The Philosophy of Fine Art, volume 1 (of 4): Hegel's AesthetikHegel, Georg Wilhelm Friedrich
Philosophy
The Philosophy of Fine Art, volume 1 (of 4): Hegel's Aesthetik
Hegel, Georg Wilhelm Friedrich
Aesthetics
But though even sincere admiration may smile over such a description,
it does unquestionably reflect to a remarkable extent the thoroughness,
tenacity of purpose, the absence of superficial rhetoric, the wide
range, the extraordinary combination of constructive idea and detailed
knowledge and research we rightly associate with the most valued works
of German science and philosophy. It has never been more needful
than at this time of day to draw attention to such qualities, when
the national bias is to ignore or belittle their presence. It is,
moreover, not without passages which attain to a very real elevation of
eloquence, eloquence marked by the profoundest earnestness and entirely
free from the least flavour of bombast or sentimentalism. To the right
kind of reader it can hardly fail to convey a certain fascination
which is not merely due to the presence of a powerful and original
intellect, but is equally inseparable from the product of a human soul
intent upon getting at the heart of its subject, and keeping its vision
throughout fixed on that. Nor is the mere breadth of the canvas and the
depth of its content its only attraction. The work is indeed full of
digressions of exceptional interest to the general reader, and as such
bears the indelible stamp of Hegel's manner as a lecturer, which his
editor maintains stood out in such marked contrast to his more concise
style as an author, drawing as he did when lecturing so largely on his
encyclopaedic stores of knowledge.
To treat all the text as we now have it with the same respect may
very possibly betoken to some an excess of zeal on the part of the
translator; but after all the most important thing for an English
reader is to know what the volumes actually contain. In dealing with
Hegel the outlined sketch, whether secured through a process of
distillation or adulteration, is by no means any compensation for the
loss of the complete picture. If we are impatient over many aspects of
this philosopher's particularity, we had much better dispense with him
altogether.
Public-domain text, read in full here on John Shaqi.
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