The Philosophy of Fine Art, volume 4 (of 4): Hegel's AesthetikHegel, Georg Wilhelm Friedrich
Philosophy
The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Hegel, Georg Wilhelm Friedrich
Aesthetics
(_αα_) For although the orator avails himself of the opportunity for
and content of his effort out of actual life and definite circumstances
and opinions, all that he utters remains none the less, in the _first_
place, subject to his free choice. His personal aims and views are
immanent therein, in virtue of which he can make the same a complete
and living expression of his personality. And, _secondly_, the
development of the subject of his oration and the mode of delivery
depends entirely on himself, so that the impression he makes is as
though we received in his speech a wholly independent expression
of mind. And, _finally_, it is his vocation not merely to address
himself to the trained or ordinary intelligence of his hearers, but to
work upon their entire humanity, their emotions, no less than their
judgment. The substance of what he has to say and in which he strives
to awake interest, is not merely the abstract aspect of it, nor is it
this aspect of his main purpose, in the fulfilment of which he invites
co-operation, but rather for the most part also a definite and very
real thing. For this reason the substance of the orator's address,
while embracing what is essentially substantive in its character,
ought equally to grasp his general principle under the form of its
specific manifestation, and render the same intelligible to conscious
life in the full concrete sense of the term. The orator then must not
merely satisfy our understanding with the cogency of his deductions
and conclusions, but has it in his power to address the soul itself,
to rouse human passion and carry it captive, to absorb the whole
attention, and by such means, through all the avenues of spirit, to
ravish and convince his audience.
(_ββ_) Despite, however, such considerations, looked at rightly we find
that it is just in the arts of oratory that this apparent freedom is
almost wholly subordinate to the rule of practical _utility_. In other
words what confers upon public speaking its unique motive force is not
implied in the particular purpose, to promote which the speech is made;
we must refer it to the general principle, the laws, rules, axioms
which the particular case suggests, and which are already essentially
present in this form of universality, partly, as actual laws of the
State, partly too as ethical, juristic or religious maxims, emotions,
dogmas, and so forth. The particular circumstance and end, which we
find here as the point of departure, and this universal are in every
respect separate from each other, and this separation is the relation
maintained throughout. No doubt the orator intends to make these two
aspects unite: what, however, in poetry, in so far as poetry is really
present, attests as already from the first accomplished, is present in
oratory merely as the personal aim of the orator, the fulfilment of
which lies outside the speech itself altogether.
Public-domain text, read in full here on John Shaqi.
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