The Philosophy of Fine Art, volume 2 (of 4): Hegel's Aesthetik
Georg Hegel · en
In making our passage over to a concluding stage of the subject under
discussion we can hardly do better than associate it with that which we
have already touched upon in connection with the history of Christ.
The immediate existence of Christ, as this particular man, who is God,
is assumed to be wiped out, in other words, the truth itself asserts
itself that in the manifestation of God as man, the true reality of
God thus envisaged is not immediate sensuous existence but Spirit.
The reality of the Absolute regarded as infinite subjectivity[234] is
simply Spirit itself; God is in knowledge, in the element of the inner
life, and only there. This absolute existence of God, as absolutely
ideal to the same extent as it is subjective[235] _universality_, does
not therefore admit of the limitations of this particular individual,
who has in the story of his life made manifest the reconciliation
between the Divine and human self-consciousness, but on the contrary
is enlarged to the full measure of the human consciousness which is
reconciled to God, that is, in general terms to our _humanity_, which
exists as an aggregate of many individuals. In his independence,
however, taken, that is, as a specific personality, man is not under
any immediate mode the Divine, but on the contrary finite and human,
which only in so far as it really propounds itself as a negation, which
it essentially is, and thereby annuls itself in this negative aspect,
can attain to the reconcilement with God. It is only by virtue of this
deliverance from the frailty of finitude that our humanity declares
itself as the vehicle of the existence of the absolute Spirit, as the
spirit of the community, in which the union of the human and Divine
Spirit within the bounds of human reality itself, in the sense of its
realized mediation, carries into fulfilment what essentially, if we
look at it in the light of the notion of Spirit, it is from the first
in that very union.
The principal modes which are of importance in respect to this new
content of romantic art may be distinguished as follows:
The individual, who in his separation from God lives in a condition
of sinfulness and conflict with the immediacy and frailty of finite
existence, possesses the eternal destiny to come into reconciliation
with himself and God. Inasmuch, however, as we find that in the
redemption-history of Christ the negative relation of immediate
singularity is affirmed and declared an essential feature in the
spiritual process, so, too, every particular individual is only through
a conversion from the natural state and his finite personality uplifted
to the free condition and into the peace of God.
This abrogation of finitude asserts itself in a threefold manner as
follows:
_First_, as the repetition in _actual life_ of the history of the
Passion, a repetition of real bodily suffering--martyrdom.