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

vast import with the mind and language of his day, sometimes by a similar error refutes himself.[6] He makes, for instance, the disembodied soul see the invisible ideas. Thus he travesties his things of the mind as though they were things of sense, only not of our sense—thereby destroying the deeper difference of kind that alone enables them to find a place in our world. That his doctrine of ideas was really rooted, not in mysticism, but in scientific enthusiasm, is a truth that is veiled from us partly by his inconsistencies, but far more by our own erroneous preconceptions.[7]

      There is, however, a genuine distinction between "this" world and the "other" world, which is merely parodied by the vulgar antitheses between natural and supernatural, finite and infinite, phenomenal and noumenal. We sometimes hear it said, "The world is quite changed to me since I knew such a person," or "studied such a subject," or "had suggested to me such an idea." The expression may be literally true; and we do not commonly exaggerate, but vastly underrate its import. We read, for instance, in a good authority, "These twenty kinds of birds (which Virgil mentions) do not correspond so much to our species as to our genera; for the Greeks and Romans, I need hardly say, had only very rough-and-ready methods of classification, just as is the case with uneducated people at the present day."[8] Any one may verify the same fact as regards the observation of flowers. Every yellow ranunculus is called a "butter-cup," every large white umbellifer a "hemlock." These, with hundreds of other differences of perception, affect the surroundings in which men consciously live, at least as much as a considerable degree of deafness or blindness. It is no metaphor, but literal fact, to say that man's whole environment is transformed by the training even of his mere apprehension of natural objects. But there is more in the matter than this. Without going into metaphysics, which I wish to avoid, I cannot, indeed, maintain that mind "makes" natural objects, although by enabling us to perceive them it unquestionably makes our immediate conscious world. My individual consciousness does not make or create the differences between the species of ranunculus, although it does create my knowledge of them. But when we come to speak of the world of morals or art or politics, we may venture much further in our assertions. The actual facts of this world do directly arise out of and are causally sustained by conscious intelligence; and these facts form the world above sense. The unity of a Christian church or congregation is a governing fact of life; so is that of a family or a nation; so, we may hope, will that of humanity come to be. What is this unity? Is it visible and tangible, like the unity of a human body? No, the unity is "ideal;" that is, it exists in the medium of thought only; it is made up of certain sentiments, purposes, and ideas. What even of an army? Here, too, an ideal unity is the mainspring of action. Without mutual intelligence and reciprocal reliance you may have a mob, but you cannot have an army. But all these conditions exist and can exist in the mind only. An army, qua army, is not a mere fact of sense; for not only does it need mind to perceive it—a heap of sand does that—but it also needs mind to make it.

      The world of these governing facts of life is the world of the things not seen, the object of reason, the world of the truly infinite and divine. It is, of course, a false antithesis to contrast seeing with the bodily eye and seeing with the mind's eye. The seeing eye is always the mind's eye. The distinction between sense and spirit or intellect is a distinction within the mind just as is St. Paul's opposition between the spirit and the flesh. Nevertheless, the mind that only sees colour—sense or sense-perception—is different from the mind that sees beauty, the self-conscious spirit. The latter includes the former, but the former does not include the latter. To the one the colour is the ultimate fact; to the other it is an element in a thing of beauty. This relation prevails throughout between the world of sense and the world above sense. The "things not seen," philosophically speaking, are no world of existences or of intelligences co-ordinate with and severed from this present world. They are a value, an import, a significance, superadded to the phenomenal world, which may thus be said, though with some risk of misunderstanding, to be degraded into a symbol. The house, the cathedral, the judge's robe, the general's uniform, are ultimate facts for the child or the savage; but for the civilized man they are symbols of domestic life, of the Church, and of the State. Even where the supra-sensuous world has its purest expression, in the knowledge and will of intelligent beings, it presupposes a sensuous world as the material of ideas and of actions. "This" world and the "other" world are continuous and inseparable, and all men must live in some degree for both. But the completion of the Noumenal world, and the apprehension of its reality and completeness, is the task by fulfilling which humanity advances.

      I pass to the interpretation, neither technical nor controversial, of one or two of Hegel's most alarming phrases.

      The "infinite" seems to practical minds the very opposite of anything real, present, or valuable. As the description of life, it is the mere negation of the life we know; as the description of a purpose, it is the very antithesis of any purpose that we can conceive to be attainable; as the description of a being, it appears to be formed by denying every predicate which we attach to personality. And I could wish that Hegel had not selected this much-abused term as the distinctive predicate of what is most real and most precious in life. He adhered to it, no doubt, because his infinity, though different in nature to that of common logic, yet rightly fills the place and meets the problem of that conception. I will attempt to explain how this can be, and what we are discussing when we read about infinity in the Hegelian philosophy.

      It is an obvious remark, that infinity was a symbol of evil in Hellenic speculation, whereas to Christian and modern thought it is identified with good. Much idle talk has arisen on this account, as to the limitation of the Hellenic mind. For in fact, the Finite ascribed to Pythagoras, and the idea of limit and proportion in Plato or in Aristotle, are far more nearly akin to true infinity than is the Infinite of modern popular philosophy. Infinite means the negation of limit. Now, common infinity, which may be identified in general with enumeration ad infinitum—the false infinity of Hegel—is the attempt to negate or transcend a limit which inevitably recurs. It arises from attempting a task or problem in the wrong way, so that we may go on for ever without making any advance towards its achievement. All quantitative infinity—which of course has its definite uses, subject to proper reservations—is of this nature. A process does not change its character by mere continuance, and the aggregate of a million units is no more free from limitation than the aggregate of ten. A defect in kind cannot be compensated by mere quantity. We see the fallacious attempt in savage, barbaric, or vulgar art. Meaningless iteration, objectless labour, enormous size, extravagant costliness, indicate the effort to satisfy man's need of expression by the mere accumulation of work without adequate idea or purpose. But such efforts, however stupendous, never attain their goal. They constitute a recurrent failure to transcend a recurrent limit, precisely analogous to enumeration ad infinitum. A hundred thousand pounds' worth of bricks and mortar comes no nearer to the embodiment of mind than a thousand pounds' worth. To attempt adequate expression by mere aggregation of cost or size is therefore to fall into the infinite process or the false infinity.

      Another well-known instance is the pursuit of happiness in the form of "pleasure for pleasure's sake." The recurrence of unchanging units leaves us where we were. A process which does not change remains the same, and if it did not bring satisfaction at first, will not do so at last.[9] We might as well go on producing parallels to infinity, in the hope that somehow or somewhere they may meet. An infinite straight line may serve as a type of the kind of infinity we are considering.

      Infinity in the Hegelian sense does not partake in any way of this endlessness, or of the unreality which attaches to it. Its root-idea is self-completeness or satisfaction. That which is "infinite" is without boundary, because it does not refer beyond itself for explanation, or for justification; and therefore, in all human existence or production infinity can only be an aspect or element. A picture, for instance, regarded as a work of fine art, justifies itself, gives satisfaction directly and without raising questions of cause or of comparison, and is in this sense—i.e. in respect of its beauty—regarded as "infinite." When, on the other hand, we consider this same work of art as an historical phenomenon, as a link in a chain of causation—e.g. as elucidating the development of a school, or proving the existence of a certain technical process at a certain date—then we go beyond itself for its interest and explanation, and depress it at once into a finite object. The finite is that which presents itself as incomplete; the infinite that which presents itself as complete,