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
More particularly when we follow up the origins of the later gods
we are able to recognize the natural element, which the gods of the
classic ideal retain in themselves. This is a point which Creuzer in
particular has made clear. For example, in the conception of Jupiter
there are many features which indicate a solar source. The twelve
labours of Hercules, the expedition, for example, in which he carries
off the apples of the Hesperides, have relation both to the sun and
the twelve months. At the root of the conception of Diana we have the
distinct suggestion of the mother of Nature, just as the Ephesian
Diana, for example, which floats between the old world and the new,
has for her fundamental content Nature generally, procreation and
nutrition; which latter feature is clearly indicated in a part of her
external form, namely the breasts. If we consider the Greek Artemis, on
the other hand, the huntress, who slays wild animals, we find that in
her humanly beautiful and maiden form and self-continency, this aspect
falls entirely into the background, although the half moon and the
arrows still distinctly recall to us Selene. To take Aphrodite in the
same way, the more we follow her back to her original source in Asia
the more she approaches a force of Nature. Once arrived in Greece, the
spiritual and more individual aspect of her grace, charm, and love,
passion is more emphasized, albeit here, too, the natural basis is by
no means entirely absent. In the same way the productivity of Nature
is, no doubt, the original cradle which gives us Ceres. Starting from
that we proceed to the spiritual content, whose relations are developed
from agriculture, property, etc. The source in Nature of the Muses
is the murmur of the spring-water; and Zeus himself may be accepted
under one aspect as the universal Power of Nature, and is revered as
the Thunderer, as with Homer already thunder is the sign of misfortune
or assistance, is, in short, an omen, and as such is relative to that
which is human and spiritual. Juno, too, implies a natural association
with the firmament of cloud and the heavenly sphere in which the gods
move to and fro. So we are told, for example, that Zeus laid Hercules
on the breast of Juno, and from the milk which spouted thereout flashed
into being the Milky Way.