The Introduction to Hegel's Philosophy of Fine Arts: Translated from the German with Notes and Prefatory EssayHegel, Georg Wilhelm Friedrich
Philosophy
The Introduction to Hegel's Philosophy of Fine Arts: Translated from the German with Notes and Prefatory Essay
Hegel, Georg Wilhelm Friedrich
Aesthetics; Art -- Philosophy
(_c_) In the _third_ place, the beautiful (Kant says) has the form of
teleology,[106] in as far as a teleological character is perceived in
the object without the idea of an end. At bottom this only repeats the
view which we have just discussed. Any natural production, _i.e._ a
plant or an animal, is organized teleologically, and is so immediately
a datum to us in this its teleology that we have no separate abstract
idea of the end, distinct from its given reality. It is in this way
that even _the beautiful_ is to be displayed to us as teleological.
In finite teleology[107] end and means remain external to one another,
inasmuch as the end stands in no essential inner relation to the
material medium of its accomplishment. In this case, the idea of the
end in its abstraction[108] distinguishes itself from the object in
which the end appears as realized. The beautiful, on the other hand,
exists as teleological in itself, without means and end revealing
themselves in it as distinct aspects. For instance, the purpose of
the limbs of an organism is the vitality which exists as actual in
the limbs themselves; separately they cease to be limbs. For in the
living thing the end and the material medium of the end are so directly
united, that the existing being only exists so long as its purpose
dwells in it. The beautiful, Kant maintains, when considered from this
point of view, does not wear its teleology as an external form attached
to it; but the teleological correspondence of the inner and outer is
the immanent nature of the beautiful object.
(_d_) Lastly, Kant's treatment determines the beautiful, in the
_fourth_ place, as being recognized, without a conception, as object
of a _necessary_ delight. Necessity is an abstract category, and
indicates an inner essential relation of two aspects; _if_ the one is,
and _because_ the one is, _then_ (_and therefore_) the other is. The
one in its nature involves the other as well as itself, just as cause,
_e.g._, has no meaning without effect. The delight which the beautiful
involves is such a necessary consequence, wholly without relation to
conceptions, _i.e._ to categories of the understanding. Thus, for
instance, we are pleased no doubt by what is symmetrical, and this
is constructed in accordance with a conception of the understanding.
But Kant requires, to give us pleasure, even more than the unity and
equality that belong to such a conception of the understanding.
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