[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, that is, on its own account (als solche.) It may of course in its turn subserve a rational purpose, such as the preservation of health or life. But the contrast here is between the relation of appetite, and that of the theoretic faculty to objects.
[67] Sein Objekt. The object in which he finds himself; rather this, I think, than that which he has created.
[68] Innerlich, i.e., in the world of mind as contrasted with that of the sensuous vorhandene.
[69] Hegel or his editors have "in a converse way." This is obviously a mistake. In both examples the point is that the object is preserved as against desire with its destruction, and the contemplative intelligence with its ideal transformation.
[70] Ein ideelles. The meaning is, I think, that the materia is stamped with the hall-mark of deliberate artistic purpose. The ideality, though relatively jejune on such a work as the pyramids, in the higher reaches of art such as poetry and music affects of course the medium itself, the musical chord being pure ideality. Professor Bosanquet's translation omits this and the previous sentence, probably by an oversight. But it is also possible that this thinker conceived the statement as here expressed to be misleading, or at least open to misconception. In architecture and even painting it is obvious, from a certain point of view, the sensuous materia, if directed to an artistic end, remains none the less the material borrowed from natural fact though the fact as natural may be modified in its form. Painting may represent the semblance, but it employs a medium simply sensuous. Hegel has mainly before his attention here obviously the arts of painting, poetry, and music.
[71] They are theoretical because as applied to a work of art they imply the presence of the contemplative faculty. In a later section of the work Hegel makes a more complete analysis of what is implied in the sense of hearing as applied to musical composition and in the colour sense. In both cases it is obvious the mind contributes to the facts cognized. Hearing is, however, from Hegel's point of view the most ideal of the two, and he conceives the position of the ears itself points to this distinction.