.
The
which
is
derivable from
tellectual, these
and
in
abstract.
and
subjectivity
and
particularity within
it.
If
we
both
say,
fg.,
as
of
himself
ifford
is
Such a God, as he
no material
Hence the Jews and the Turks have not been able to
Chap. V.]
such an
positive
God
135
way
in
in Christianity is conceived in
His
so.
truth,
to
the
For
and
therefore, as in
person, as a subject,*
mind or
spirit.
What He
is
Here
is
essentiality, universality,
and
One.
particularity,
and
it
is
only
Now,
as
must be of
demands the same concrete-
is
all
ness,
itself
itself
therein.
God
is
Essay, p.
xiv.
we
See Prefatory
136
If a true
[Chap. V.
corresponding to
it
is
to
have
this
The
and one.
character of concreteness as
both
may
is
concrete in
world
is
no
itself,
it
human body
capable of represent-
and of displaying
we ought
Therefore
a mere matter of
is
to truth.
because
is
conformity therewith.
itself in
to
which
spirit,
one another
shape of the
ing
to the content as
art,
is
it
simply finds
The
other.
it
this
form either
is
manifestation.
sensuous concrete, in
itself,
is
reason
for
which content
and
own
in
its
its
external
content
is
made
aim of existing
This
artistic
is
the only
shape
are
The mere
Chap. V.]
THAN
SPIRIT HIGHER
ART.
137
purpose for
this
The
their
its
birds' variegated
and these
forests,
tion,
perish
and decay no
unenjoyed.
less
The work of
but
essentially a question,
heart,
is
Although the
artistic
is in
this respect
hand
it is
on the other
it
must not
and
rational.
its
more
spiritual
embodimen t,
G od
gr_jn
demands a higher an d
for instance,
as
we compare
conceived
Christian ideas.
* Fackeldistel
if,
is
adequate form
is
the
accordi ng to
138
[Chap. V.
human
individual,
and
shape
is
the Christian
and
to
is
medium of
existence
is
this
its
bodiment,
it
i.e.
adequate to
its
idea,f
Thus
This
is
science of
true notion of
art.
its
absolute essence,
and to
supplies
*
Or
this evolution
itself,
it
has to traverse
is
" as spirit
and
in spirit."
The
idea of
it
immeart.
Chap. V.]
139
art,
velopment
itself is
artist
itself.
has again in
art-spirit
sides.
definite but
world as the
comprehensive conscious-
ness of nature^,
man
shape
and, in
velopment of art
external existence
is
itself artistic
definite
realm of art
The two
subject-matter
(ii.)
mode
(i.)
that of the
of art
(i.)
e.g.
you have Egyptian, Greek, Christian religion, etc., with the corresponding views and sentiments, each in its own relation to
art ; (ii.) you have, as a cross division to the former, the several
arts sculpture, music, poetry, etc., each having its special ground
and warrant.
should
T He is asking himself why sound or paint, etc.,
correspond to one type of art as theoretically denned this
these
being intellectual, not sensuous, at root and answers that
media qua natural objects have, though more latent than in
works of art, an import and purpose of their own, which reveals
itself in their suitability to
i4o
[Chap. V.
But
it
In
its
It
has for
this
artistic
its
con-
beauty
and
tial differences
which
has for
its
sensuous realization of
its
shapes and
and
its
self-comple-
and
their genera
species.
* " Gestaltungsformen." I use " plastic " all through in a pregnant sense, as one speaks of plastic fancy, etc. ; meaning ideally
determinate, and
fit
See
See note,
p. 139,
above.
THE IDEAL.
Chap. V.]
2.
by
With respect
to the
141
intelligible,
we must begin
make the sequel
part,
first
is
mode
it
which a meta-
in
fit
for reality,
only in
its
shape
tive
at
it is
such, although
is
essence individual
and
reality,
an
also
to
one another.
Idea, as
individual
embody and J
c oncrete reality,
isPl
in its
are to be
When
and
its
plastic
mnnlH as
is
the Ideal.
The problem
shape,
it
But
if so,
serve, so
and no other.
confounded
is
its
import
may be
142
The
created.
Any
Ideal
is
content whatever
may
own
its
nature, but
it
[Chap. V.
by the standard of
Compared
From
this point of
till
later,
work of
art are
unskilfulness.
Defectiveness of form
from defectiveness of content. So, for example,
Chinese, Indians, and Egyptians in their artistic
individual
aris es
trie
and
genuine beauty
art,
were as
yet indeterminate in themselves, or of a vicious determinateness, and did not consist in the content that
absolute in
in true
itself.
