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
(_ββ_) And it is just on account of this fact that such preeminent
figures are complete individuals, who have in resplendent degree all
that concentrated in them which otherwise is diffused and separate in
the national character, and thereby are throughout great, free, and
humanly beautiful characters that they are rightly set in the chief
place; and we find that the event of most significance is inviolably
linked with such individuality. The nation is, as it were, focussed
as a single living soul in them, and as such they fight out its main
enterprise, and suffer the hazards of its resulting experience. In
this respect Gottfried von Bouillon, in Tasso's "Jerusalem Liberated,"
is no such overpowering figure as Achilles, this typical youthful
bloom and perfection of the entire Grecian host; nor is he even an
Odysseus, although he is selected as the wisest, bravest, and most
just of leaders to command the entire army. The Achæans are unable to
win a victory if Achilles stands aloof from the contest; it is he
alone who, by means of his triumph over Hector, carries victory into
Troy itself; and in the return home of Odysseus we find a mirror of
the return of all the Greeks from Troy, only with the difference that
it is just in that which it is his destiny to endure we have placed
exhaustively before our vision the entire compass of the sufferings,
life experience, and conditions which are implied in the whole
subject-matter. The characters of the drama, on the other hand, are not
so represented as in themselves the absolute crowning point of all the
rest, which becomes objective in and through them. They rather are set
forth independently and for themselves in their purpose, which they
accept as the outcome of their character, or as the result of definite
principles which have grown up in conjunction with their more isolate
personality.