The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik — Georg Hegel — John Shaqi
The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Georg Hegel · en
[(_α_) The principle as associated with tragedy in its
essential and primitive form. The content of tragic action
supplied by spiritual forces which carry with them their
own justification, _e.g._, love of husband, wife, parents,
or children, patriotism, social life, etc. The substance
in which the greatness and stability of the tragic hero
consists. Theme of primitive tragedy generally the godlike
in its mundane character. Forces realized as the determinate
aim of human pathos. A collision in which both aspects are
justified from one point of view. Tragic resolution of
division. Meaning of Aristotle's dictum that tragedy excites
and purifies fear and pity. Sense of reconciliation 295
(_β_) In Tragedy what is eternally substantive is vindicated
under a mode of reconciliation. In Comedy the purely
personal experience retains the mastery throughout. Nature
of social basis of comedy. The comic. The conception of it
in Molière and Aristophanes. Requires a resolution even more
strongly than tragedy
(_γ_) The Satyric drama. Plautus. The modern dramatic play.
Illustrations from classical drama. Boundary lines fluctuate
more than in the case of genuine tragedy and comedy.
Tendency to pass from poetic form altogether. Theatrical
pieces exhibited for mere display of histrionic talent or
psychological analysis, or as a mere social relaxation]
(_b_) The difference between ancient and modern Drama
[(_α_) No genuine Oriental dramatic art. Principle of
individual freedom. Origins among Hindoos and Chinese
(_β_) True beginning among the Hellenes. The universal and
substantive content of the end, which individuals seek to
achieve. Exceptional plot and intrigue and varied display of
individual character not emphasized
(_γ_) In modern drama it is rather the destiny of some
particular character under exceptional circumstances which
forms the subject-matter. Interest directed not so much
to ethical vindication and destiny as to the isolation of
the individual and his conditions. Crime as a motive not
excluded. Formal greatness of character demanded. Variety
of characterization, and maze of plot and intrigue. In
tragedy further the paramount presence of a more exalted
order of the world,--whether conceived as Providence or
Fatality,--accepted]
(_c_) The concrete development of dramatic poetry and its
types