The Philosophy of Fine Art, volume 2 (of 4) / Hegel's Aesthetik

by Georg Wilhelm Friedrich Hegel

CHAPTER II

THE IDEAL OF THE CLASSICAL TYPE OF ART

We have already seen what the essence of the Ideal is in our general consideration of the beauty of art. Here we are to take it merely in the special sense appropriate to the classic Ideal, whose notion has already presented itself in its general features in its association with the notion of the classical art-type. For the Ideal, of which we have now to speak, consists simply in this, that classical art in very truth attains to and sets before us that which exposes its most intimate notion. As content it grasps on this particular plane the spiritual, in so far as this Spirit attracts Nature and her powers to its own appropriate realm, and sets itself before us in exposition not as mere inwardness and dominion over Nature, but furthermore accepts as its proper form, human shape, deed, and action, through which the spiritual shines forth clearly in perfect freedom, and the form penetrates with its life into the sensuous material not merely as into a mode of externality symbolically significant, but as actually into a determinate existence, which is the adequate existence of Spirit.

We may divide up, then, the present chapter into the following sections:

We have in the first place to consider the general character of the classic Ideal, which possesses what is pertinent to humanity in its form no less than its content, and elaborates both sides in the completest consistency one with the other. Secondly, however, forasmuch as here the human is absorbed wholly into the bodily shape and external appearance, it becomes the definite external shape, which in its conformity is merely a defined content. Since, therefore, we have the Ideal before us at the same time as particularity, there arises a definite number of particular gods and powers in the shape of human existence. Thirdly, this particularity does not persist in the abstraction of one type of definition, whose essential character would constitute the entire content and the one-sided principle for its representation; but rather it is quite as much essentially a totality and the individual unity and congruity which is applicable to such. Without this repletion such particularity would remain cold and empty; the vitality of Life would fail it, a contingency which is impossible to the Ideal in any relation whatever.

We have now to consider more narrowly the Ideal of classical art according to these three aspects of universality, particularity, and individual singularity.

1. THE IDEAL OF CLASSICAL ART GENERALLY

The questions which arise relatively to the origins of the Greek gods, in so far as the real centre for ideal reproduction results from them, we have already touched upon, and seen that they belong to the elaborated tradition of art. The modification that is incidental to that treatment can only proceed by means of the twofold degradation, on the one hand, of the universal powers of Nature and their personification, and, on the other, of the animal constituents and its form, in order that thereby it may win the spiritual as its true determinate substance, and also the human mode of appearance as its true form.

(a) We have described how the classical Ideal first really becomes actual through such a remodelling of that which came before the earliest aspect of it. Along with this we have above all to draw attention to just this fact, that it is generated from mind (Spirit), and consequently has originated in the most intimate and personal resources of the poets and artists, who brought it into the presence of conscious life with the aid of a thoughtful consideration as clear as it was unfettered and with the distinct object of artistic production. In opposition to this creation we have, however, apparently the fact that Greek mythology reposes on earlier traditions, and contains distinct references to foreign, that is Oriental, matter. Herodotus, for example, although specifically asserting in the passage already cited that Homer and Hesiod created for the Greeks their gods, nevertheless in other passages associates closely these very Greek gods with other divinities such as those of Egypt. For in the second book[180] he expressly narrates that Melampus gave the name of Dionysos to the Greeks, further introduced the Phallus and the entire sacrificial festival, adding, however, this discrepant detail, that Melampus had learnt the religious service from the Tyrian Kadmus and the Phoenicians, who came with Kadmus to Boeotia. These contradictory statements have roused interest in our own times, more particularly as associated with Creuzer's researches, who endeavours to discover in Homer, for example, ancient mysteries and the sources which flowed in together towards Greece, whether they be Asiatic, Pelasgian, Dodonian, Thracian, Samothracian, Phrygian, Indian, Buddhistic, Phoenician, Egyptian, or Orphic, to say nothing of the infinitely varied peculiarities of specific localities and other details. No doubt it appears at first sight wholly inconsistent with these many sources of tradition that those poets should have supplied either the names or the substantial form of the gods. It is possible, however, to harmonize entirely both factors, tradition, and individual creation. The tradition comes first; it is the point of departure, which hands down the mere ingredients; but for all that it does not contribute the real content and the genuine form of the gods. This substantive presence is the product of the genius of those poets, who discovered by a process of free elaboration the true substantive form of these very gods and are consequently in fact become the creators of that mythology which awakes our admiration of Greek art. Yet for this reason the Homeric gods, in one aspect of them, are not to be taken as the result merely of the poetic phantasy, or nothing more than capricious invention. They have their roots in the genius and beliefs of the Greek folk and the religious basis of that nation. They are the absolute potencies and powers, the highest stretch of the Greek conception, the central point of the beautiful regarded universally, presented, so to speak, by the Muses themselves to the poet.