The Philosophy of Fine Art. Georg Wilhelm Friedrich Hegel

Читать онлайн.
Название The Philosophy of Fine Art
Автор произведения Georg Wilhelm Friedrich Hegel
Жанр Документальная литература
Серия
Издательство Документальная литература
Год выпуска 0
isbn 4064066395896



Скачать книгу

no mere action of forces external to it, but by virtue of its own specific definition and free activity, free in all its aspects as itself an object, is manifested there. For although an activity external to it could as such equally be free, yet in crystals the conformative activity is not extraneous to the object; rather it is a form operative as belonging to the mineral's innate character. We may define it as the free force of its substance, which out of its own resources informs itself and is not merely passively receptive of its environment. Consequently we find here the constituent material in its realized form as a free and independent creation. In still higher and more concrete mode the immanent form projects itself through the living organism and all its parts, in the articulate form and, above all, in its motion and its vital expression as feeling. For in this last case we have the inward vitality pregnant itself as living.

      (β) There is another sense in which we attribute beauty to Nature, namely, when we have the collective picture of a landscape before us rather than observe the living form of a simple object. Here we have no organic articulation of parts such as is derived from their notion and is presented to us as such ideal unity in spontaneous life. We have instead a rich variety of objects both organic and inorganic, which are united together on one or more planes of vision in their distinctive features, contour of mountains, winding outlines of rivers, groups of trees, huts, dwellings, palaces, and cities of mankind, ships, roadways, heaven and sea, valley and rock-cleft. We find, in addition to this variety and proceeding therefrom, a delightful or imposing harmony which appeals to our sense and interests us.

      It is lastly a peculiar characteristic of the beauty of Nature that it should excite or exercise a harmonious influence over our emotional life. A mood of this kind is aroused by the stillness of moonlight, the peace of a valley, through which some brook or other meanders, the sublimity of the immeasurable storm-tossed sea, the tranquil depth of the star-strewn heavens. But the significant factor in this case is not so much to be found in the objects as in the peculiar moods they arouse in our feelings and affections. On analogous grounds we attribute beauty to animals, when the expression of their life directly suggests human qualities, such as courage, strength, cunning, good nature, and the rest. Such, no doubt, in one aspect of it, truly expresses the nature of the animals themselves; but there is also our own conception of its affinity to ourselves, and the mood in which we receive it.

      (c) However much animal life, as the culminating point of natural beauty, unfolds its freest expression as a living principle, it is comparatively narrow in its range and subject to very limited qualities. The circle of such existence is a strait one; and in this the predominant interests are those of the satisfaction of natural instincts such as hunger and sex-attraction. Soul-life, regarded as the inward principle expressed through external figure, is poor, abstract, and empty of content. Add to this the consideration that this inward is not manifested at all as inward. The soul in its essential substance is not revealed by the life of Nature; it is, in fact, the determining characteristic of Nature that its soul remains shut in itself, does not, in other words, proclaim itself in its ideality. As already pointed out, the soul of an animal is not this ideal unity self-acknowledged. If it were otherwise we should have the manifestation of such personality brought home to others. Only in the self-conscious Ego do we find the ideal in its simplest terms, which is itself an ideal medium to itself, knows itself as this simple unity, and thereby endows itself with a reality, which is not limited to bodily and sensuous form, but is itself of an ideal character. Here, for the first time, reality is in possession of a form adequate to the notion; or rather the notion sets itself up as its own opposite, makes itself objectively real and finds its own realization in that objectivity. The animal life, on the contrary, is only potentially such a unity as that in which reality as bodily form is other than the ideal unity of soul. In self-consciousness we have this unity realized, whose opposing factors are constituent elements of one transparent ideality. And it is as this concrete totality of self-consciousness that the Ego is manifested to others. The forms of animal life merely enable us through imaginative perception to divine the soul's existence. Such only possess the troubled semblance of a soul, betrayed to us through the breath or exhalement which permeates the whole, gives some unity to all the members, and reveals in the entire instinctive life the first germs of an independent character. Herein lies the primary defect of the beauty of Nature, even when taken at its point of culminating form: and it is precisely this defect which will introduce us to the necessity of the Ideal as the beauty of art. But before we consider at length the nature of this Ideal, there are two determinations involved as the most immediate result of this inherent defect in natural beauty, which invite our attention.

      B. THE EXTERNAL BEAUTY OF ABSTRACT FORM REGARDED AS UNIFORMITY, SYMMETRY, CONFORMITY TO RULE AND HARMONY AND REALITY IN THE SENSE OF ABSTRACT UNITY OF THE PHYSICAL MATERIAL.

      There is in Nature an external reality which is, of course, visible and definitely objective, but the inward unity of which, instead of presenting itself in the concrete inwardness referable to the unity of soul-life, only goes to the point of indeterminacy and abstraction. In other words, it stops short of the inwardness self-actualized in an ideal form and as the particular existence conformable to its ideal content. Its appearance is that of the defining principle on the face of external reality. Now the specific characteristics of inwardness in all its concreteness should be these. First, the principle of soul-life is asserted for itself no less than is potentially replete with content. Secondly, external reality interpenetrates this ideal arcanum, and by so doing fully reveals its true form as such external reality. A concrete unity of this nature is not reached by mere natural beauty: it lies beyond as the Ideal. On this plane of existence we cannot say that such a concrete unity enters into the manifestation of form. We have to deduce it through analysis, examining in their separation and singularity the distinguishing features which the unity supports. The form that informs here and the sensuous external reality fall apart from one another; or rather we have two distinct