The more
is
is
And
in
we have not
skill
to think merely
For
Chap. V.]
143
is
not unin-
that
is
in
consciousness,
and
is
and
cally
may
be quite
required
thereby.
such aihing_as
is
both techni-
perfect,
^loly-in 4he-hjghest arl_axe_ the Idea and the representation genuinely adequate to one anothe r,
n the
is
in
itself essentially
from
this,
as
we
its
and standard
and determination in external
be able to represent
herein that
God only
intellectual
God Himself
human form
it
known
in
is
in
expression, because
completely
Determinateness
Himself as mind.
nateness
concrete totality,
must
particularization
appearance.
will
itself as
is,
as
Where
it
were, the
this determi-
is
itself,
g. 134,
above.
144
[Chap. V.
its
that dictates
mode
its
particular
when
still
mode
its
that
it
is
The Idea
itself.
of manifestation within
means the
Thus
is
it.
its
its elf,
and
shape to
is
by
itself.
is
the Ideal.
J.
unity,
it
Idea
is in
consciousness only
on
it is
through
and
re-concilia-
and forms.
Therefore,
its
breaks up into
its
particular determinations.
This
whereby
itself.
art are
it
is
mani-
nothing but
which
em anatgjxnm
the-
THpa
it-gpl^
SYMBOLIC ART.
Chap. V.]
145
tion
whose
For the
prin-
be contained in rVtoconcep-
particularization
and
division
is
in question.
We
a.
itself still
made
minate
it
ality
one-sidedness leave
and
As
defective.
rather a
its
The
mere search
indeter-
its
abstractness and
first
form of art
is
therefore
thereafter.
is
fore continues to be
and
it
itself,
and there-
In general terms
the
Symbolic form of
h as
its
art.
we may
In
it
call this
form
in natural
GestaltungP
do not think
this
146
begins,
[Chap. V.
it is
inseparable.
is
them an aspect
it,
itself
in
them.
At
in
correspondence
is
when
On
mean
a _ lion
is
strength.
brings to consciousness no less strongly the foreign ness of the Idea to natural
phenomena
them
it,
expatiates in
all
itself.
The n
to
exaggerate
phenomen a of
reality into
it
proceeds
ORIENTAL PANTHEISM.
CHAP. V.]
147
becomes a negative
to objective reality
former, as in
its
nature inward,*
unsatisfied with
is
its
inner universal
and above
all this
as they were;
though
phenomena and
at the
is
exalted
in general
terms
By
this
many barbaric
means
religions.
it
becomes
But
its
truth
its
bizarre, grotesque,
may be
very simply
verified in daily observation of the first attempts of the uneducated at plastic presentation of their ideas, wh ere costliness
,
it.
U8
and
[Chap. V.
menal being as
such means
By
and evanescent.
null
pheno-
all
all
aspiration
the
in
and endeavour
This
insuperable.
may
art,
mystery and
its
be taken as the
its aspiration., its
form of
sublimity.
(j3)
first
disqu iet,*Jts
art,
which we propose
The
cancelled.
plastic
first
it
is
only
t he
free
is'
accord.
Hence, the
classical
and to establish
The
concept ion,
i tself.
With
it,
it
is
pecu-
therefore,
the Idea
Ideal,
Idea
its
I dea, in
and
it
type of art
is
intuition of the
the
first
to
completed
as a realized fact/
classical art
*
"
Gdhrung,"
lit.
" fermentation."
CLASSICAL ART.
Chap. V.]
149
be the
this could
nature,
On
content.
on
its
own
we must
To
self.
on lythf
for
suit
such a con
w hicr
of the mind
It
of art
has
existence
merely found
possessing
in
and brought
it,
natural
shape,
it,
into
as ar
accorc
as
individually deter-
spiritual
minate spiritualityinvests
as a temporal
sonification
phenomenon,
itself
is
the
when manifestec
human form. Per
but
art, in a:
i.e.
ISO
end
far as its
is
must advance
pomorphism, as
only in
mind
it
is
of souls
is
the
life
had necessarily
human
that
is
to such anthro-
The
migration
made
its
is
[Chap. V.
it
one of
and
axioms
its
phenomenon
\The human form is
appropriate to mind.
employed
in
sensuous
existence,
but
the exist-
exclusively as
exempt from
all
is
is
The
adequate to
its elf;
meaning which
kind.
itself
It
is
and again,
to
is
is
itself
a cont en
the conformity of
the content
must, that
if
must be of a
partic ular
to say, be qualified to
exp ress
ma n,
without
effect that
Mind
is
bv
Because
appropriate
it
beast's body.
it
at
human
of
an
ROMANTIC ART.
