The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Georg Hegel · en
The most obvious and least elaborate is the bare exhibition of such
events without any further explanation of the poet of a necessary
element existing in the particular occurrences and their general
consequence by his addition of a controlling world of gods disclosed in
the decision, interference, and co-operation of eternal powers. In such
a case we must, however, have the feeling brought home from the entire
atmosphere of the exposition, that in the recounted events and great
life-destinies of single individuals and entire families or races, we
are not merely confronted with what is mutable and contingent in human
existence, but with destinies which have an essential foundation,
whose necessity remains, however, the obscure operation of a power
which is not placed before us poetically as such a power in its divine
controlling energy to the point of defined individualization and in
its explicit activity. The Niebelungenlied retains this general tone
strongly, albeit it does not ascribe the direction of the blood-stained
final result of all committed deed either to Christian Providence or
the pagan world of gods. For in regard to Christendom, we merely hear
of churchgoing and mass. We have, indeed, the remark of the bishop
of Spejevs to the beautiful Ute, when the heroes withdraw into king
Etzel's country: "Please God, He will keep them there!" We have also no
doubt dreams of warning, the prophecy of the Danube maidens to Hagen,
and other examples of a similar kind, but no really conclusive witness
to the control and interference of gods. This leaves an impression on
this poetry as of a something unriddled, unyielding, a mournfulness
that is at the same time objective, and consequently wholly epic in
its tone. It is a great contrast to the poems of Ossian, in which
in the same way no gods appear, yet in which, on the other hand, we
find lamentation over the death and downfall of the entire heroic
stock presented under the form of the private sorrow of the dismayed
minstrel, and as the yearning of a woe-begone recollection.