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
On the other hand it is particularly in the East, and above all the
later literature of Mohammedan poetry, which makes use of the indirect
or figurative modes of expression, and, indeed, finds them essential.
The same thing may be said, if less emphatically, of modern European
literature. The diction of Shakespeare, for instance, is full of
metaphor. The Spaniards, too, are very fond of this flowery region,
and, indeed, have wandered off into it to the point of the most
tasteless exaggeration and superfluity. Jean Paul falls under the
same charge. Goethe by virtue of the equal strength and clarity of
his vision to a less extent. Schiller, however, is even in his prose
exceedingly rich both in image and metaphor; in his case this is rather
due to his effort to bring really profound ideas within the range of
the imaginative vision without being forced to expound all they imply
for the mind in the technical language of philosophy. We behold and
find there the essential unity of the speculative reason reflected on
the mirror of Life as it stands before us.
(_b_) _The Image_
We may place the _image_ midway between the metaphor and the simile.
It has, in fact, so close an affinity with the metaphor that we may
regard it as merely a metaphor _fully amplified_[97], an aspect which
at the same time marks its very close resemblance to the simile; there
is, however, this distinction, that in the case of the image as such
the significance is not set forth in its independent opposition to
the concrete external object expressly compared with it. That which
we term the image arises when two phenomena or conditions, which by
themselves stand substantially apart, are placed in concurrence so that
one condition supplies the significance which is made intelligible
by means of the other. The first, that is to say, the fundamental
_modus_ of the definition constitutes here the relation of _independent
consistency_[98], and is the line of _division_ of the spheres in
their separation, from which both the significance and its image are
deduced; and that which is common to them, the qualities and relations
and so forth, are not, as in the symbol, the indefinite universal and
substantive itself, but the self-defined concrete existence on the one
side no less than on the other[99].