The Philosophy of Fine Art. Georg Wilhelm Friedrich Hegel

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Название The Philosophy of Fine Art
Автор произведения Georg Wilhelm Friedrich Hegel
Жанр Документальная литература
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one art will require such a conscious reception and cognitive mastery of the content in question more than another. Music, for example, which has exclusively to deal with the entirely undefined motion of the soul within, with the musical tones of that which is, relatively, feeling denuded of positive thought, has little or no need to bring home to consciousness the substance of intellectual conception48. For this very reason musical talent declares itself as a rule in very early youth, when the head is still empty and the emotions have barely had a flutter; it has, in fact, attained real distinction at a time in the artist's life when both intelligence and life are practically without experience. And for the matter of that we often enough see very great accomplishment in musical composition and execution hung together with considerable indigence of mind and character. It is quite another matter in the case of poetry. What is of main importance here is a presentation of our humanity rich in subject-matter and reflective power, of its profounder interests, and of the forces which move it. Here at least mind and heart must themselves be richly and profoundly disciplined by life, experience, and thought before genius itself can bring into being the fruit that is ripe, the content that has substance, and is essentially consummate. The early productions of Goethe and Schiller are characterized by an immaturity, we may even call it a rawness and barbarity, which really are appalling. This phenomenon, that in the majority of those experiments we find a preponderating mass of features which are absolutely prosaic, or at least uninspired and commonplace, is a main objection to the ordinary notion that inspiration is inseparable from youth and its sirocco season. These two men of genius were the first beyond question to give our nation true works of poetry, are, in fact, our national poets; but for all that it was only their mature manhood, which made it a present of creations profound, sterling of their kind, creations of genuine inspiration, and no less technically complete in their artistic form49. We naturally recall the case of the veteran Homer, who only composed and uttered his immortal songs in his old age.

      And further, all that the mind borrows from its own ideal content it is able, even in the direction of external existence, to endow with permanence. The individual living thing on the contrary is transitory; it vanishes and is unstable in its external aspect. The work of art persists. At the same time it is not mere continuation, but rather the form and pressure thereon of the mintage of soul-life which constitutes its true pre-eminence as contrasted with Nature's reality.

      (d) Assuming, then, that the work of art is a creation of man in the sense that it is the offspring of mind or spirit we have still a further question in conclusion, which will help us to draw a more profound inference still from our previous discussion. That question is, "What is the human need which stimulates art-production?" On the one hand the artistic activity may be regarded as the mere play of accident, or human conceits, which might just as well be left alone as attempted. For, it may be urged, there are other and better means for carrying into effect the aims of art, and man bears within himself higher and more weighty interests, than art is capable of satisfying. In contrast to such a view art appears to originate in a higher impulse, and to satisfy more elevated needs, nay, at certain times the highest and most absolute of all, being, as it has been, united to the most embracing views of entire epochs and nations upon the constitution of the world and the nature of their religion.

      This inquiry, however, concerning a necessity for art which shall not be merely contingent, but absolute, we are not as yet able to answer with completeness; it demands, in fact, a concreter mode of exposition than is compatible with the form of this introduction. We must accordingly deem it sufficient for the present merely to establish the following points.