The Philosophy of Fine Art. Georg Wilhelm Friedrich Hegel

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СКАЧАТЬ target="_blank" rel="nofollow" href="#ulink_cf5d5158-4e2c-5ce4-aff2-a1a80f938a8f">132. Moment. A phase in an evolutionary, or, as it is here, a dialectical process. A momentary feature of it.

133. This final section is called the Division of the Subject.

134. Subjektivität. That is, the ideality of consciousness, or thought.

135. Professor Bosanquet, in his note on this passage, expresses the opinion that Hegel when he writes thus is referring "To the self-consciousness of individual human beings as constituting, and reflecting on, an ideal unity between them." This no doubt, as he suggests, does put a somewhat unnatural meaning on the word "person" or "subjekt." No doubt there is a sense in which we can ascribe personality to a state, or nation, in the concrete unity of its life. But while admitting that unity such as this, which is not sensuous but ideal, can be "effective and actual," I find it difficult to conclude that Hegel did himself hold that the unity of the Divine Being was merely identical with the unity or totality of concrete human life as reflected upon by single individuals. How far is human life as a whole on this Earth a unity or totality at all? That question has been discussed by Professor Bradley and others with very different conclusions. Nay, how far does human existence itself exhaust the actually present realization or self-realization of self-conscious Spirit or Intelligence? Whatever maybe the wisest answer to such and other questions I can hardly think that Hegel would have accepted Professor Bosanquet's interpretation as completely adequate.

136. Fackeldistel. "Torch thistle," a plant of the genus Cereus.

137. Or, "as mind and in mind."

138. That is to say, presents to itself to conscious grasp of itself as such Art-spirit (als künstlerischer.)

139. The two evolutions here alluded to are (i) that of a particular way of regarding Nature, man, and God in a particular age and nation such as the Egyptian, Greek, and Christian viewed in express relation to art; (ii) The several arts—sculpture, music, poetry, etc., each on their own foundation and viewed relatively to the former evolution.

140. The point, of course, is that the different media of the several arts are inherently, and in virtue of the fact that we have not here mere matter as opposed to that which is intellectual rather than sensuous, but matter in which the notional concept is already essentially present or pregnant (sound is, for instance, more ideal than the spatial matter of architecture), adapted to the particular arts in which they serve as the medium of expression.

141. Professor Bosanquet explains these "plastic forms" (Gestaltungs formen) as the various modifications of the subject-matter of art (Trans., p. 140 note). I am not quite sure of the meaning here intended. It would apparently identify the term with the Gebilde referred to in the third division. I should myself rather incline to think that Hegel had mainly in his mind the specific general types, that is, the three relations of the Idea itself to its external configuration, viewed as a historical evolution, which Hegel calls symbolic, classical, and romantic. Perhaps this is what Professor Bosanquet means. But in that case it does not appear to me so much the subject-matter as the generic forms in the shaping of that matter.

142. Das wahrhaft Innere. That is, the inward of the truth of conscious life.

143. Means apparently the notion in its absolute sense.

144. Because it represents spirit as independent of an appropriate bodily form.

145. What appears to be denoted by Geistigkeit is the generic term of intelligence—that activity of conscious life which does not necessarily make us think of a single individual—the common nature of all spirit.

146. By Innerlichkeit, which might also be rendered as pure ideality, what is signified is that in a mental state there are no parts outside of each other.

147. Subjekt, i.e., the individual Ego of self-consciousness.

148. Das subjective Innere, lit., the subjective inner state.

149. Geistigkeit. Professor Bosanquet translates it here "intellectual being."

150. The distinction between a percipient and an external object falls away. The content displayed is part of the soul-life itself.

151. Professor Bosanquet apparently assumes a negative has slipped out. But the text probably is correct in the rather awkward form in which it stands.

152. Thus poetry is primarily a romantic art, but in the Epic it is affiliated with the objective character of classical art, or we may say that there is a romantic and classical type of architecture, though the art is primarily symbolic.

153. Gestalt. Plastic power is perhaps a better translation.

154. He means that in architecture the building is merely a shrine or environment of the image of the god.

155. Infinite, of course, in the concrete sense of rounded in itself, as the circle, or, still more, the living organism.

156. Lit., "which is not also that of the spiritual sphere."

157. That is, an object limited only in space.

158. Subjektivität. The particularization in romantic art implies the presence of an ideal element imported by the soul of the artist, which appeals directly to the soul in its emotional life. Compare a picture by an Italian master with a Greek statue.

159. Lit., "A multiplicity of isolated examples of inwardness."

160. That is, in the life shared by all as one community actuated by a common purpose.

161. As in sculpture.

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