CONTENTS.
| PAGE | ||
| Translator's Preface | [vii] | |
| Prefatory Essay by the Translator | [xiii] | |
| [CHAPTER I]. | ||
| The Range of Æsthetic defined, and some Objectionsagainst the Philosophy of Art refuted (1-25). | ||
| [α. | Æsthetic confined to Beauty of Art | [2] |
| β. | Does Art merit Scientific Treatment? | [5] |
| γ. | Is Scientific Treatment appropriate to Art? | [8] |
| δ. | Answer to β. | [13] |
| ε. | Answer to γ.] | [20] |
| [CHAPTER II]. | ||
| Methods of Science Applicable to Beauty and Art (26-42). | ||
| [1. | Empirical Method—Art-scholarship | [27] |
| (a) Its Range | [27] | |
| (b) It generates Rules and Theories | [28] | |
| (c) The Rights of Genius | [38] | |
| 2. | Abstract Reflection | [40] |
| 3. | The Philosophical Conception of Artistic Beauty, general notion of] | [41] |
| [CHAPTER III]. | ||
| The Philosophical Conception of Artistic Beauty, beginning with Current Ideas of Art (43-105). | ||
| Part I.—The Work of Art as Made and as Sensuous | [43-78] | |
| 1. | Work of Art as Product of Human Activity | [48] |
| [(a) Conscious Production by Rule | [48] | |
| (b) Artistic Inspiration | [50] | |
| (c) Dignity of Production by Man | [54] | |
| (d) Man's Need to produce Works of Art] | [57] | |
| 2. | Work of Art as addressed to Man's Sense | [60-78] |
| [(a) Object of Art—Pleasant Feeling? | [60] | |
| (b) Feeling of Beauty—Taste | [63] | |
| (c) Art-scholarship | [65] | |
| (d) Profounder Consequences of Sensuous Nature of Art | [66] | |
| (α) Relations of the Sensuous to the Mind | [67] | |
| (αα) Desire | [68] | |
| (ββ) Theory | [70] | |
| (γγ) Sensuous as Symbol of Spiritual | [72] | |
| (β) The Sensuous Element, how Present in the Artist | [74] | |
| (γ) The Content of Art Sensuous] | [78] | |
| Part II.—The End of Art. | ||
| 3. | [The Interest or End of Art | [(79-106)] |
| (a) Imitation of Nature? | [79] | |
| (α) Mere Repetition of Nature is— | [79] | |
| (αα) Superfluous | [80] | |
| (ββ) Imperfect | [80] | |
| (γγ) Amusing merely as Sleight of Hand | [82] | |
| (β) What is Good to Imitate? | [83] | |
| (γ) Some Arts cannot be called Imitative | [85] | |
| (b) Humani nihii—? | [87] | |
| (c) Mitigation of the Passions? | [90] | |
| (α) How Art mitigates the Passions | [91] | |
| (β) How Art purifies the Passions | [94] | |
| (αα) It must have a Worthy Content | [95] | |
| (ββ) But ought not to be Didactic | [95] | |
| (γγ) Nor explicitly addressed to a Moral Purpose | [98] | |
| (d) Art has its own Purpose as Revelation of Truth] | [105] | |
| [CHAPTER IV]. | ||
| Historical Deduction of the True Idea of Art in Modern Philosophy (107-132). | ||
| 1. | Kant | [107] |
| [(a) Pleasure in Beauty not Appetitive | [110] | |
| (b) Pleasure in Beauty Universal | [111] | |
| (c) The Beautiful in its Teleological Aspect | [112] | |
| (d) Delight in the Beautiful necessary though felt] | [113] | |
| 2. | Schiller, Winckelmann, Schelling | [116] |
| 1. | The Irony | [120] |
| [CHAPTER V]. | ||
| Division of the Subject (133-175). | ||
| [1. | The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form | [133] |
| 2. | Part I.—The Ideal | [141] |
| 3. | Part II.—The Types of Art | [144] |
| (α) Symbolic Art | [145] | |
| (β) Classical Art | [148] | |
| (γ) Romantic Art | [151] | |
| 4. | Part III.—The Several Arts | [157] |
| (α) Architecture | [160] | |
| (β) Sculpture | [162] | |
| (γ) Romantic Art, comprising | [164] | |
| (i.) Painting | [167] | |
| (ii.) Music | [169] | |
| (iii.) Poetry | [171] | |
| 5. | Conclusion] | [173] |
PREFATORY ESSAY BY THE TRANSLATOR.
ON THE TRUE CONCEPTION OF ANOTHER WORLD.
"With such barren forms of thought, that are always in a world beyond, Philosophy has nothing to do. Its object always something concrete, and in the highest sense present."—Hegel's Logic, Wallace's translation, p. 150.
It will surprise many readers to be told that the words which I have quoted above embody the very essence of Hegelian thought. The Infinite, the supra-sensuous, the divine, are so connected in our minds with futile rackings of the imagination about remote matters which only distract us from our duties, that a philosophy which designates its problems by such terms as these seems self-condemned as cloudy and inane. But, all appearances to the contrary notwithstanding, Hegel is faithful to the present and the concrete. In the study of his philosophy we are always dealing with human experience. "My stress lay," says Mr. Browning,[5] "on the incidents in the development of a soul; little else is worth study." For "a soul" read "the mind," and you have the subject-matter to which Hegel's eighteen close-printed volumes are devoted. The present introductory remarks are meant to insist on this neglected point of view. I wish to point out, in two or three salient instances, the transformation undergone by speculative notions when sedulously applied to life, and restrained from generating an empty "beyond." By so doing I hope to pave the way for a due appreciation of Hegel's philosophy of fine art. That the world of mind, or the world above sense, exists as an actual and organized whole, is a truth most easily realized in the study of the beautiful. And to grasp this principle as Hegel applies it is nothing less than to acquire a new contact with spiritual life. The spiritual world, which is present, actual, and concrete, contains much besides beauty. But to apprehend one element of such a whole constitutes and presupposes a long step towards apprehending the rest. It is for this reason that I propose, in the first place, to explain, by prominent examples, the conception of a spiritual world which is present and actual, and then to let Hegel speak for himself on the particular sphere of art. So closely connected indeed are all the embodiments of mind, that the Introduction to the "Philosophy of Fine Art" is almost a microcosm of his entire system.