The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Georg Hegel · en
Such a view is, too, in its general lines the conception of the old
classic comedy, in so far as tradition reflects it in the plays of
Aristophanes. We should, however, be careful to notice the distinction
whether the individuals in the play are aware that they are comic,
or are so merely from the spectator's point of view. It is only the
first class that we can reckon as part of the genuine comedy in which
Aristophanes was a master. Conformably to such a type a character is
only placed in a ridiculous situation, when we perceive that he himself
is not serious in what is actually of such a quality in his purpose
and voluntary effort, so that this constituent of either is throughout
the means of his own undoing, inasmuch as throughout such a character
is unable to enter into any more noble and universally valid interest,
which necessarily involves it in a situation of conflict;[53] and,
even assuming that he does actually partake of it, merely does so in a
way that shows a nature, which, in virtue of its practical existence,
has already annihilated that which it appears to strive to bring into
operation, so that after all one sees such a coalescence has never been
really effected. The comic comes, therefore, rather into play among
classes of a lower social order in actual conditions of life, among
men who remain much as they are, and neither are able or desire to be
anything else; who, while incapable of any genuine pathos, have no
doubt whatever as to what they are and do. At the same time the higher
nature that is in them is asserted in this that they are not with any
seriousness attached to the finite conditions which hem them in, but
remain superior to the same and in themselves essentially steadfast and
self-reliant against mishap and loss. This absolute freedom of spirit,
which brings its own essential comfort from the first in all that a man
undertakes, this world of the blitheness of human soul-life is that to
which Aristophanes conducts us. Without a reading of him it is hardly
possible to imagine what a wealth of exuberance there is in the human
heart.