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The Philosophy of Fine Art. Georg Wilhelm Friedrich Hegel
Читать онлайн.Название The Philosophy of Fine Art
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isbn 4064066395896
Автор произведения Georg Wilhelm Friedrich Hegel
Жанр Документальная литература
Издательство Bookwire
It is in virtue of such truth that proof is possible that neither a freedom which is essentially subjective and disparate from every element of necessity is true in the absolute sense; nor, on the other hand, is it admissible to predicate truth of a necessity conceived in absolute isolation from consciousness. Our ordinary conscious life fails to overcome this contradiction, and either plunges desperately into the same, or thrusts it on one side and makes its escape from it in some other way. Philosophy will, however, so address itself to the two determinating factors of the contradiction as to show that they are apprehended as isolate from each other in abstraction, not according to their concrete notion; and by the grasp of this latter it will demonstrate the one-sidedness in its relative character, placing these opposing aspects in the fuller union and harmony which is truth. It is the function of philosophy to grasp and formulate this notion of truth. Unquestionably philosophy recognizes the concrete notion throughout; and it is in virtue of this that it is Thought with full grasp of truth. But what we call the notion is something other than this, truth, that is, in its essential verity together with the existence which is either adequate to it or is not so. In all finite reality the determinations, which are essential to ideal truth, appear separable from each other, dividing the veil of that which in its absolute Truth is a complete totality. Take the case of a living being. Under such finite categories we are forced to regard it as a subject in opposition to the inorganic Nature which environs it. Both the points of view are no doubt present in the notion, but they are there reconciled. Finite existence, however, thrusts them apart. It is, in short, an existence or reality which is unequal to the unity of the notion. We may therefore say that the notion is valid in every sphere of actuality. At the same time the main point to be determined is whether the notion in its ideal concreteness is actually completed in the particular unity presented, wherein the two aspects posited in opposition persist in no ultimate self-subsistence and coherence over against each other, but are rather ideal phases which tend to pass into a higher unity which cancels such opposition. And the reality of this highest mode of union is only reached when we enter the sphere of truth, freedom, and the satisfaction which they create. The higher life which belongs to this sphere, this supreme enjoyment of truth, which as feeling is called "blessedness," and as conscious thought "contemplation," we may describe generically as the life known to religion. For religion is just this universal domain184, in virtue of which the one concrete totality of the World comes to each man in union with himself, as his essential substance, while it remains no less for consciousness the essential truth of Nature. And it is this profounder truth of the Real which alone proves itself invincible over all that is merely particular and finite, being as it is the one absolute harmony wherein all that is otherwise discordant and opposed is finally resolved. Now it is through its direct concern in the true, regarded as the absolute object of consciousness, that Art belongs to the supreme sphere of Spirit, and it is to be placed, in respect to its content, if in a more specific sense, on the same basis as religion and philosophy. I connect these two last for the reason that philosophy has no other object than God. In its substance it is in fact rational theology, and in its service of the truth a continual service of God.
(e) Accepting, then, this fundamental similarity of content these three spheres of absolute Spirit only differ in the forms under which they present their object, that is, the Absolute, to human consciousness. The differences which are perceptible in these modes of presentment are due to the notion of the absolute Spirit (Mind) itself. Spirit, in its truth, is essential substance brought home to itself. It is, therefore, no essence which lies outside and in abstract relation to objectivity, but rather is, within the compass of that objectivity, the re-collected presence185 of the substance of all objects within finite spirit. It is the finite which grasps its own essential universality, and, in doing so, grasps essential Being in the absolute sense. The first mode of this comprehension is an immediate one, that is to say, it is a sensuous cognition, a cognition in the form and semblance of the object of sense-perception, in which the Absolute is presented directly to the understanding186 and feeling. The second form is that of the conceptive or imaginative consciousness. Last of all, we have the free thought of absolute Spirit. The form of sensuous perception is appropriate to art in the sense that it is art which presents truth to consciousness in its sensuous semblance; but it is a semblance which, under the mode of its appearance, possesses a higher and profounder meaning and significance, although it is not its function to render the universality of the notion wholly intelligible through the medium of sense. It is indeed rather the unity to which art attains with that of the particular appearance which constitutes the essence of the beautiful, the essence of the artistic product. This union is perfected in art not entirely through sensuous objectification, but also through the medium of imaginative conception. This is exceptionally so in the art of poetry. At the same time, even in this, the most intellectual or ideal art, the union between significance and the individual mode of its presentation is present with the same, although it is displayed to the imaginative consciousness, and every part of its content is conceived in its immediacy and visualized for the imagination187. And generally we must accept the fact that art, possessing as it does truth or Spirit for its object, is unable to reproduce the same by merely copying particular objects of Nature, such as the sun, moon, earth, and stars. Such are, no doubt, objects of sensuous perception; but, simply as such, they are isolated and can offer no reflection of what is spiritual. In thus attributing to art this absolute significance as a manifestation of Spirit we have expressly set on one side the conception of art which finds its content of too various a nature, or too much occupied with interests foreign to it,