LITMIR.BIZ

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The Idea, however, which is essentially concrete, carries the principle of its manifestation in itself, and is thereby the means of its own free manifestation. Thus it is only the truly concrete Idea that is able to evoke the true embodiment, and this appropriate coalescence of both is the Ideal.

      3. But inasmuch as in this way the Idea is concrete unity, this unity can only enter the artistic consciousness by the expansion and further mediation of the particular aspects of the Idea; and it is through this evolution that the beauty of art receives a totality of particular stages and forms. Therefore, after we have considered fine art in its essence and on its own account, we must see how the beautiful in its entirety breaks up into its particular determinations. This gives, as our second part, the doctrine of the types of art. The origin of these types is to be found in the varied ways under which the Idea is conceived as the content of art; it is by this means that a distinction in the mode of form under which it manifests itself is conditioned. These types are therefore simply the different modes of relation which obtain between the Idea and its configuration, relations which emanate from the Idea itself, and thereby present us with the general basis of division for this sphere. For the principle of division must always be found in the notional concept, the particularization and division of which it is.

      We have here to consider three relations of the Idea to its external process of configuration.

      (a) First, the origin of artistic creation proceeds from the Idea when, being itself still involved in defective definition and obscurity, or in vicious and untrue determinacy, it becomes embodied in the shapes of art. As indeterminate it does not as yet possess in itself that individuality which the Ideal demands. Its abstract character and one-sidedness leaves its objective presentment still defective and contingent. Consequently this first type of art is rather a mere search after plastic configuration than a power of genuine representation. The Idea has not as yet found the formative principle within itself, and therefore still continues to be the mere effort and strain to find it. We may in general terms describe this form as the symbolic type of art. The abstract Idea possesses in it its external shape outside itself in the purely material substance of Nature, from which the shaping process proceeds, and to which in its expression it is entirely yoked. Natural objects are thus in the first instance left just as they are, while, at the same time the substantive Idea is imposed upon them as their significance, so that their function is henceforth to express the same, and they claim to be interpreted, as though the Idea itself was present in them. A rationale of this is to be found in the fact that the external objects of reality do essentially possess an aspect in which they are qualified to express a universal import. But as a completely adequate coalescence is not yet possible, all that can be the outcome of such a relation is an abstract attribute, as when a lion is understood to symbolize strength.

      On the other hand this abstractness of the relation makes present to consciousness no less markedly how the Idea stands relatively to natural phenomena as an alien; and albeit it expatiates in all these shapes, having no other means of expression among all that is real, and seeks after itself in their unrest and defects of genuine proportion, yet for all that it finds them inadequate to meet its needs. It consequently exaggerates natural shapes and the phenomena of Nature in every degree of indefinite and limitless extension; it flounders about in them like a drunkard, and seethes and ferments, doing violence to their truth with the distorted growth of unnatural shapes, and strives vainly by the contrast, hugeness, and splendour of the forms accepted to exalt the phenomena to the plane of the Idea. For the Idea is here still more or less indeterminate, and unadaptable, while the objects of Nature are wholly definite in their shape.

      Hence, on account of the incompatibility of the two sides of ideality and objective form to one another, the relation of the Idea to the other becomes a negative one. The former, being in its nature ideal, is unsatisfied with such an embodiment, and posits itself as its inward or ideally universal substance under a relation of sublimity over and above all this inadequate superfluity of natural form. In virtue of this sublimity the natural phenomena, of course, and the human form and event are accepted and left simply as they are, but at the same time, recognized as unequal to their significance, which is exalted far above all earthly content.

      These features constitute in general terms the character of the primitive artistic pantheism of the East, which, on the one hand, charges the meanest objects with the significance of the absolute Idea, or, on the other, compels natural form, by doing violence to its structure, to express its world-ideas. And, in consequence, it becomes bizarre, grotesque, and deficient in taste, or turns the infinite but abstract freedom of the substantive Idea contemptuously against all phenomenal existence as alike nugatory and evanescent. By such means the significance cannot be completely presented in the expression, and despite all straining and endeavour the final inadequacy of plastic configuration to Idea remains insuperable. Such may be accepted as the first type of art—symbolic art with its yearning, its fermentation, its mystery, and sublimity.

      (b) In the second type of art, which we propose to call "Classical," the twofold defect of symbolic art is annulled. Now the symbolic configuration is imperfect, because, first, the Idea here only enters into consciousness in abstract determinacy or indeterminateness: and, secondly, by reason of the fact that the coalescence of import with embodiment can only throughout remain defective, and in its turn also wholly abstract. The classical art-type solves both these difficulties. It is, in fact, the free and adequate embodiment of the Idea in the shape which, according to its notional concept, is uniquely appropriate to the Idea itself. The Idea is consequently able to unite in free and completely assonant concord with it. For this reason the classical type of art is the first to present us with the creation and vision of the complete Ideal, and to establish the same as realized fact.

The conformability, however, of notion and reality in the classical type ought not to be taken in the purely formal sense of the coalescence of a content with its external form, any more than this was possible in the case of the Ideal. Otherwise every copy from Nature, and every kind of portrait, every landscape, flower, scene, and so forth, which form the aim of the presentment, would at once become classical in virtue of the fact of the agreement it offers between such content and form. In classical art, on the contrary, the characteristic feature of the content consists in this, that it is itself concrete Idea, and as such the concrete spiritual; for it is only that which pertains to Spirit which is veritable ideality142. To secure such a content we must find out that in Nature which on its own account is that which is essentially and explicitly appropriate to the spiritual. It must be the original notion itself143, which has invented the form for concrete spirituality, and now the subjective notion—in the present case the spirit of art—has merely discovered it, and made it, as an existence possessed of natural shape, concordant with free and individual spirituality. Such a configuration, which the Idea essentially possesses as spiritual, and indeed as individually determinate spirituality, when it must perforce appear as a temporal phenomenon, is the human form. Personification and anthropomorphism have frequently been abused as a degradation of the spiritual. But art, in so far as its function is to bring to vision the spiritual in sensuous guise, must advance to such anthropomorphism, inasmuch as Spirit is only adequately presented to perception in its bodily presence. The transmigration of souls in this respect an abstract conception144, and physiology ought to make it one of its fundamental principles, that life has necessarily, in the course of its evolution, to proceed to the human form, for the reason that it is alone the visible phenomenon adequate to the expression of intelligence.

The human bodily form, then, is employed in the classical type of art not as purely sensuous existence, but exclusively as the existence and natural shape appropriate to mind. It has therefore to be relieved of all the defective excrescences which adhere to it in its purely physical aspect, and from the contingent finiteness of its phenomenal appearance. The external shape must in this way be purified in order to express in itself the content adequate for such a purpose; and, furthermore, along with this, that the coalescence of import and embodiment may be complete, the spirituality which constitutes

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