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
(_β_) If we consider further examples of still well recognized
metamorphoses of men and gods into animals, we shall find that,
although they do not directly imply any transgression as the cause
of such a change, as, for example, in the case where Circe possessed
the power to change men into animals, yet, for all that, the animal
condition is at least indicative of a misfortune and a humiliation,
such as brings no honour even to the person who makes such a change
subservient to private ends. Circe was quite a subordinate, obscure
type of goddess, and her power appears as mere witchery, and Mercury
assists Odysseus, when the latter contrives to free his comrades from
the spell. Of much the same kind are the many shapes which Zeus takes
upon himself, as, for example, when he is changed into a bull in his
quest of Europa, or when he approaches Leda in the form of a swan, or
fructifies the Danae in a shower of gold. In all these cases the object
is one of deception, directed by purposes of an inferior, that is to
say, not spiritual, but purely natural quality, purposes which the
ever constant jealousy of Juno render unavoidable. The conception of a
universal procreative life of Nature, which in many of the more ancient
mythologies constituted the leading motive, is imaginatively reproduced
in separate poetical tales about the easily enamoured disposition of
the father of gods and men, exploits, however, which he does not carry
through in his own or, for the most part, in human shape, but expressly
either in the shape of animals, or some other embodiment of Nature.