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
We have already, when Ave started on this subject, seen that it is not
a single isolated action which is accomplished in the true epic event;
the subject of the narrative is not, in short, a wholly accidental
occurrence, but an action which is dove-tailed into the entire
complexus of a particular age and national circumstances, which in
consequence can only be placed before us with success as a constituent
part of an extensive world, demanding as it does the reflection of such
a world in its entirety. In respect to the actual poetical content of
this background I shall be brief, inasmuch as I have already indicated
the fundamental points of interest when, in the first part of this
work, I discussed the general world-condition which the ideal action
presupposed. In the present context therefore I shall restrict myself
to the question what is of most importance to the Epos simply.
(_α_) That which is most adapted, as the all-embracing condition of
human society, to form the background of the Epos consists in this,
that it already possesses for particular individuals the form of a
positive condition actually present, and yet continues with them in
closest association with the simplicity of primitive life. For if the
heroes who are placed as the crowning fact of all, are first to found a
collective condition the determination of what is or ought to come into
existence falls into the more personal sphere of character to a greater
extent than is compatible with the nature of the Epos, and therewith
all appearance of the same as objective reality is impossible.