Chap. V.]
15
ffind,
much
as
mind
latter sense is
in this
incapab le
o:
t han ^a;
intellectual being.*
Out of
this
its
turn, the
defect
art,
form,
viz.
(7)
though
in
its reality,
art.
The
classical
of art
is
capable
imitation of
its
in
is
spher e.
and
type attaine c
if it is
the_conception of
which
is
any
in
art as a whn1p
i.e.
em
wa's
in th<
in
unvan-
left
bodiment
l
and recurs
infinite
its
object
ir
Mind
concrete universality
tc
referred to
by the author.
152
,For_mind
itstrue notion.
of the Idea^-whjch
is
[Chap. V.
is
not
true nature
its
it.
the romantic
it
has
won
signifi-
mode
of expression.-f-
God
declares to be true of
tinction to the
essential
G reek
Greek
if
explicitly, the
import
is
explicit, is
it
is
is
In
potentially, but
no t
purely immediate
mod e.
of man.
* It is
The
His shape
is,
circle of his
sensuous
power and of
his being, is
the essence of
The Greek
imagination.
god
in
and not
as Spirit, in contradis-
faith in
in thought
to
parts
are a
each
other.
upon.
Chap.
V.]
individual
the subject,* he
is,
15:
In relation witr
limited.
therefore,
is
merely
ir
subjective knowledge.
knowledge^oi
Now
is
the
which as latent
is
the
art,
and capable
of the~Tatent or potential
into
The.
self-conscious
difference.
separates
Man
latent
and potential
conscious of them,
them
e.g.,
he
is
self-conscious science.
It
man
is
as
ir
is
as the animal
le arns
o:
eleva-
to
know
is,
but becomes
By
this
intc
the boundary of merely potential and immediate consciousness, so that just for the reason that he
knows
as
was potential
medium
it
human
i. e.
154
inward
scious
God
,
Now,
intelligence*
Christianity brings
particularized
spirit
and
And
in truth.
[Chap. V.
mindnot
as
as
absol ute, in
from the sensuousness of imagination into inand makes this, not bodily shape,
retires
tellectual inwardness,
medium and
the
actual existence of
its significance.
is a,
ledge and in
this unity,
is
spirit. _
tation, as if that
this
as negative, absorbed,
and
as art transcending
artistic
itself,
while remjiningjwithinthe
Therefore, in short,
ment
unity.
we may abide by
of revealing
world of
spirit.
must addres s
"
is_
the inwa rd %
the state-
work
itself to
Innerlickkettf
lit.
for
sensuous _perception.
It
MEDIUM OF ROMANTIC
Chap. V.]
with
object simply
its
and as though
ART.
this
15$
were
itself,*
its
It is this inner
within.
of_the, -romantic,
its
The world
its
show or
of inward-
manifests this
itself,
victory,
its
medium
But,
this
Now
For
measure
will,
is
fugitive.
peculiarity or
i. e.
are n ot
*
The
as
the same
mind and
caprice
or
of
of inci-
left at
the mercy of
felt
The
etc.,
art,
object, as
And
form
to
romantic"
156
to mirror
what
given as
is
no more
likely
given, than to
throw
whose caprice
freaks of imagination,
it
is
[Chap. V.
is
them
in
classical art,
medium.
It
For
into grotesqueness.
its
own
its
this
external
and
in
its
own
is
and
its
form of
and which
reality,
all
Owing
misfortune and
grief,
and even
in difference, discrepancy,
in crime.
symbolic
difference.
whose defectiveness
symbol pro-
medium
And
jtself.
/
that
it
it
is
because of
itself
this
true reality
higher perfection
itself
withdraws
achieve
art,
it
in
itself.
This
we may take
art,
its
Chap. V.]
embodiment
the sphere of
in
157
They
art.
consist in
en.ce
The
4.
tion to the
two
it
we have
its
in particular
sensuous media.
to
do
beauty
in con-
What
artistic
to study
actual existence,
their external
as
and by
itself
a general type.
in
Now, what
art
transfers
into
immanent
Therefore, the
therein.
the arrangement
and
in
in
other words,
come acquainted
External
ciple.
i.e.
58
[Chap. V.
therefore
way
of
For each
icular
ype finds
its
definite character in
its
some one
adequate actuality
ess, its
types of
art,
being for
in
the
But, more-
definite
determinate-
all their
salization
by a determinate form of
art,
and achieve
nd
and constitute
its
them
after its
own
we
and
world
e saw,
is
more
r,
Thus
is
art,
as
it
in their creations
The
content of
spiritual
e.g.
