The Philosophy of Fine Art. Georg Wilhelm Friedrich Hegel

majestic hierarchy of the noble, eternal, and true; and no less to interpret for us misfortune and misery, wickedness and crime; to make the hearts of men realize through and through85 all that is atrocious and dreadful, no less than every kind of pleasure and blessedness; and last of all to start the imagination like a rover among the day-dream playing-fields of the fancy, there to revel in the seductive mirage of visions and emotions which captivate the senses. All this infinitely manifold content—so it is held—it is the function of art to explore, in order that by this means the experience of our external life may be repaired of its deficiencies, and yet from a further point of view that the passions we share with all men86 may be excited, not merely that the experiences of life may not have us unmoved, but that we ourselves may thereafter long to make ourselves open channels of a universal experience. Such a stimulus is not presented on the plane of actual experience itself87, but can only come through the semblance of it, that is to say through the illusions which art, in its creations, substitutes for the actual world. And the possibility of such a deception, by means of the semblances of art, depends on the fact that all reality must for man pass through the medium of the vision and imaginative idea; and it is only after such a passage that it penetrates the emotional life and the will. In such a process it is of no consequence whether it is immediate external reality which claims his attention, or whether the result is effected by some other way, in other words by means of images, symbols, and ideas, which contain and display the content of such actuality. Men are able to imagine things, which do not actually exist, as if they did exist. Consequently it is precisely the same thing for our emotional life, whether it is the objective world or merely the show of the same, in virtue of which a situation, a relation, or any content of life, in short, is brought home to us. Either mode is equally able to stir in us an echo to the essential secret which it carries, whether it be in grief or joy, in agitation or convulsion, and can cause to flow through us the feelings and passions of anger, hate, pity, anxiety, fear, love, reverence and admiration, honour and fame.

      The awakening of every kind of emotion in us, the drawing our soul through every content of life, the realization of all these movements of soul-life by means of a presence which is only external as an illusion—this it is which, in the opinion described, is pre-eminently regarded as the peculiar and transcendent power of artistic creation.

We must not, however, overlook the fact that in this view of art as a means to imprint on the soul and the mind what is good and evil alike, to make man more strong in the pursuit of what is noblest, no less than enervate his definite course88, by transporting his emotional life through the most sensuous and selfish desires, the task as yet proposed to art remains throughout of an entirely formal character; without possessing independently an assured aim all that art can offer is the empty form for every possible kind of ideal and formative content.

(c) As a matter of fact art does not possess this formal side, namely, that it is able to bring before our senses and feeling and artistically adorn every possible kind of material, precisely as the thoughts of ordinary reflection89 elaborate every possible subject-matter and modes of action, supplying the same with its equipment of reasons and vindications. In the presence, however, of such a variety of content we cannot fail to observe that these diversified emotions and ideas, which it is assumed art has to stimulate or enforce, intersect each other, contradict and mutually cancel each other. Indeed, under this aspect, the more art inspires men to emotions thus opposed, to that extent precisely it merely enlarges the cleavage in their feelings and passions, and sets them staggering about in Bacchantic riot, or passes over into sophistry and scepticism precisely as your ordinary free thinkers do. This variety of the material of art itself compels us, therefore, not to remain satisfied with so formal a determination. Our rational nature forces its way into this motley array of discord, and demands to see the resurrection of a higher and more universal purpose from these elements despite their opposition, and to be conscious of its attainment. Just in a similar manner the social life of mankind and the State are no doubt credited with the aim that in them all human capacities and all individual potencies should meet with expansion and expression in all their features and tendencies. But in opposition to so formal a view there very quickly crops up the question in what unity these manifold manifestations are to be concentrated, and what single end they must have for their fundamental concept and ultimate end. Just as in the case of the notional concept of the human State so too there arises in that of human art the need, as to a part thereof, for an end common to the particular aspects, no less than in part for one which is more exalted and substantive in its character90.

      As such a substantive end the conclusion of reflection is readily brought home to us that art possesses at once the power and function to mitigate the savagery of mere desires.

(α) With regard to this first conception we have merely to ascertain what characteristic peculiar to art implies this possibility of eliminating this rawness of desire, and of fettering and instructing the impulses and passions. Coarseness in general has its ground-root in an unmitigated self-seeking of sensuous impulses, which take their plunge off and are exclusively intent on the satisfaction of their concupiscence. Sensual desire is, however, all the more brutal and domineering, in proportion as, in its isolation and confinement, it appropriates the entire man, so that he does not retain the power to separate himself in his universal capacity from this determinacy and to maintain the conscious presence of such universality91. Even if the man in such a case exclaims, "the passion is mightier than myself," though it is true no doubt that for that man's mind the abstract ego is separate from the particular passion, yet it is purely so in a formal way. All that such a separation amounts to is that as against the force of the passion the ego, in its universal form or competency, is of no account at all. The savageness of passion consists therefore in the fusion92 of the ego as such a universal with the confined content of its desire, so that a man no longer possesses volitional power outside this single passion. Such savageness and untamed force of the possibilities of passion art mitigates in the first instance to the extent that it brings home to the mind and imagination of man what he does actually feel and carry into effect in such a condition. And even if art restricts itself to this that it places before the vision of the mind pictures of passion, nay, even assuming such to be flattering pictures, yet for all that a power of amelioration is contained therein. At least we may say, that by this means is brought before a man's intelligence what apart from such presentment he merely is. The man in this way contemplates his impulses and inclinations; and whereas apart from this they whirl him away without giving him time to reflect, he now sees them outside himself and already, for the reason that they come before him rather as objects than a part of himself, he begins to be free from them as aliens. For this reason it may often happen that an artist, under the weight of grief, mitigates and weakens the intensity of his own emotions in their effect upon him by the artistic representation of them. Comfort, too, is to be found even in tears. The man who to start with is wholly given up to and concentrated in sorrow, is able thus, at any rate, to express that which is merely felt within in a direct way. Yet more alleviating is the utterance of such inner life in words, images, musical sound, and shapes.

It was therefore a good old custom in the case of funerals and layings-out to appoint wailing women, in order to give audible expression to grief, or generally to create an external sympathy. For manifestations of sympathy bring the content of human sorrow to the sufferer in an objective form; he is by their repetition driven to reflect upon it, and the burden is thereby made lighter. And so it has from of old been considered that to weep or to speak oneself out are equally means whereby freedom is secured from the oppressing burden, or at least the heart is appreciably lifted. Consequently the mitigation of the violence of passions admits of this general explanation that man is released from his unmediated confinement