[Footnote 90: A sentence omitted by Professor Bosanquet, and it seems to amount to little more than a more generalized statement of what has gone before. The end of art both directly and indirectly concerns its subject-matter, or rather, as Hegel puts it, the need of the notion or Idea of it carries us to a further end beyond the end shared in common by its particular content.] [Footnote 91: I follow Professor Bosanquet in his translation of the words _als Allgemeines für sich zu zuerden_; but I am not sure that the more literal translation is not simply as the words stand, the sense being not to be self-conscious of himself (_für sich_) as the universal principle, to be aware of this property, but rather as universal principle to become _for_ himself, _i.e._ "independent of desire."] [Footnote 92: _Einheit_--unity to the point of fusion, identity.] [Footnote 93: _Unmittelbaren Befangenheit._ "Sunkenness" is Professor Bosanquet's translation.] [Footnote 94: _Theoretic_ as a direct transcript of _θεώρια, θεωρειν._] [Footnote 95: _Gesichtspunkte._ The various points of view necessary to arrive at such a general conclusion.] [Footnote 96: Though not entirely confident I am right in accepting the words _zu bringen_ as a repetition of the _hervorzubringen_ just before, the alternative of Professor Bosanquet which takes the words _wird zu bringen seyn_ as equivalent to _gebracht seyn sollte_ certainly appears to me no direct translation.] [Footnote 97: "Poets aim at utility and entertainment alike."] [Footnote 98: I think that Hegel in his use of _erste_ here rather refers to the fact of past history than a fact in the individual history of nations. "Art is, in the early days of history, the instructress of nations," gives, I think, his meaning. It is the first instructress in the history of nations.] [Footnote 99: I venture to think if Professor Bosanquet's translation were the right one the German would be _ein in sich selbst gebrochenes._ I do not think _in ihm selbst_ can be a German rendering of "in itself." But I admit the translation is tempting whether Hegel had in his mind the "house divided against itself" or not.] [Footnote 100: Lit., "the spiritual universal," _i.e._, the universal substance of its ideal content.] [Footnote 101: Precisely as Ruskin, for example, in his "Modern Painters" condemns both Titian and Tintoret, not because they painted the _Paradise_ or the _Assunta_, to produce fine paintings, or even because they did not or did themselves believe in the truth of their subject-matter, but because they did not paint _in order to make converts_, an extraordinary lapse of judgment.] [Footnote 102: _Im besten Sinne des Wortes._]