The Philosophy of Fine Art, volume 1 (of 4): Hegel's Aesthetik
Georg Hegel · en
It is, however, essential to the true existence of the notion, that the
_differences_ of the objectively real, the reality, that is to say, of
the separate independent parts and the equally independent unity that
is therein objectively realized, should as such be together brought
back into unity. Only thus such a totality of innate differences can
make wholly explicit either the notion as the realized differentiation
of its characteristics, or at the same time release each particular
that belongs to it from the element of isolated independence which it
cancels by enabling the ideality, in which these differences recover
their subjective unity, to assert itself fully as the universal
principle of their animated being. In that case they become no longer
_parts_ hanging loosely to one another by a bond that still leaves
their particularity unaffected, but genuine _members_ of one body.
They no longer possess an existence in their isolated singularity,
but retain such truly in the ideal unity which binds them together.
Only in such an organic articulation the ideal unity of the notion is
present to the parts thus integrated. It is at once their support and
immanent soul; here for the first time the notion is not overwhelmed in
objective reality, but passes over into actual existence as the inward
identity and universality, which it essentially is.
(_c_) But this _third_ mode of Nature's manifestation is a determinate
existence of the _Idea_, and the Idea as thus manifested in Nature
is _Life._ Dead or inorganic nature is not adequate to express the
Idea; only the organic life of Nature unfolds its reality. For in life
we shall find, _first_, that the objective reality of the notion as
differentiated is presented as such reality; _secondly_, however, that
the negation of such differences is entirely one of distinction in that
reality[205], the ideal subjectivity of the notion overcoming to itself
this very reality; _thirdly_, the unifying principle of animation is
now the positive appearance of the notion in the form of its bodily
substance, that is to say, the form of infinity, which is sufficiently
powerful to assert itself thus formally in its content.