The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Georg Hegel · en
offers the semblance of artificiality, which even where it falls short
of actual purpose, is only with great difficulty reconciled with that
directness of immediate truth which is demanded. Much in fact which was
still fresh in former times, through repeated usage, and the habits
thus originated, has itself become gradually a custom and a part of
prosaic life. Moreover, where poetry strives after novelties in its
composition, we often find that, despite of itself, in its figurative
expressions and descriptions, even where it escapes the charge of
exaggeration and an excess of such material, it none the less leaves
an impression of artificiality, over nicety, a straining after what
is piquant and select, work incompatible with a simple and healthy
outlook and state of feeling. Such work tends to regard objects in an
artificial light and reckons on mere effect. Consequently it will not
permit their natural lighting and colour. Defects of this nature are
still more obvious in cases where, as a rule, the metaphorical type of
imaginative composition is exchanged[4] for the more direct, and our
poet is driven to outbid the forces of prose; and, in order to assert
an originality, plunges into the subtleties of or the fishing for
effects which have still some appearance of freshness.
2. VERBAL EXPRESSION
Inasmuch as the poetic imagination is distinct in its operation from
that of all other artists in virtue of the fact that it necessarily
clothes its images in words, and communicates the same through human
_speech_, it becomes imperative that throughout this process it should
endeavour to co-ordinate all its ideas, in the form which with most
completeness will disclose them, through the means articulate speech
thus places at its disposal. And, in short, we may affirm that the
poetic content only assumes the form of poetry in its restricted sense
after it has been actually embodied and rounded off in the vehicle of
words.
This literary aspect of the art of poetry would readily supply us with
a boundless field of discursive observation and logical argument, which
I must, however, pass over in order that I may reserve space for more
weighty problems which lie before us. I merely propose, therefore, to
touch very briefly on a few fundamental points.