Hegel's Philosophy of Mind, Georg Wilhelm Friedrich Hegel [big ebook reader .txt] 📗

intelligence shows itself by a certain formal universality, the matter is entirely pictorial.—Image and idea, if we leave out of account the more precise definition of those forms given above, present also a distinction in content. The former is the more consciously-concrete idea, whereas the idea (representation), whatever be its content (from image, notion, or idea), has always the peculiarity, though belonging to intelligence, of being in respect of its content given and immediate. It is still [pg 074] true of this idea or representation, as of all intelligence, that it finds its material, as a matter of fact, to be so and so; and the universality which the aforesaid material receives by ideation is still abstract. Mental representation is the mean in the syllogism of the elevation of intelligence, the link between the two significations of self-relatedness—viz. being and universality, which in consciousness receive the title of object and subject. Intelligence complements what is merely found by the attribution of universality, and the internal and its own by the attribution of being, but a being of its own institution. (On the distinction of representations and thoughts, see Introd. to the Logic, § 20 note.)

Abstraction, which occurs in the ideational activity by which general ideas are produced (and ideas quâ ideas virtually have the form of generality), is frequently explained as the incidence of many similar images one upon another and is supposed to be thus made intelligible. If this super-imposing is to be no mere accident and without principle, a force of attraction in like images must be assumed, or something of the sort, which at the same time would have the negative power of rubbing off the dissimilar elements against each other. This force is really intelligence itself,—the self-identical ego which by its internalising recollection gives the images ipso facto generality, and subsumes the single intuition under the already internalised image (§ 453).

§ 456. Thus even the association of ideas is to be treated as a subsumption of the individual under the universal, which forms their connecting link. But here intelligence is more than merely a general form: its inwardness is an internally definite, concrete subjectivity with a substance and value of its own, derived from some interest, some latent concept or Ideal principle, so far as we may by anticipation speak of such. Intelligence [pg 075] is the power which wields the stores of images and ideas belonging to it, and which thus (2) freely combines and subsumes these stores in obedience to its peculiar tenor. Such is creative imagination140—symbolic, allegoric, or poetical imagination—where the intelligence gets a definite embodiment in this store of ideas and informs them with its general tone. These more or less concrete, individualised creations are still “syntheses”: for the material, in which the subjective principles and ideas get a mentally pictorial existence, is derived from the data of intuition.

§ 457. In creative imagination intelligence has been so far perfected as to need no helps for intuition. Its self-sprung ideas have pictorial existence. This pictorial creation of its intuitive spontaneity is subjective—still lacks the side of existence. But as the creation unites the internal idea with the vehicle of materialisation, intelligence has therein implicitly returned both to identical self-relation and to immediacy. As reason, its first start was to appropriate the immediate datum in itself (§§ 445, 455), i.e. to universalise it; and now its action as reason (§ 458) is from the present point directed towards giving the character of an existent to what in it has been perfected to concrete auto-intuition. In other words, it aims at making itself be and be a fact. Acting on this view, it is self-uttering, intuition-producing: the imagination which creates signs.

Productive imagination is the centre in which the universal and being, one's own and what is picked up, internal and external, are completely welded into one. The preceding “syntheses” of intuition, recollection, &c., are unifications of the same factors, but they are “syntheses”; it is not till creative imagination that intelligence ceases to be the vague mine and the universal, [pg 076] and becomes an individuality, a concrete subjectivity, in which the self-reference is defined both to being and to universality. The creations of imagination are on all hands recognised as such combinations of the mind's own and inward with the matter of intuition; what further and more definite aspects they have is a matter for other departments. For the present this internal studio of intelligence is only to be looked at in these abstract aspects.—Imagination, when regarded as the agency of this unification, is reason, but only a nominal reason, because the matter or theme it embodies is to imagination quâ imagination a matter of indifference; whilst reason quâ reason also insists upon the truth of its content.

Another point calling for special notice is that, when imagination elevates the internal meaning to an image and intuition, and this is expressed by saying that it gives the former the character of an existent, the phrase must not seem surprising that intelligence makes itself be as a thing; for its ideal import is itself, and so is the aspect which it imposes upon it. The image produced by imagination of an object is a bare mental or subjective intuition: in the sign or symbol it adds intuitability proper; and in mechanical memory it completes, so far as it is concerned, this form of being.

