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

§ 556. As this consciousness of the Absolute first takes shape, its immediacy produces the factor of finitude in Art. On one hand that is, it breaks up into a work of external common existence, into the subject which produces that work, and the subject which contemplates and worships it. But, on the other hand, it is the concrete contemplation and mental picture of implicitly absolute spirit as the Ideal. In this ideal, or the concrete shape born of the subjective spirit, its natural immediacy, which is only a sign of the Idea, is so transfigured by the informing spirit in order to express the Idea, that the figure shows it and it alone:—the shape or form of Beauty.

§ 557. The sensuous externality attaching to the beautiful,—the form of immediacy as such,—at the same time qualifies what it embodies: and the God (of art) has with his spirituality at the same time the stamp upon him of a natural medium or natural phase of existence—He contains the so-called unity of nature and spirit—i.e. the immediate unity in sensuously intuitional form—hence not the spiritual unity, in which the natural would be put only as “ideal,” as superseded in spirit, and the spiritual content would be only in self-relation. It is not the absolute spirit which enters this consciousness. On the subjective side the community has of course an [pg 170] ethical life, aware, as it is, of the spirituality of its essence: and its self-consciousness and actuality are in it elevated to substantial liberty. But with the stigma of immediacy upon it, the subject's liberty is only a manner of life, without the infinite self-reflection and the subjective inwardness of conscience. These considerations govern in their further developments the devotion and the worship in the religion of fine art.

§ 558. For the objects of contemplation it has to produce, Art requires not only an external given material—(under which are also included subjective images and ideas), but—for the expression of spiritual truth—must use the given forms of nature with a significance which art must divine and possess (cf. § 411). Of all such forms the human is the highest and the true, because only in it can the spirit have its corporeity and thus its visible expression.

This disposes of the principle of the imitation of nature in art: a point on which it is impossible to come to an understanding while a distinction is left thus abstract,—in other words, so long as the natural is only taken in its externality, not as the “characteristic” meaningful nature-form which is significant of spirit.

§ 559. In such single shapes the “absolute” mind cannot be made explicit: in and to art therefore the spirit is a limited natural spirit whose implicit universality, when steps are taken to specify its fullness in detail, breaks up into an indeterminate polytheism. With the essential restrictedness of its content, Beauty in general goes no further than a penetration of the vision or image by the spiritual principle,—something formal, so that the thought embodied, or the idea, can, like the material which it uses to work in, be of the most diverse and unessential kind, and still the work be something beautiful and a work of art.

§ 560. The one-sidedness of immediacy on the part of the Ideal involves the opposite one-sidedness (§ 556) that it is something made by the artist. The subject or agent is the mere technical activity: and the work of art is only then an expression of the God, when there is no sign of subjective particularity in it, and the net power of the indwelling spirit is conceived and born into the world, without admixture and unspotted from its contingency. But as liberty only goes as far as there is thought, the action inspired with the fullness of this indwelling power, the artist's enthusiasm, is like a foreign force under which he is bound and passive; the artistic production has on its part the form of natural immediacy, it belongs to the genius or particular endowment of the artist,—and is at the same time a labour concerned with technical cleverness and mechanical externalities. The work of art therefore is just as much a work due to free option, and the artist is the master of the God.

§ 561. In work so inspired the reconciliation appears so obvious in its initial stage that it is without more ado accomplished in the subjective self-consciousness, which is thus self-confident and of good cheer, without the depth and without the sense of its antithesis to the absolute essence. On the further side of the perfection (which is reached in such reconciliation, in the beauty of classical art) lies the art of sublimity,—symbolic art, in which the figuration suitable to the Idea is not yet found, and the thought as going forth and wrestling with the figure is exhibited as a negative attitude to it, and yet all the while toiling to work itself into it. The meaning or theme thus shows it has not yet