The Philosophy of Fine Art, volume 2 (of 4): Hegel's Aesthetik — Georg Hegel — John Shaqi
The Philosophy of Fine Art, volume 2 (of 4): Hegel's Aesthetik
Georg Hegel · en
Of Aesop himself we are informed that he was a deformed and humpbacked
slave; and for his place of residence we are transported into Phrygia,
the very land, that is, which marks the passage from the immediately
symbolical and the existence still fettered on Nature, to a land in
which man begins to take real hold of the spiritual and himself as
the source of the same. In our present connection, no doubt, he does
not behold the animal and natural world in the way the Hindoos and
Egyptians beheld it, that is, as something of itself, superior and
Divine. He regards it with prosaic vision as something whose relations
are only of service in the presentment of a picture of human act and
avoidance. His conceits are further merely the reflections of wit,
without real energy of soul or depth of insight and a fundamental grasp
of reality, without poetry and philosophy, in fact. His opinions and
maxims are, in consequence, fairly rich in sensuous image and traits of
cleverness, but we never get beyond the digging away into mere trifles,
which, instead of creating free shapes from the unfettered life of
spirit, is contented to discover some additional aspect that is new
in material already close at hand, such as the specific instincts and
habits of animals or other daily occurrences of little moment; and this
is so because that which he would teach he is still afraid to express
freely, and is only able to make it intelligible in a kind of riddle
which is at the same time always being solved. Prose has its origin
in the slave, and in the same way prose clings to the entire type of
conception with which we are now concerned.
Despite this fact, however, the experience of almost all nations and
times has in one form or another run through these old tales; and
however much any particular people whose literature is generally well
versed in fable may pride itself as possessing more than one fabulist
of distinction, we shall find that their poetry is for the most part
merely a reflection of these primary sallies of invention, merely
translated into the vernacular of the age. All that has since been
added to the general heritage of such conceits falls far behind the
original legacy in real merit.