The Philosophy of Fine Art, volume 1 (of 4): Hegel's Aesthetik — Georg Hegel — John Shaqi
The Philosophy of Fine Art, volume 1 (of 4): Hegel's Aesthetik
Georg Hegel · en
3. The philosophical idea of the beautiful to indicate at any rate
its true nature provisionally, must contain both extremes which
we have described mediated in itself. It must combine, that is to
say, metaphysical universality with the determinate content of real
particularity. It is only by this means that it is grasped in its
essential no less than explicit truth. For on the one hand it is then,
as contrasted with the sterility of one-sided reflection, fruit-bearing
out of its own wealth. It is its function, in consonance with its own
notion, to develop into a totality of definite qualities, and this
essential conception itself, no less than its detailed explication,
comprises the necessary coherence of its particular features as also
of the progress and transition of one phase thereof into another.
On the other hand, these particulars into which the passage is made
essentially carry the universality and essentiality of the fundamental
notion, as the particulars of which they appear. The modes of inquiry
hitherto discussed lack both these aspects, and for this reason it
is only the notion, as above formulated, in its completeness, which
conducts us to definitive principles which are substantive, necessary,
and self-contained in their completeness.
III
After these preliminaries we come to closer quarters with our actual
subject-matter, namely, the philosophy of Fine Art[32]; and for
the reason that we are undertaking to treat it scientifically, our
commencement must be with the notional concept of the same. It is
only after we have definitely ascertained this that we can map out
the division of its parts, and with it the plan of the science as a
whole. A division of this kind, if it is not to be, as is the case with
non-philosophical inquiry, undertaken in a purely external way, must
discover its principle in the notion of the subject treated itself.
Face to face with such a demand we are at once met by the question:
"Whence do we arrive at such a conception?" If we begin with the
notional concept of Fine Art itself the same at once becomes a
_pre-supposition_ and mere assumption. Mere assumptions, however,
are excluded from the philosophical method; whatever here is allowed
as valid must have its truth demonstrated, in other words must be
established in its necessity.
We will endeavour to arrive at an understanding in a few words in the
presence of this difficulty which invariably recurs in the introduction
to every course of philosophical study if treated independently. The
subject-matter of every science presents in the first instance two
aspects for consideration: first, the fact that a given object _is_;
secondly, the question _what_ it is.