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
_Secondly_, we shall consider love in its positive presentment as the
feeling of reconciliation between the human and the Divine; in other
words the Holy Family, the maternal love of Mary, the love of Christ
and that of his disciples.
_Thirdly_, we have the community before us. Here it is the Spirit
of God as present by virtue of the conversion of soul and the
mortification of the natural and finite sense, in short, the return of
man to God, a return in which penances and pains mediate in the first
instance this union of God and man.
1. THE REDEMPTION-HISTORY OF CHRIST
The reconciliation of God with His own substance, history in its
absolute significance, or, in one word, the process of realization, is
made visible to our senses and assured to our minds by the revelation
of God in the world. The content of this reconcilement as expressed
in the most direct way is the coalescence in unity of the absolute
essence of reality with the individual subject of human consciousness.
An individual man is God and God is an individual man. In this truth
is implied the fact that the human spirit _intrinsically_, that is,
relatively to its notion and essence, is Spirit in truth; and every
particular individual in virtue of the humanity he connotes possesses
the infinite vocation no less than the infinite significance of being
an object of God and in union with God. But along with this and of
a like importance the obligation is imposed on man to realize this
notion, which, in the first instance, he merely possesses under the
implication of his nature. In other words, he has to place before
himself and attain to this union with God as the seal of his existence.
Only when he has thus consummated his proper destiny does he become
essentially free and infinite Spirit. This he can only do in so far as
that unity is itself the origination, the eternal ground-root of the
human and Divine nature. The goal is here the explicit beginning of the
process, namely, the presupposition for the religious consciousness
exhibited in romantic art, that God is Himself man and flesh, that He
has become this particular human individual, in whom the reconciliation
consequently no longer remains as only implicit, so that it is merely
to be inferred from its _notional_ existence, but asserts itself in
_objective_ existence also before the perception of human sense as this
particular and actually existing man. The importance of this aspect of
_particularity_ consists in this that it enables all other individuals
to find in the same the picture of his own reconcilement with God;
it is now no longer a mere possibility, but a fact which has on this
very account appeared as really accomplished in this one person.
Inasmuch, however, as this unity, conceived as the ideal reconciliation
of opposed factors of one process, is no immediately unified mode of
being, it is inevitable, in the _second_ place, that the process of
Spirit as exemplified in this _one_ individual--the process, that