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
From this point of transition, I will briefly summarize the historical
subject-matter that I have in my mind's eye, partly on account of the
historical importance itself, and in part because thereby the points
of view are more clearly indicated to which importance is attached,
and upon the basis of which we propose to continue the superstructure.
In its most general definition that basis consists in this, that the
beauty of art has become recognized as one of the means which resolve
and bring back to unity that antithesis and contradiction between the
mind and Nature as they repose in abstract alienation from each other
in themselves, whether this latter is regarded as external phenomena or
the inward world of individual feeling and emotion[111].
1. It was the philosophy of Kant which, in the first instance, not
merely experienced the want of such a point of union, but secured
definite knowledge of it and brought it clearly before the mind.
Speaking generally, Kant accepted as his basis for intelligence no
less than for the will the rationality which relates itself to itself
or freedom, the self-consciousness that discovers and knows itself
essentially as infinite. This knowledge of the absoluteness of reason
in its essential substance, which has proved in more modern times the
turning-point of philosophy, this absolute point of departure deserves
recognition, and does not admit of refutation, even though in other
respects the Kantian philosophy is inadequate. But at the same time it
was Kant who through falling back upon the fixed opposition between
subjective thought and objective things, between abstract universality
and the sensuous individuality of the will, in a pre-eminent degree
strained to the extremest limit the very antithesis of morality we
have previously adverted to, inasmuch as over and above this he
emphasized the practical operation of mind to the disadvantage of the
contemplative. In virtue of this fixity of the antithesis as cognized
by the faculty of the understanding he had no other alternative than
to express the unity exclusively in the form of subjective ideas for
which no adequate reality could be demonstrated as correspondent; or,
on its practical side, as postulates, which it was no doubt possible
to deduce from the practical reason, but whose essential being was
not within the cognition of thought, and the practical fulfilment
of which remained throughout a mere "ought" deferred to infinity.
And for this reason, though Kant did actually bring the reconciled
opposition within the compass of intelligible ideas, he was neither
able to develop its essential truth scientifically, nor to assert the
same as actual and exclusive reality. Unquestionably Kant did press
beyond this point, in the sense, that is to say, that he discovered the
unity demanded in what he called the _intuitive_ understanding; but
in this respect too he is held up by the opposition of subjectivity
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