Chap. V.]
the truth
159
itself.
and
to feeling,
It is the
art.
independent,
free,
itself.
Still,
and
reality,
in so
individual aspects
itself its
dependent particularity,
it
in-
centre
into
own
its
antitheses.
comes to consist
in
At
this
its spiritual
The
other extreme
something
known, as
is
the
variously particularized
Deity;
it
is
the truth as
subjects, not
persisting in the
as
Divine
*
is
at the
mould of
religion.
its
life
its first
and of
160
nanifestation as Deity,
liversity of particulars
cnowledge
lighest stage
same
his
religion,
and
all
difference as follows.
life in its
subjective
In the
feeling.
we
immediately connected,
is
arthly natural
ide
which belongs to
emotion, perception,
malogous province of
[Chap. V.
we
First,
its
conceive
think of the
finiteness as standing
on one
bject,
ubjectivity
done away.
is
And
at last, thirdly,
we
tie
consciousness.
The
first
isk lies in so
lat
it
orld.
i
world
independent development.
a fine art*
to
Its
The
which,
we have
material of architecture
is
artistic
outer
matter
itself
its
nderstanding,
lis
i.e.
In
ARCHITECTURE.
Chap. V.]
admit of being
161
Hence
realized.
is
it
form of
art.
for the
its
It is architecture that
order to disentangle
upon existing
way
in this
nature, in
it
pioneers the
By
this
means
it
It raises
an enclosure round
and wild
beasts,
will
to
principles of art.
power to inspire
less
its
effectively, as
material and
its
as this
it
has
forms more or
work is more or
less significant, more concrete or more abstract, more
profound in sounding its own depths, or more dim
content on behalf of which
and more
superficial.
it
sets to
archi-
adequate
artistic
its
162
shapes and in
material.
its
already overstepped
to sculpture, the
architecture
lies
its
But
in
[Chap. V.
such a case
phase above
it.
is
it
has
leaning
it
retains
art,
own
refer
its
creations.
purified
we have
seen, has
endowed it with
mind and
affinity to
stands ready.
place, the
God
which
viduality,
itself
and
its
is
spiritual
indicate
This
makes
itself at
home
in the
sensuous shape
two
i.e.
necessarily
draw
attention to their
own
limit.
SCULPTURE.
Chap. V.]
form of art
as
its
163
fundamental type.
For
this reason
as,
represent no
spiritual
its
and
in
peace
individuality.
is
And
so the
conformity with
its
mechanical quality
human
figure, and, it
must be remarked,
in all three
spatial dimensions.
last respect
In this
that
in
it is
it
we must
first
compieteness.
To
itself
maintains
fulfilled
its
by shape
its
And
this
abstract spatiality.*
is
The
i.e.
filling
space.
164
[Chap. V.
Now, after
and the hand of
whole of
its
dimensions.
(y)
it
with the
god
present to sense
of his house
by
is
The community
the community.
and
inner
life
is
the
animating
medium which
sensuous
represents
it
that the
art,
in
as well
outward
The
and the
solid unity
incidents,
subjectivity which
and
subjectivity
result
etc.],
is
into
individu-
they require*
in sculpture
breaks
to be really
*
and truly
in
spirit
the
His (God's)
if
we
and
community.
Chap. V.]
community
for
He
common
And He
nature and
God
in a
by which
Him.
existence and
sculpture represents
which
displays
essentially
jectivity.
itself
same time
individual
this
inward
and
its
is
as
now
absolute shape.
we have spoken
God
in
is
subthe
But
reveals this
and
as
itself
in
character.
escence of the
such, being
And
as
at the
is
self-
is
his
in its
unexpanded
bodily medium,
and
knowledge and
In the community,
identity, as well as
165
which
is
human
feeling, will
An
But by
reflection,
Julius Casar.
66
and
negation,
its
is
for its
In
representation.
artistic
[Chap. V.
object of
with
this
show
made
itself as
we have
requirement
and
finally in
ward
the
in
colour, in
in-
modes
of
and
ideas
and
as
down
this
fulfil
musical sound,
as adapted
perceptions
realizing
and
Media that
particular in itself
inwardness.
subjective
to
in
sensuous
its
as ideal.*
medium
In
^poetry.
displays itself as
art,
which, as such,
import
and sensuous medium develops into closer intimacy
than was possible in the case of architecture and
is
spiritual,
sculpture.
