The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Georg Hegel · en
(_αα_) Either of these poems, despite all that may be advanced to the
contrary, is essentially self-complete, so definite and sensitive to
its construction as a whole, that in my own opinion the very view
which regards the present form of both as merely that in which they
were sung and handed down to posterity by rhapsodists, simply amounts
to little more than the just eulogy of such works in virtue of the
fact that they are, with regard to the entire atmosphere of their
content, national and realistic, and even in their particular parts
are so consummately finished, that all and each of them may be taken
as a whole in itself. Whereas in the East what is substantive[32] and
universal in the poet's survey still impairs the individuality of
character, and its aims and exploits by its symbolism or deliberate
instruction, and thereby injures the definite articulation and unity of
the whole. Here for the first time in these poems[33]we find a world
beautifully suspended as it were between the general life-conditions of
morality in family, state and religious belief, and the individuality
of distinctive character, and in this fair balance between the claims
of spirit and Nature, intentional action and objective event, between a
national basis of enterprise and particular aims and deeds, even though
individual heroes appear as the predominant feature in their free and
animated movement, yet this too is so mediated by the distinctiveness
of the aims proposed and the severe presence of destiny, that the
entire exposition can only remain even for ourselves the _ne plus
ultra_ of all attainment that we can either enjoy or admire in epic
composition. For we find no difficulty here in recognizing the real
significance of even the gods who withstand or assist these primitive
masculine heroes in their bravery, their straightforward and noble
actions: nor can we fail to return the merry smiles of an art which
depicts them as we see them here in all the _naïveté_ of their very
human, if also godlike impersonations.
(_ββ_) The _cyclic_ poets of an age subsequent to the Homeric poems
depart more and more from this genuine type of epic poetry. On the one
hand the tendency here is to break up the completeness of the national
world-survey into its petty provinces and aspects; and from another
point of view, instead of retaining a firm grasp of the poetic unity
and distinctive character of an individual action, to insist more
exclusively on the completeness of events as an historical series,
or on the unity of the personality, and by so doing to assimilate
epic poetry with the already emphasized historical impulse of the
logographers in their historical compilations.