The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Georg Hegel · en
(_γ_) We have just one further important feature to mention in respect
to the form of the event in the Epos. I have already observed that
in the drama the conscious will, and that which the same demands
and wills, is essentially the determining factor, and constitutes
the permanent foundation of the entire presentation. All that is
carried out appears throughout as posited already by the personal
character and its aims; and the main interest above all turns upon the
justification or its absence of what is done within the situations
presupposed and the conflicts they bring about. If consequently it so
happens also that in the drama the external conditions are themselves
active, they nevertheless only retain their validity by virtue of
that which conscious feeling and volition makes of them, and the
ways and means under which character reacts upon them. In the Epos,
however, the circumstances and external accidents are effective on
level terms with the personal will itself. All that man accomplishes
passes before us precisely as any other event of the world outside
him, so that the human exploit is in this case likewise and equally
conditioned, and must be shown to be carried forward by the development
of such an environment. The individual, in short, in epic poetry does
not merely act freely of himself and independently. He is placed in
the midst of an assemblage of facts, whose end and actuality in its
wide correlation with an essentially unified world of conscious life
or objective existence supplies the irremovable foundation of the
life of each separate individual. This typical system is, in fact,
predominant in the Epos through all its content, whether in that of
passion, determined result, or general achievement. It is true that
at first sight we might expect that, on account of an equal cogency
being accorded to external condition in its independent eventualities,
we should find indisputable opportunity given for every shade of
contingency. And yet we have seen that it is the function of the Epos
to present what is truly objective--what is, in short, essentially
substantive existence. The solution of this contradiction is to be
found in this, that the principle of _necessity_ is involved in the
events, whether taken in detail or generally.