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
(_β_) However much then, speaking generally, epic poetry informs us
of actual fact and its occurrence, and thereby makes the objective
world its content and form, yet on the other hand, inasmuch as what
happens is an _action,_ which passes in successive views before us,
it is rather, and for this reason, to _individuals_, and their deed
and suffering that the main emphasis is attached. For it is only
individuals, be they gods or men, who can veritably act; and just in
proportion as they are interwoven in the vividness of life with such a
panorama, to that extent they are entitled to attract the main interest
to the fulness of their exposition. From this point of view epic poetry
stands on level terms with lyric no less than dramatic poetry. It is
therefore of some importance that we attempt to define more closely
what the _specific_ features are which distinguish the portrayal of
personality in the epic composition.
(_αα_) Now, first, what is essential to the objective aspect of an epic
character--I am speaking mainly of the leading personages--is that
they should be themselves essentially a _totality_ of such traits, in
other words complete men, and thereby display in themselves all aspects
of emotional life, or to put it better, should represent in a typical
way, national opinion and its active pursuits. In this respect I have
already in the first part drawn attention to the heroic characters
of Homer; and, in particular, to the variety of genuinely human and
truly national qualities which Achilles unites in himself so vitally,
the hero of the Odyssey supplying an admirable companion picture. The
Cid is similarly presented us with much variety of characterization
and situation, as son, hero, lover, husband, father, householder, and
in his relations to king, friends, and foes. Other Epopees of the
Middle Ages are a great contrast, far more abstract in their type of
personification, particularly so where their heroes merely champion the
cause of chivalry as such, and are removed from the sphere of the true
and actual life of the nation.