The Philosophy of Fine Art, volume 2 (of 4): Hegel's Aesthetik
Georg Hegel · en
We may, however, observe that this resolution of art, despite its
adequacy, tends to disappear to this extent, that the contradictory
antithesis persists in the form of its _opposition_, and, consequently,
instead of the poetic reconciliation a prosaic relation is imported,
by means of which the classical type of art appears to be annulled, and
the gods of plastic shape no less than the entire world of human beauty
vanish with it. We have, then, now to look about us for a form of art,
which is able to reclothe itself from the ruins of this overthrow in
a loftier configuration and to extract the real significance which it
implies. We discovered as the terminating point of symbolic art in
the same way that the separation of pure form from its significance
was emphasized in a variety of modes such as simile, fable, parable,
riddle, and the like. Inasmuch as the severation above adverted to is
causally responsible for the dissolution of that art-type, in a similar
way the question arises what is the nature of the distinction between
our present example of transition as contrasted with the previous one.
The distinction is as follows:
(_a_) In the truly symbolic and comparative type of art the form and
significance are from the very first, despite the affinity of their
relationship, alien to one another; they are placed, however, in no
mere negative, but rather in amicable relationship; for it is precisely
the qualities and traits which are identical to or resemble each other
on the two sides which assert themselves as the causal basis of their
conjunction and comparison. Their persistent separation and hostility
is consequently within the bounds of this union neither, relatively to
the separated aspects, of a _hostile_ character, nor is a blending of
the same, within essentially narrow limits, thereby removed from them.
The Ideal of classical art, on the contrary, proceeds from the perfect
interfusion of significance and form, the ideal individuality of spirit
and its external conformation; and when the composite aspects which
have been brought together in such a consummated unity are disrupted,
this disruption takes place simply because they are unable any longer
to cohere one with the other, and are absolutely compelled to start
forth from their peaceful state of harmony in disunion and hostility.