The Philosophy of Fine Art, volume 4 (of 4): Hegel's Aesthetik
Georg Hegel · en
quantity of the other syllables, whether long or short ones, to appear;
they are simply overwhelmed. The roots of the majority of words are
unquestionably as a general rule short, compact,[25] of one or two
syllables. If thus, as is for instance pre-eminently the case with our
mother tongue, these root-stems appropriate almost invariably the
accent to themselves, such an accent is to an overwhelming degree one
of the sense, _significance',_ not a definition, however, in which the
medium--that is, the utterance as sound--would be free, or could assert
the relation of the length, shortness, or accentuation of syllables
independently of the intelligible content of the words. Consequently a
rhythmical configuration of time-movement and emphasis liberated from
the stem syllable and its meaning can here no longer be maintained. We
have merely left us, in contradistinction to the former hearing of the
ample sound and duration of such long and short beats in their varied
juxtaposition, a general impression of sound,[26] which is apprehended.
entirely aloof from the accented fundamental syllable with its weight
of significance. And, indeed, apart from this, as we have seen, the
ramification of the stem into syllables as modified into particular
words is also an independent process. Such words receive thereby an
independent worth, and, while preserving their own significance, they
make us at the same time hear the identical coalescence of meaning
and accent, which we have observed in the case of the stem or root
word around which they are ranged. We are therefore forced to restrict
our attention to the sense of every word; and, instead of being
occupied with the natural length and shortness of syllables and their
sensuous[27] accentuation, are only able to hear the accent asserted by
the main and substantive meaning.