The
on the subjective
*
or
Posited or laid
made
which
a more
thrown wholly
and which,
in as far as
down
to be ideal
almost = pronounced
e.g. musical sound is
to be in the sense of
in
is
is
side,
not being;
moment
intelligible
art,
in
memory
form
only, the
a picture,
in respect of the third dimension, which has to be read into it
and poetry is almost wholly ideal, i.e. uses hardly any sensuous
element, but appeals almost entirely to what exists in the mind.
"Subdivided," " besondert," like "particu/arisirt" above; because of the variety and diversity present in the mere material
it is
Chap.
PAINTING.
V.]
167
come
jsality
its
amalgamation
The
arts, then,
themselves
to
ideality,
abandon
the
character of
symbolic
architecture
are
a totality of
constitute
type
is
1.
The
It
it,
they
itself, t
vidual arts
art in
arts,
And
to express.
may be
determined as follows.
employs as a medium
is
The first
painting.
and
for the
Romantic
movement
68
plastic
employed
and coloured
but
it is
such
visibility as
own
nature,
i.e.
as
It is
in architecture
[Chap. V.
and sculpture
is
also visible
of
itself in virtue
its
and treated as
the
abstractly
operative
in
made
rise to
in
colour.*
subjective in itself
mechanical
attribute
the properties
sculpture, the
like
gives
latter,
visibility,
ideal,
and
of
mass
as
The
visibility
visible
which belong
to
more
ideal
art
by
in space
which
restricting themselves
to a plane surface.
On
most
find
comprehensive
room
purpose
all
in the
whatever
Whatever
can
and
specification.
human
it is
capable of entering
content of painting.
Chap. V.]
MUSIC.
169
mind down
of
to the
nature,* in
make
its
allusion
particular scenes
appearance
to
affinity to
ii.
its
an
element
thought and
The
and phenomena, to
realm of
in the
art, if
only some
mind endows
of
it
with
feeling.
and
is
music.
by
by
painting.
The
(excluding space)
is
in
itself
The
The negation
of space
no more
is
an
attribute of
in
170
body within
material
Such an inchoate
itself
and
[Chap. V.
ideality of matter,*
which appears
with
is
down
as negated,
its
its
immersion
This
in matter.
earliest
medium
yet indefinite,
mind concentrates
and
and passions.
romantic
and
itself;
its
it
mental inwardness
for the
which
arts, just
Thus,
subjectivity.
too,
it
tion
t Succession in
time
a degree
is
memory.
\ " Seek
ing subject.
:"
mind on
intelligence.
Thus
concentrate
itself into
is
its
it
more
medium
of
rather
in feeling
a soul.
and
self-feeling,
mind
is
said to
POETRY.
Chap. V.]
poetry.
171
itself, like
architecture, a
As
iii.
look for
in poetry.
we must
in the
to
it
mode
it
subjects- to the
mind and
its
but
itself,
And
is
it
crete in
of
its
is
itself,
feeling
and
how sound
de-
Word, as voice
is
articulate in
itself,
was
still
its ideas,
Yet
unites
this
it
feel-
172
[Chap. V.
sciousness.
poetry
the
may just
as well be reduced to a
indication
medium
of
of poetical
is
For
mind.*
this
element
is
common
to
independently in each.
the
all
Poetry
is
and which
is
is
And
art, it
as
follows
and develops
itself
free in its
its
the poetical
itself.
types of
all
them
proper
reason the
representation
own
nature,
realization in external
sound.
Chap. V.]
173
Yet
scending
itself,
inasmuch as
it
jmds by
tran-
of a harmonious
form,
be the articulated
to
totality
viz.
and the
Many
poetry.
and
subjective art of painting music
other classifications have been attempted, for a
objective
tecture,
the
work of
art presents
art
so
of
many
sculpture,
treated as crystallization
Thus
architecture
medium
is
in
insignificance.
of works
medium, be
of art
consistently
may,
like
explored
in
their
their
material
charac-
174
its
[Chap. V.
symbolic,
classical,
we have found
and romantic
in
the types of
reality
in
which
and
is
it
type of
full
import of
art,
by another
it
its
art.
The
classical
it
realiza-
only as
treats architecture
notion,
it is
to operate,
and
art, finally,
modes of
utterance.
because
manner of poetic
Poetry, however,
is conformable
and extends over them
is
is
its
proper
may
repre-
The
its
type
be.
Chap. V.]
And,
what the
175
It is as the
is
spirit
to complete
its
it
awakens
ex-
Pantheon of
is
to self-knowledge,
will
the
and
need
evolution of ages.
THE END.