The Philosophy of Fine Art, volume 2 (of 4): Hegel's AesthetikHegel, Georg Wilhelm Friedrich
Philosophy
The Philosophy of Fine Art, volume 2 (of 4): Hegel's Aesthetik
Hegel, Georg Wilhelm Friedrich
Aesthetics
discovers its fountain-head in Spirit, which seeks after its truth,
dimly discovers it, bringing the same to consciousness by means of
any form, which displays an affinity with this form of truth, be it a
form of narrower or wider borders. But once grant that it is reason
which seeks after such forms, and the necessity is obvious to recognize
the work of reason. Such a recognition is alone truly worthy of human
inquiry. Whoever shelves this problem makes himself master of nothing
but a motley show of unrelated learning. If we, on the other hand,
probe into, the truth of mythological conceptions as it presents itself
to mind, without at the same time excluding from our grasp that other
aspect of them, that is, the haphazard caprice therein exercised by
the imagination, and all the external influences, local or otherwise,
which have contributed to this creation, we shall then be in a position
to justify the various systems of mythology. To justify the work of
man in the imagery and forms that are the product of his spirit is
a noble enterprise, of rarer worth than the mere heaping together
of the external facts of history. The objection has no doubt been
pressed against Creuzer that here, treading in the steps of the new
Platonists[15], the wider significance he elucidates from the myths is
a creation he attaches to them himself; that, in short, he discovers
conceptions in them which are not merely without any historical basis
to uphold them, but which it can be positively shown he must have
first introduced before he could have found them; in other words it
is asserted that neither the people of such times nor the poets or
priests--although from another point of view emphasis is frequently
laid on the occult wisdom of the priesthood--could have possessed any
knowledge of such ideas, which would have been wholly incompatible
with the prevailing culture. Such objections, of course, are entitled
to their full weight. These peoples, poets, and priests have not, in
fact, been conscious of universal conceptions in the particular form of
universality which the human mind now discovers at the root of their
mythological ideas, in the sense that they could have deliberately
clothed such conceptions in the forms of symbolism. And as a matter
of fact this is never maintained even by Creuzer. But however true it
may be that the reflections of the ancient world over its mythology
were entirely different from those of the modern, we are by no means
therefore entitled to conclude that the conceptions of its mythology
are not essentially symbolical, and as such must be fully accepted;
rather our inference should be that in the times when these peoples
created the poetry of their myths, from the midst of a life itself
steeped in poetry, they would instinctively bring home to consciousness
all that was most spiritual and profound in that life in the forms of
the imagination rather than that of reflection, and fail to separate
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