[173] This is drawn from Goethe's doctrine of colour, which Hegel unfortunately adopted in opposition to Newton's theory.
[174] He means landscape, principally.
[175] "Aufheben," used pregnantly by Hegel to mean both "cancel," "annul," and, "preserve," "fix in mind," "idealize." The use of this word is a cardinal point of his dialectic. See "Wiss. der Logik.," i. 104. I know of no equivalent but "put by," provincial Scotch "put past." The negation of space is an attribute of music. The parts of a chord are no more in space than are the parts of a judgment. Hegel expresses this by saying that music idealizes space and concentrates it into a point.
[176] The parts of space, though external to each other, are not distinguished by qualitative peculiarities.
[177] "Aufheben."
[178] "Ideality of matter:" the distinctively material attribute of a sonorous body, its extension, only appears in its sound indirectly, or inferentially, by modifying the nature of the sound. It is, therefore, "idealized."
[179] Succession in time is a degree more "ideal" than co-existence in space, because it exists solely in the medium of memory.
[180] "Seele:" mind on its individual side, as a particular feeling subject. "Geist" is rather mind as the common nature of intelligence. Thus in feeling and self-feeling, mind is said to concentrate itself into a soul.
[181] Hegel seems to accept this view. Was he insensible to sound in poetry? Some very grotesque verses of his, preserved in his biography, go to show that his ear was not sensitive. Yet his critical estimate of poetry is usually just. Shakespeare and Sophocles were probably his favourites. And, as a matter of proportion, what he here says is true. It must be remembered that the beauty of sound in poetry is to a great extent indirect, being supplied by the passion or emotion which the ideas symbolized by the sounds arouse. The beauty of poetical sound in itself is very likely less than often supposed. It must have the capacity for receiving passionate expression; but that is not the same as the sensuous beauty of a note or a colour. If the words used in a noble poem were divested of all meaning, they would lose much, though not all, of the beauty of their sound.
[182] "Stages or elements." "Momente," Hegel's technical phrase for the stages which form the essential parts or factors of any idea. They make their appearance successively, but the earlier are implied and retained in the later.