The German Classics of the Nineteenth and Twentieth Centuries, Volume 07. Коллектив авторов

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СКАЧАТЬ style="font-size:15px;">      When Napoleon, before the peace of Campoformio, said, "The French Republic requires recognition as little as the sun needs to be recognized," his words suggest nothing but the strength of existence, which already carries with it the guarantee of recognition, without needing to be expressed.

      When the particular wills of the State can come to no agreement their controversy can be decided only by war. What offense shall be regarded as a breach of a treaty, or as a violation of respect and honor, must remain indefinite, since many and various injuries can easily accrue from the wide range of the interests of the States and from the complex relations of their citizens. The State may identify its infinitude and honor with every one of its single aspects. And if a State, as a strong individuality, has experienced an unduly protracted internal rest, it will naturally be more inclined to irritability, in order to find an occasion and field for intense activity.

      The nations of Europe form a family according to the universal principle of their legislation, their ethical code, and their civilization. But the relation among States fluctuates, and no judge exists to adjust their differences. The higher judge is the universal and absolute Spirit alone—the World-Spirit.

      The relation of one particular State to another presents, on the largest possible scale, the most shifting play of individual passions, interests, aims, talents, virtues, power, injustice, vice, and mere external chance. It is a play in which even the ethical whole, the independence of the State, is exposed to accident. The principles which control the many national spirits are limited. Each nation as an existing individuality is guided by its particular principles, and only as a particular individuality can each national spirit win objectivity and self-consciousness; but the fortunes and deeds of States in their relation to one another reveal the dialectic of the finite nature of these spirits. Out of this dialectic rises the universal Spirit, the unlimited World-Spirit, pronouncing its judgment—and its judgment is the highest—upon the finite nations of the world's history; for the history of the world is the world's court of justice.

      INTRODUCTION TO THE PHILOSOPHY OF ART (1820-21)

BY GEORG WILHELM FRIEDRICH HEGEL

      TRANSLATED BY J. LOEWENBERG, PH.D. Assistant in Philosophy, Harvard University

THE MEANING OF ART

      The appropriate expression for our subject is the "Philosophy of Art," or, more precisely, the "Philosophy of Fine Arts." By this expression we wish to exclude the beauty of nature. In common life we are in the habit of speaking of beautiful color, a beautiful sky, a beautiful river, beautiful flowers, beautiful animals, and beautiful human beings. But quite aside from the question, which we wish not to discuss here, how far beauty may be predicated of such objects, or how far natural beauty may be placed side by side with artistic beauty, we must begin by maintaining that artistic beauty is higher than the beauty of nature. For the beauty of art is beauty born—and born again—of the spirit. And as spirit and its products stand higher than nature and its phenomena, by so much the beauty that resides in art is superior to the beauty of nature.

      To say that spirit and artistic beauty stand higher than natural beauty, is to say very little, for "higher" is a very indefinite expression, which states the difference between them as quantitative and external. The "higher" quality of spirit and of artistic beauty does not at all stand in a merely relative position to nature. Spirit only is the true essence and content of the world, so that whatever is beautiful is truly beautiful only when it partakes of this higher essence and is produced by it. In this sense natural beauty appears only as a reflection of the beauty that belongs to spirit; it is an imperfect and incomplete expression of the spiritual substance.

      Confining ourselves to artistic beauty, we must first consider certain difficulties. The first that suggests itself is the question whether art is at all worthy of a philosophic treatment. To be sure, art and beauty pervade, like a kindly genius, all the affairs of life, and joyously adorn all its inner and outer phases, softening the gravity and the burden of actual existence, furnishing pleasure for idle moments, and, where it can accomplish nothing positive, driving evil away by occupying its place. Yet, although art wins its way everywhere with its pleasing forms, from the crude adornment of the savages to the splendor of the temple with its marvelous wealth of decoration, art itself appears to fall outside the real aims of life. And though the creations of art cannot be said to be directly disadvantageous to the serious purposes of life, nay, on occasion actually further them by holding evil at bay, on the whole, art belongs to the relaxation and leisure of the mind, while the substantial interests of life demand its exertion. At any rate, such a view renders art a superfluity, though the tender and emotional influence which is wrought upon the mind by occupation with art is not thought necessarily detrimental, because effeminate.

      There are others, again, who, though acknowledging art to be a luxury, have thought it necessary to defend it by pointing to the practical necessities of the fine arts and to the relation they bear to morality and piety. Very serious aims have been ascribed to art. Art has been recommended as a mediator between reason and sensuousness, between inclination and duty, as the reconcilor of all these elements constantly warring with one another. But it must be said that, by making art serve two masters, it is not rendered thereby more worthy of a philosophic treatment. Instead of being an end in itself, art is degraded into a means of appealing to higher aims, on the one hand, and to frivolity and idleness on the other.

      Art considered as means offers another difficulty which springs from its form. Granting that art can be subordinated to serious aims and that the results which it thus produces will be significant, still the means used by art is deception, for beauty is appearance, its form is its life; and one must admit that a true and real purpose should not be achieved through deception. Even if a good end is thus, now and then, attained by art its success is rather limited, and even then deception cannot be recommended as a worthy means; for the means should be adequate to the dignity of the end, and truth can be produced by truth alone and not by deception and semblance.

      It may thus appear as if art were not worthy of philosophic consideration because it is supposed to be merely a pleasing pastime; even when it pursues more serious aims it does not correspond with their nature. On the whole, it is conceived to serve both grave and light interests, achieving its results by means of deception and semblance.

      As for the worthiness of art to be philosophically considered, it is indeed true that art can be used as a casual amusement, furnishing enjoyment and pleasure, decorating our surroundings, lending grace to the external conditions of life, and giving prominence to other objects through ornamentation. Art thus employed is indeed not an independent or free, but rather a subservient art. That art might serve other purposes and still retain its pleasure-giving function, is a relation which it has in common with thought. For science, too, in the hands of the servile understanding is used for finite ends and accidental means, and is thus not self-sufficient, but is determined by outer objects and circumstances. On the other hand, science can emancipate itself from such service and can rise in free independence to the pursuit of truth, in which the realization of its own aims is its proper function.

      Art is not genuine art until it has thus liberated itself. It fulfils its highest task when it has joined the same sphere with religion and philosophy and has become a certain mode of bringing to consciousness and expression the divine meaning of things, the deepest interests of mankind, and the most universal truths of the spirit. Into works of art the nations have wrought their most profound ideas and aspirations. Fine Art often constitutes the key, and with many nations it is the only key, to an understanding of their wisdom and religion. This character art has in common with religion and philosophy. Art's peculiar feature, however, consists in its ability to represent in sensuous form even the highest ideas, bringing them thus nearer to the character of natural phenomena, to the senses, and to feeling. It is the height of a supra-sensuous world into which thought reaches, but it always appears to immediate consciousness and to present experience as an alien beyond. Through the power of philosophic thinking we are able to soar above what is merely here, above sensuous and finite experience. But СКАЧАТЬ