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
of love, sensitive, tender, without much generosity of imagination,
sportive, melancholy, and monotonous. Among the Spaniards it is copious
in imaginative expression, chivalrous, somewhat casuistical in its
discovery and defence of rights and duties, so far as they relate to
private affairs of honour; and in this respect also possesses all the
richest splendour of enthusiasm. In contrast to this among Frenchmen
of more modern times love is more an affair of gallantry with a
distinct bias toward vanity, an artificial state of feeling converted
to the uses of poetry with a kind of sophistry of the senses often
marked with the finest wit, at one time expressing a kind of sensuous
enjoyment which is devoid of passion, at another a passion that brings
with it no enjoyment, a sublimated condition of feeling and sensibility
which feeds upon the maxims of reflection. But I must here break off
these general indications which our subject does not permit me now to
carry further.
(_b_) More closely looked at the secular interest may be treated
under two general divisions. We have on the one side secularity as
actually organized, such as family life, the tie of citizenship and
politics, law, justice, morality, and the rest; and in opposition to
this[249] independent and assured existence love springs up in noble
and impetuous spirits; this world-religion of hearts, which at one
time we find joining hands with religion in every respect, while at
another it supersedes it, forgets it, and by constituting itself the
single essential, or rather the unique and supreme condition of life,
is not only prepared to renounce all else, and to fly for refuge to a
desert with the beloved, but proceeds in this extremity of its passion,
which we can only exclude from the domain of beauty, to sacrifice all
the worth of humanity in a manner at once servile, degrading, and
despicable. An example of this we have in "Kätchen von Heilbronn." On
account of this cataclysm of life's essential interests the objects
of love cannot be realized without _collisions_ in the theatre of the
world. For despite of love the general conditions of life make their
demand and assert their claims and the despotism of love's passion is
unable to maintain itself against them with impunity.