The Philosophy of Fine Art. Georg Wilhelm Friedrich HegelЧитать онлайн книгу.
id="ulink_77b8757d-be93-5055-8231-fc3fd8e8d480">40. By man's sensitive life in its widest sense is, I think, intended.
41. The German words are machen and nachmachen. We have no exact equivalents.
42. Lit., "to fill out (ausfüllen) in complete equipment."
43. Individuelle.
44. The German will admit of the interpretation that the reference is merely to genius, but I think Hegel clearly means that neither one nor the other can be thus conjured up.
45. At the end of the first main division of the work.
46. One of Meredith's correspondents has put the question with all gravity whether he considered inspiration could be assisted by wine drinking. With equal gravity our humourist replied that though wine might be something of a restorative after mental effort it was not his experience that it contributed to first-rate artistic work. He actually mentions the case of Schiller. Though I have read somewhere that this poet used to be inspired by the smell of rotten apples I do not recollect reading that he favoured the champagne bottle. Meredith also mentions the case of Hoffmann, and adds that the type of his work does not increase our respect for the precedent.
47. Eine äusserliche Arbeit. A craftsmanship which has to deal with the outside surface. We may translate "external craftsmanship"; but the translation in the text gives the meaning best, I think.
48. Keinen geistigen Stoff. Professor Bosanquet translates "spiritual content." I imagine the emphasis to be mainly on the absence of positive ideas available to knowledge. In any case Hegel appears to press his point of contrast too far. Men of genius such as Mozart (who was probably in his mind) and Schubert may bear him out. But on the other hand we have a Keats, Shelley, and Raphael. Genius matures rapidly, but the greatest works of musical art no less than any other imply a real maturity of mind at least, and more than is here assumed of, I should say, a rich experience. Mozart, of course, upsets any theory, and it is questionable even whether Mozart is really an exception. It depends on the point of view from which we are estimating the intelligible content of music as an expression of soul-life.
49. The "Iphigenie" was completed in Goethe's thirty-eighth year, fourteen years later than "Götz." The bulk of his more important works are of the same date or later. Schiller's "Wallenstein" was completed after his thirty-fifth year.
50. This is surely not quite accurate. The medium of painting in the sense that speech or writing is the medium of poetry is not canvas or panel but oil or other colour. Canvas would correspond with the blank pages of a book.
51. Free, that is, from accidental and irrelevant matter.
52. Professor Bosanquet translates sinnliche here as "sensitive." I am inclined to think that Hegel here rather leaves out of sight the fact that in the process of Nature we have sensitive organic life no less than unconscious inorganic. His contrast is rather between the conscious life of man and unconscious nature, the conscious life that is not self-conscious being for the object of the contrast treated as equivalent to unconscious. He would also apparently ignore the fact that man himself and the higher beauty which attaches to him is also from ope point of view a part of the natural process.
53. That is, apart from purely personal ends in its pursuit, which are accidental to its essential notion.
54. That is, in the medium of conscious life.
55. Einmal. They are there, but they do not know they are there.
56. Aus geistiger Bildung, i.e., a high level of mental culture is necessary before the advent of civilized manners and customs in which spiritual life is reflected with real refinement and directness.
57. Bedürfniss zur Kunst.
58. Lit., "In the form of the most abstract single subjectivity." That is to say, that the main fact about it is that it is felt; but, except in respect to intensity, it cannot be described as an object of thought with defining attributes, It is abstract individual sensation.
59. By the expression Kreis Hegel would mean rather an indefinite sphere than a definite circle. The simile is perhaps not very apt. The idea, apparently, is of a sphere of feeling, that is, such as being self-complete, but is so abstract or indefinable that the introduction into it of positive ideas such as justice, etc., are the mere entrance of spectral forms which vanish in such an indefinable medium, without disclosing their nature. They are felt but not cognized for what they really are.
60. Blinder, blind in the sense that it is not guided by deliberate and self-conscious reason, i.e., mere animal instinct.
61. A difficult sentence to translate. I have followed Professor Bosanquet in assuming that the substantive with which mangelhaft agrees must be borrowed from the following sentence, though it seems also to be carried on in a loose kind of way from the previous sentence (Gesckmacksinn.) The entire sentence is built, as we have it, on the further confusion that there are two parallels which before the sentence ends are regarded as one! That is to say, the general critical sense is contrasted with the critique of particular works of art and further the defect of that general sense in its neglect of universal principles is further contrasted with the way the specific critique deals with particular works. I hardly think, however, that my admirable predecessor is justified in ignoring the comparative degree of bestimmteres, or in his translation of Zeug as "power." I take it to mean the material of actual works of art. The sentence is a good example of, some of the difficulties of Hegel translation.
62. Die Sache. The subject-matter in its most real sense as "content."
63. That is, the so-called "good taste."
64. Begriff. Concrete notional Idea.
65. That is, in his physical form.
66. Hegel is here considering desire abstractedly,