The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Georg Hegel · en
observe that both attain their object, and it is right that they do
so; but it is not a continuous happiness with which they are favoured;
they have on the contrary to taste in its bitterness the feeling of
finite condition, and are forced to fight wearily through difficulties,
losses and sacrifices. It is in fact a universal demand of truth that
in the course of life and all that takes place in the objective world
the nugatory character of finite conditions should compel attention. So
no doubt the anger of Achilles is reconciled; he obtains from Agamemnon
that in respect of which he had suffered the sense of insult; he is
revenged upon Hector; the funeral rites of Patroclus are consummated,
and the character of Achilles is acknowledged in all its glory. But his
wrath and its reconciliation have for all that cost him his dearest
friend, the noble Patroclus; and, in order to avenge himself upon
Hector for this loss, he finds himself compelled to disengage himself
from his anger, to enter once more the battle against the Trojans,
and in the very moment when his glory is acknowledged receives the
prevision of his early death. In a similar way Odysseus reaches Ithaca
at last, the goal of his desire; but he does so alone and in his sleep,
having lost all his companions, all the war-booty from Ilium, after
long years of endurance and fatigue. In this way both heroes have paid
their toll to finite conditions and the claim of nemesis is evidenced
in the destruction of Troy and the misfortunes of the Greek heroes.
But this nemesis is simply justice as conceived of old, which merely
humiliates what is everywhere too exalted, in order to establish
once more the abstract balance of fortune by the instrumentality of
misfortune, and which merely touches and affects finite existence
without further ethical signification. And this is the justice of the
Epic in the field of objective fact, the universal reconciliation
of what is simply accommodation.[49] The higher conception of
reconciliation in tragedy is on the contrary related to the resolution
of specific ethical and substantive facts from their contradiction into
their true harmony. The way in which such an accord is established is
asserted under very different modes; I propose therefore merely to
direct attention to the fundamental features of the actual process
herein involved.