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
In such a case religious conversion is the object of the preacher; but
whether such a conversion follows as a result of all the edification
and excellence of his eloquent exhortations, and thus the end proposed
is carried out, is a point of view which the sermon itself cannot deal
with; it must be perforce relegated to subsequent conditions.
(_γγ_) In all these directions the notion of eloquence will fall rather
under the main principle of utility than maintain itself within the
free and organized whole of the poetical art-product. In short the
orator must necessarily and above all make it his mark to subordinate
the whole, no less than the parts, to that purpose in his mind, from
which his effort proceeds, a process in which the self-consistent
independence of his exposition disappears, and in lieu of which we must
assume a relation of service to a definite end that ceases to be of
artistic significance. And above all, inasmuch as the object in view
is one of practical influence upon human life, he must keep throughout
before his mind the nature of the place in which he speaks, the
degree of education, the receptive powers, and, in short, the general
atmosphere of his audience, that he may not fall short of the practical
success desired through an inability to meet the local conditions of
the moment, and the idiosyncrasies of his audience. By reason of this
very attachment to external conditions it is impossible that either
the entirety of his address or its parts can any longer originate in
a free artistic activity[15]; it will constantly tend in its detailed
elaboration to appropriate utilitarian points of association, and be
dominated by conceptions of cause and effect, and other categories more
proper to science.
(_c_) And, _thirdly_, we may, as flowing from the above distinction
between what is really poetical and the creations of the historian and
the orator, establish the following points pertinent to the poetical
composition itself.
(_α_) We found that in history the element of prose consisted above
all in this that however much the content thereof could be ideally
substantive and possessed of a downright penetrative power, the
actual form of the same was, however, invariably accompanied with
many conditions of relative validity, massed together with much that
was contingent, and finally often referable to caprice simply as its
ground, aspects of immediate objective fact which the historian was not
entitled to translate into the terms of a reality of profounder grasp.
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