The Philosophy of Fine Art, volume 2 (of 4): Hegel's Aesthetik
Georg Hegel · en
(_a_) Fidelity in friendship and love, then, subsists solely between
equals. The fidelity which we have now to consider is relative to a
superior, one more highly placed, a _master._ A fidelity of this type
is to be found even among the ancients in that of servants to the
family, the house of their lord. The most beautiful example of such a
relation is supplied us by the swine-herd of Odysseus, who sweats by
night and through tempest in order that he may look after his swine;
who is full of anxiety on his master's account, to whom he finally
gives loyal assistance against the suitors. Shakespeare offers us a
picture of fidelity no less moving, though it is here shown entirely
on the side of the feelings, in his "King Lear."[255] Lear asks Kent,
"Dost thou know me, fellow?" And Kent replies: "No, sir; but you have
that in your countenance which I would fain call master." This borders
as close as possible on that which we would make clear as romantic
fidelity. Fidelity at this stage is not the loyalty of slaves and
churls, however true and pathetic such unquestionably may be, which is
none the less devoid of the free independence of individuality and its
unrestricted aims and actions, and is consequently of subordinate rank.
What we, in short, have before us is the liege-service of chivalry, in
which each vassal preserves intact his own free self-dependence as an
essential element in the attitude of subordination to one of higher
rank, whether lord, king, or emperor. This type of fidelity, however,
is a principle of supreme importance in chivalry for the reason that it
forms the fundamental bond of union in a common society and its social
co-ordination at least in the original form of its appearance.