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
(_α_) The first and most frequently exemplified type of collision we
may draw attention to is that between _honour_ and _love._ In other
words, honour possesses just as love possesses in its own right this
infinitude of claim, and may accept a content, which may confront love
as a positive obstacle in its path. The obligations of honour may
require the sacrifice of love. From a certain point of view it would
be, for example, dishonourable for a man of high rank to wed one of the
lower classes. The distinction between class and class is a necessary
fact of natural condition as ordinarily presented[250]. And so long
as our secular life has not been emancipated through the infinite
notion of true freedom, whatever may be the class or profession from
which that life in the particular individual and his free choice takes
its rise, to that extent it will always be Nature, that is, the birth
condition, which to a greater or less degree will, on the one hand,
determine the social position; and, on the other, these distinctions
of status, as they thus originate, and quite independently of general
grounds of honour, in so far as social position is made an affair of
honour, will maintain themselves as of absolute and infinite stability.
(_β_) Quite apart, however, from questions of honour we must add as
a further example of collision that the eternal and _substantive_
powers themselves, the interests of the State, love of country, family
obligations, and the rest, come into conflict with love and preclude
its realization. Particularly in modern representations, in which the
objective conditions of life have been already elaborated in all their
available stringency, this is a favourite type of collision. Love is in
such cases, as itself an important right of the personal soul, either
set forth in opposition to other rights and duties, or despite of its
own recognition of such it enters upon a conflict with them reliant
upon itself and with the power of its private passion. The "Maid of
Orleans"[251] is an example of a drama which rests upon a collision of
this kind.