[462] He means at the point proposed by the dramatic theme. Hegel's words are literally "it subdues the subject (i.e., of consciousness) referably to its simple concentration (i.e., on the subject at hand)."
[463] The above distinction is hardly consonant with that of customary parlance. We should rather say that the melody of the song gave an utterance to the words, and the instrumentation was, for the very reason that it was more independent, more directly an accompaniment. But the point emphasized here seems to be the closeness of the association. In this aspect, no doubt, the music actually sung is more an accompaniment to the intelligible content. As a rule accompaniment is generally used as the accompaniment of a song or choral writing, and Hegel himself uses it in this sense previously.
[464] A general truth, no doubt. But not without qualification if we consider the works and indeed the execution of such giants as Bach and Handel.
[465] That is, particularity due to the idiosyncrasies of the artist, and merely personal to him. But the statement applies to classic art more strictly than modern.
[466] That is, music as an accompaniment.
[467] Gediegenheit. Something that rings true as a whole, not a thing of patches.
[468] The music of Mendelssohn and others in this direction will raise a doubt in some whether Hegel does not rather overstate his case here.
[469] Besonderung. The relative isolation that is effected by marked assertion.
[470] Throughout this discussion the personal bias of Hegel for the Italian opera is obvious. In the light of the actual knowledge of his day the wonder is that his own tastes permitted his being even as fair as he is. It may be doubted whether he had any strong sense for orchestral or chamber music at all. His reflections must be read throughout with this reservation.
[471] Or, as Hegel more technically calls it, and I have above translated it, "subjectivity."