The Philosophy of Fine Art, volume 1 (of 4): Hegel's Aesthetik
Georg Hegel · en
To summarize these historical antecedents further yet more briefly,
in association with the renaissance of our modern philosophy, A. W.
and Friedrich von Schlegel, impelled by their zest for novelty and all
that was either distinctive or arresting, assimilated just so much
of the philosophical ideas as was compatible with minds essentially
critical, though by no means really philosophical in any strict sense
of the term. Neither of these writers in fact can claim the reputation
of being speculative thinkers. They did, however, in virtue of their
critical sagacity, at least approach the standpoint of the Idea;
and with the aid of remarkable boldness of speech and audacity of
innovation--to which, however, but very few ingredients of genuine
philosophy contributed--directed a brilliant polemic against views
hitherto received, and by this means unquestionably introduced a novel
standard of criticism and new ways of looking at things which were
of superior value to those they attacked. For the reason, however,
that their criticism was not accompanied with a knowledge of the
nature of such a standard based on philosophical principles, a lack
of definition and continuity was inseparable from this standard; and
they at one time attempted too much and again at another too little.
Despite, therefore, of the fact that it may be reckoned to their
credit that they have once more drawn attention to and emphasized with
genuine enthusiasm much hitherto regarded as obsolete and too little
appreciated by their times, the works of the older Italian masters, for
example, and certain Flemish paintings, as also the "Niebelungen Lied"
among other things; despite the fact that they even endeavoured with
zeal to acquire knowledge of matter barely known at all, such as the
poetry and mythology of India, nevertheless they not only attached too
high an importance to the works of such a period, but also themselves
committed the mistake of admiring works of very average merit, such
as the comedies of Holberg, or of attaching an absolute value to what
possessed a purely relative worth, or even of boldly proving themselves
the enthusiasts of a perverse tendency and a subordinate standpoint as
though one of first-rate importance.