The Philosophy of Fine Art. Georg Wilhelm Friedrich Hegel

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76. Die Phantasie.

77. This is, I presume, Hegel's way of putting the simple fact, that much of the process of artistic production is unconscious. One man instinctively draws, or picks up his notes on the piano, another cannot. I think Hegel rather refers to this original talent than the much more important one in which genius, right into maturity, rides over difficulties without knowing how it does so. Such happy or even miraculous effects—such as artists sometimes playfully call them—are obviously in part, if only in part, the result of profound artistic experience. He is dealing almost exclusively with the natural bias, which makes one man naturally an artist, whether creative or executant, and is absent from another. He hardly approaches the question what constitutes the artist of genius as contrasted with the man of natural talent.

78. This confirms the conclusion above.

79. Für sich. If merely admired as imitation and nothing more.

80. Zur Ekelhaftigkeit. "Sickeningly like" is Professor Bosanquet's closer translation. The expression "damnably like" is not unknown.

81. I think with Professor Bosanquet that phantastischen is here not "fantastic" but strictly derived from Phantasie in its sense of imagination. "Completely," of course, as involving no direct imitation of Nature.

82. Formal, i.e., implying no creative supplement from the artist, purely mechanical.

83. It would be both instructive and interesting to discuss if, and how far, and by virtue of what, that distinct type of modern art known as "still life," such as a few objects of the library, or even a shell or two and so on up to more important organic life was excluded from this condemnation. It is quite clear that Ruskin would have a good deal to say that would imply important qualification.

84. Begeisterung. I think this must be the meaning. Inspiration hardly makes sense. It is art that is inspired, not those who attend the celebration.

85. Im Innersten is I think here obviously to be taken with the verb, not with the substantives.

86. Ueberhaupt.

87. The meaning of in diesem Gebiete is, I presume, the actual world. But if so it is simply otiose, and I have left it out.

88. Bestimmung. The translation given appears to be the sense, though we should rather say weaken a man from the pursuit of a definite course. Professor Bosanquet, who translates the word "aim" a little lower down, evades the word here.

89. Raisonnirende here and raissonnement below have a depreciatory sense—and signify ordinary reasoning in the first instance and the methods of the popular secularist in the second.

90. A sentence omitted by Professor Bosanquet, and it seems to amount to little more than a more generalized statement of what has gone before. The end of art both directly and indirectly concerns its subject-matter, or rather, as Hegel puts it, the need of the notion or Idea of it carries us to a further end beyond the end shared in common by its particular content.

91. I follow Professor Bosanquet in his translation of the words als Allgemeines für sich zu zuerden; but I am not sure that the more literal translation is not simply as the words stand, the sense being not to be self-conscious of himself (für sich) as the universal principle, to be aware of this property, but rather as universal principle to become for himself, i.e. "independent of desire."

92. Einheit—unity to the point of fusion, identity.

93. Unmittelbaren Befangenheit. "Sunkenness" is Professor Bosanquet's translation.

94. Theoretic as a direct transcript of θεώρια, θεωρειν.

95. Gesichtspunkte. The various points of view necessary to arrive at such a general conclusion.

96. Though not entirely confident I am right in accepting the words zu bringen as a repetition of the hervorzubringen just before, the alternative of Professor Bosanquet which takes the words wird zu bringen seyn as equivalent to gebracht seyn sollte certainly appears to me no direct translation.

97. "Poets aim at utility and entertainment alike."

98. I think that Hegel in his use of erste here rather refers to the fact of past history than a fact in the individual history of nations. "Art is, in the early days of history, the instructress of nations," gives, I think, his meaning. It is the first instructress in the history of nations.

99. I venture to think if Professor Bosanquet's translation were the right one the German would be ein in sich selbst gebrochenes. I do not think in ihm selbst can be a German rendering of "in itself." But I admit the translation is tempting whether Hegel had in his mind the "house divided against itself" or not.

100. Lit., "the spiritual universal," i.e., the universal substance of its ideal content.

101. Precisely as Ruskin, for example, in his "Modern Painters" condemns both Titian and Tintoret, not because they painted the Paradise or the Assunta, to produce fine paintings, or even because they did not or did themselves believe in the truth of their subject-matter, but because they did not paint in order to make converts, an extraordinary lapse of judgment.

102. Im besten Sinne des Wortes.

103. Professor Bosanquet points out in a note on this passage (p. 101) that Sittlichkeit here, which he translates, as I have done, "respectability," is the habit of virtue, without the reflective aspiration after goodness as an ideal. Of course there is no depreciation in the use of the term. It is simply the morality СКАЧАТЬ