The Introduction to Hegel's Philosophy of Fine Arts. Georg Wilhelm Friedrich Hegel

tion>

       Georg Wilhelm Friedrich Hegel

      The Introduction to Hegel's Philosophy of Fine Arts

      Translated from the German with Notes and Prefatory Essay

      Published by Good Press, 2019

       [email protected]

      EAN 4057664635068

Table of Contents

       PREFATORY ESSAY BY THE TRANSLATOR.

       CHAPTER I.

       CHAPTER II.

       CHAPTER III.

       CHAPTER III. (Continued) .

       CHAPTER IV.

       CHAPTER V

       A CLASSIFIED LIST OF Kegan Paul, Treneh, Trübner & Co.'s PUBLICATIONS.

       A CLASSIFIED LIST OF KEGAN PAUL, TRENCH, TRÜBNER & Co.'s PUBLICATIONS.

PREFATORY ESSAY BY THE TRANSLATOR.

       Table of Contents

      ON THE TRUE CONCEPTION OF ANOTHER WORLD.

      "With such barren forms of thought, that are always in a world beyond, Philosophy has nothing to do. Its object always something concrete, and in the highest sense present."—Hegel's Logic, Wallace's translation, p. 150.

      It will surprise many readers to be told that the words which I have quoted above embody the very essence of Hegelian thought. The Infinite, the supra-sensuous, the divine, are so connected in our minds with futile rackings of the imagination about remote matters which only distract us from our duties, that a philosophy which designates its problems by such terms as these seems self-condemned as cloudy and inane. But, all appearances to the contrary notwithstanding, Hegel is faithful to the present and the concrete. In the study of his philosophy we are always dealing with human experience. "My stress lay," says Mr. Browning,[5] "on the incidents in the development of a soul; little else is worth study." For "a soul" read "the mind," and you have the subject-matter to which Hegel's eighteen close-printed volumes are devoted. The present introductory remarks are meant to insist on this neglected point of view. I wish to point out, in two or three salient instances, the transformation undergone by speculative notions when sedulously applied to life, and restrained from generating an empty "beyond." By so doing I hope to pave the way for a due appreciation of Hegel's philosophy of fine art. That the world of mind, or the world above sense, exists as an actual and organized whole, is a truth most easily realized in the study of the beautiful. And to grasp this principle as Hegel applies it is nothing less than to acquire a new contact with spiritual life. The spiritual world, which is present, actual, and concrete, contains much besides beauty. But to apprehend one element of such a whole constitutes and presupposes a long step towards apprehending the rest. It is for this reason that I propose, in the first place, to explain, by prominent examples, the conception of a spiritual world which is present and actual, and then to let Hegel speak for himself on the particular sphere of art. So closely connected indeed are all the embodiments of mind, that the Introduction to the "Philosophy of Fine Art" is almost a microcosm of his entire system.

      We know, to our cost, the popular conception of the supra-sensuous world. Whatever that world is, it is, as commonly thought of, not here and not now. That is to say, if here and now, it is so by a sort of miracle, at which we are called upon to wonder, as when angels are said to be near us, or the dead to know what we do. Again, it is a counterpart of our present world, and rather imperceptible to our senses, than in its nature beyond contact with sense as such. It is peopled by persons, who live eternally, which means through endless ages, and to whose actual communion with us, as also to our own with God, we look forward in the future. It even perhaps contains a supra-sensuous original corresponding to every thing and movement in this world of ours. And it does not necessarily deepen our conception of life, but only reduplicates it.

      Such a world, whatever we may think about its actual existence, is not the "other world" of philosophy. The "things not seen" of Plato or of Hegel are not a double or a projection of the existing world. Plato, indeed, wavered between the two conceptions in a way that should have warned his interpreters of the divergence in his track of thought. But in Hegel, at least, there is no ambiguity. The world of spirits with him is no world of ghosts. When we study the embodiments of mind or spirit in his pages, and read of law, property, and national unity; of fine art, the religious community, and the intellect that has attained scientific self-consciousness, we may miss our other world with its obscure "beyond," but we at any rate feel ourselves to be dealing with something real, and with the deepest concerns of life. We may deny to such matters the titles which philosophy bestows upon them; we may say that this is no "other world," no realm of spirits, nothing infinite or divine: but this matters little so long as we know what we are talking about, and are talking about the best we know. And what we discuss when Hegel is our guide, will always be some great achievement or essential attribute of the human mind. He never asks, "Is it?" but always "What is it?" and therefore has instruction, drawn from experience, even for those to whom the titles of his inquiries seem fraudulent or bombastic.

      These few remarks are not directed to maintaining any thesis about the reality of nature and of sense. Their object is to enforce a distinction which falls within the world which we know, and not between the world we know and another which we do not know. This distinction is real, and governs life. I am not denying any other distinction, but I am insisting on this. No really great philosopher, nor religious teacher—neither Plato, nor Kant, nor St. Paul—can be understood unless we grasp this antithesis in the right way. All of these teachers have pointed men to another world. All of them, perhaps, were led at times by the very force and reality of their own thought into the fatal separation that cancels its meaning. So strong was their sense of the gulf between the trifles and the realities of life, that they gave occasion to the indolent imagination—in themselves and in others—to transmute this gulf from a measure of moral effort into an inaccessibility that defies apprehension. But their purpose was to overcome this inaccessibility, not to heighten it.

      The hardest of all lessons in interpretation is to believe that great men mean what they say. We are below their level, and what they actually say seems impossible to us, till we have adulterated it to suit our own imbecility. Especially when they speak of the highest realities, we attach our notion of reality to what they pronounce to be real. And thus we baffle every attempt to deepen our ideas of the world in which we live. The work of intelligence is hard; that of the sensuous fancy is easy; and so we substitute the latter for the former. We are told, for instance, by Plato, that goodness, beauty, and truth are realities, but not visible or tangible. Instead of responding to the call so made on our intelligence by scrutinizing the nature and conditions of these intellectual facts—though we know well how tardily they are produced by the culture of ages—we apply forthwith our idea of reality as something separate in space and time, and so "refute" Plato with ease, and remain as wise as we were before. And it is true that