The Introduction to Hegel's Philosophy of Fine Arts: Translated from the German with Notes and Prefatory Essay — Georg Hegel — John Shaqi
The Introduction to Hegel's Philosophy of Fine Arts: Translated from the German with Notes and Prefatory Essay
Georg Hegel · en
[Greek: e]. As soon as we propose to accept this invitation we are
met by the difficulty which has already been touched upon in the
suggestion that, though art is a suitable subject for philosophical
reflection in the general sense, yet it is not so for systematic and
scientific discussion. In this objection there lies the false idea
that a philosophical consideration may, nevertheless, be unscientific.
On this point it can only be remarked here with brevity, that,
whatever ideas others may have of philosophy and philosophizing, I
regard the pursuit of philosophy as utterly incapable of existing
apart from a scientific procedure. Philosophy has to consider its
object in its necessity, not, indeed, in its subjective necessity or
external arrangement, classification, etc., but it has to unfold and
demonstrate the object out of the necessity of its own inner nature.
Until this evolution[24] is brought to pass the scientific element
is lacking to the treatment. In as far, however, as the objective
necessity of an object lies essentially in its logical and metaphysical
nature, the isolated treatment of art must be conducted with a certain
relaxation of scientific stringency. For art involves the most complex
pre-suppositions, partly in reference to its content, partly in respect
of its medium[25] and element,[26] in which art is constantly on the
borders of the arbitrary or accidental. Thus it is only as regards
the essential innermost progress of its content and of its media of
expression that we must call to mind the outline prescribed by its
necessity.
The objection that works of fine art elude the treatment of scientific
thought because they originate out of the unregulated fancy and out
of the feelings, are of a number and variety that defy the attempt
to gain a conspectus, and therefore take effect only on feeling and
imagination, raises a problem which appears still to have importance.
For the beauty of art does in fact appear in a form which is expressly
contrasted with abstract thought, and which the latter is forced
to destroy in exerting the activity which is its nature. This idea
coheres with the opinion that reality as such, the life of nature and
of mind, is disfigured and slain by comprehension; that, so far from
being brought close to us by the thought which comprehends, it is by
it that such life is absolutely dissociated from us, so that, by the
use of thought as the _means_ of grasping what has life, man rather
cuts himself off from this his purpose. We cannot speak fully on this
subject in the present passage, but only indicate the point of view
from which the removal of this difficulty, or impossibility depending
on maladaptation, might be effected.