The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Georg Hegel · en
the one, however bitter it may be, which his action merits.
From another point of view, however, we may see the tragic issue
also merely in the light of the effect of unhappy circumstances
and external accidents, which might have brought about, quite as
readily, a different result and a happy conclusion. From such a
point of view we have merely left us the conception that the modern
idea of individuality, with its searching definition of character,
circumstances, and developments, is handed over essentially to the
contingency of the earthly state, and must carry the fateful issues
of such finitude. Pure commiseration of this sort is, however,
destitute of meaning; and it is nothing less than a frightful kind of
external necessity in the particular case where we see the downfall
of essentially noble natures in their conflict thus assumed with the
mischance of purely external accidents. Such a course of events can
insistently arrest our attention; but in the result it can only be
horrible, and the demand is direct and irresistible that the external
accidents ought to accord with that which is identical with the
spiritual nature of such noble characters. Only as thus regarded can we
feel ourselves reconciled with the grievous end of Hamlet and Juliet.
From a purely external point of view, the death of Hamlet appears as
an accident occasioned by his duel with Laertes and the interchange of
the daggers. But in the background of Hamlet's soul, death is already
present from the first. The sandbank of finite condition will not
content his spirit. As the focus of such mourning and weakness, such
melancholy, such a loathing of all the conditions of life, we feel from
the first that, hemmed within such an environment of horror, he is a
lost man, whom the surfeit of the soul has wellnigh already done to
death before death itself approaches him from without. The same thing
may be observed in the case of Romeo and Juliet. The ground on which
these tender blossoms have been planted is alien to their nature; we
have no alternative left us but to lament the pathetic transiency of
such a beautiful love, which, as some tender rose in the vale of this
world of accident, is broken by rude storms and tempests, and the
frangible reckonings of noble and well-meaning devices. This pitiful
state of our emotions is, however, simply a feeling of reconciliation
that is painful, a kind of _unhappy blessedness_ in misfortune.