The Philosophy of Fine Art, volume 1 (of 4): Hegel's Aesthetik
Georg Hegel · en
(_α_) In the first place, however, this unity will assert itself as
the _purposeless_ identity of such differences, that is to say with
no abstract relation to any causal end whatever. The parts in such
a case are not rendered visible to sense merely as a means to or in
the service of some defined purpose, nor are they able to fix the
determinate relation of form and structure which they occupy one over
against the other.
(_β_) Rather the contrary is the case, for, in the _second_ place, the
bodily members have for our sense-perception the appearance of being
quite _accidental_ in their form; in other words the determination of
one appears to be quite indifferent to that of another. In other words,
we can never conclude because one has a certain form another will have
the same, as would be the case if a material uniformity was clear
between them. Where uniformity is the rule an abstract determination
of some kind of form, size, or whatever it may be, is the property
of all parts. The windows of a building, for example, are all of one
size, or at least are placed together in one row. Or we may illustrate
the same similarity with the uniform worn by all soldiers belonging
to one regiment. We have various parts of such clothing differing in
colour, texture and the rest, but their formal opposition is no matter
of chance; each has its causal connection with some other; it is
there because the other is there. Neither is there here any complete
distinction of form, nor any unique independence wholly asserted. With
the individual organism of life the case is entirely otherwise. Here
every part is absolutely distinguished; the nose from the forehead, the
mouth from the cheek, the breast from the neck, the arms from the legs,
and so on. Inasmuch as for our sense-perception every member possesses
its unique form rather than one which belongs to another, or one which
is determined by that of another, the members appear as self-subsistent
parts, and for this reason free and spontaneous[227]. For the material
juxtaposition of the parts alone throws no light upon their particular
form.