§ 458. In this unity (initiated by intelligence) of an independent representation with an intuition, the matter of the latter is, in the first instance, something accepted, somewhat immediate or given (e.g. the colour of the cockade, &c.). But in the fusion of the two elements, the intuition does not count positively or as representing itself, but as representative of something else. It is an image, which has received as its soul and meaning an independent mental representation. This intuition is the Sign.

[pg 077]

The sign is some immediate intuition, representing a totally different import from what naturally belongs to it; it is the pyramid into which a foreign soul has been conveyed, and where it is conserved. The sign is different from the symbol: for in the symbol the original characters (in essence and conception) of the visible object are more or less identical with the import which it bears as symbol; whereas in the sign, strictly so-called, the natural attributes of the intuition, and the connotation of which it is a sign, have nothing to do with each other. Intelligence therefore gives proof of wider choice and ampler authority in the use of intuitions when it treats them as designatory (significative) rather than as symbolical.

In logic and psychology, signs and language are usually foisted in somewhere as an appendix, without any trouble being taken to display their necessity and systematic place in the economy of intelligence. The right place for the sign is that just given: where intelligence—which as intuiting generates the form of time and space, but is apparently recipient of sensible matter, out of which it forms ideas—now gives its own original ideas a definite existence from itself, treating the intuition (or time and space as filled full) as its own property, deleting the connotation which properly and naturally belongs to it, and conferring on it an other connotation as its soul and import. This sign-creating activity may be distinctively named “productive” Memory (the primarily abstract “Mnemosyne”); since memory, which in ordinary life is often used as interchangeable and synonymous with remembrance (recollection), and even with conception and imagination, has always to do with signs only.

§ 459. The intuition—in its natural phase a something given and given in space—acquires, when employed as [pg 078] a sign, the peculiar characteristic of existing only as superseded and sublimated. Such is the negativity of intelligence; and thus the truer phase of the intuition used as a sign is existence in time (but its existence vanishes in the moment of being), and if we consider the rest of its external psychical quality, its institution by intelligence, but an institution growing out of its (anthropological) own naturalness. This institution of the natural is the vocal note, where the inward idea manifests itself in adequate utterance. The vocal note which receives further articulation to express specific ideas—speech and, its system, language—gives to sensations, intuitions, conceptions, a second and higher existence than they naturally possess,—invests them with the right of existence in the ideational realm.

Language here comes under discussion only in the special aspect of a product of intelligence for manifesting its ideas in an external medium. If language had to be treated in its concrete nature, it would be necessary for its vocabulary or material part to recall the anthropological or psycho-physiological point of view (§ 401), and for the grammar or formal portion to anticipate the standpoint of analytic understanding. With regard to the elementary material of language, while on one hand the theory of mere accident has disappeared, on the other the principle of imitation has been restricted to the slight range it actually covers—that of vocal objects. Yet one may still hear the German language praised for its wealth—that wealth consisting in its special expression for special sounds—Rauschen, Sausen, Knarren, &c.;—there have been collected more than a hundred such words, perhaps: the humour of the moment creates fresh ones when it pleases. Such superabundance in the realm of sense and of triviality contributes nothing to form the real wealth of a cultivated [pg 079] language. The strictly raw material of language itself depends more upon an inward symbolism than a symbolism referring to external objects; it depends, i.e. on anthropological articulation, as it were the posture in the corporeal act of oral utterance. For each vowel and consonant accordingly, as well as for their more abstract elements (the posture of lips, palate, tongue in each) and for their combinations, people have tried to find the appropriate signification. But these dull sub-conscious beginnings are deprived of their original importance and prominence by new influences, it may be by external agencies or by the needs of civilisation. Having been originally sensuous intuitions, they are reduced to signs, and thus have only traces left of their original meaning, if it be not altogether extinguished. As to the formal element, again, it is the work of analytic intellect which informs language with its categories: it is this logical instinct which gives rise to grammar. The study of languages still in their original state, which we have first really begun to make acquaintance with in modern times, has shown on this point that they contain a very elaborate grammar and express distinctions which are lost or have been largely obliterated in the languages of more civilised nations. It seems as if the language of the most civilised nations has the most imperfect grammar, and that the same language has a more perfect grammar when the nation is