After these general considerations upon classic art, Hegel studies it more in detail. He considers it 1st, in its development; 2d, in itself, as realization of the ideal; 3d, in the causes which have produced its downfall.
1. In what concerns the development of Greek art, the author dwells long upon the history and progress of mythology. This is because religion and art are confused. The central point of Greek art is Olympus and its beautiful divinities.
The following are what are, according to Hegel, the principal stages of the development of art, and of the Greek mythology.
The first stage of progress consists in a reaction against the Symbolic form, which it is interested in destroying. The Greek Gods came from the East; the Greeks borrowed their divinities from foreign religions. On the other hand, we can say they invented them: for invention does not exclude borrowing. They transformed the ideas contained in the anterior traditions. Now upon what had this transformation any bearing? In it is the history of polytheism and antique art, which follows a parallel course, and is inseparable from it.
The Grecian divinities are, first of all, moral personages invested with the human form. The first development consists, then, in rejecting those gross symbols, which, in the oriental naturalism, form the object of worship, and which disfigure the representations of art. This progress is marked by the degradation of the animal kingdom. It is clearly indicated in a great number of ceremonies and fables of polytheism, by sacrifices of animals, sacred hunts, and many of the exploits attributed to heroes, in particular the labors of Hercules. Some of the fables of Æsop have the same meaning. The metamorphoses of Ovid are also disfigured myths, or fables become burlesque, of which the content, easy to be recognized, contains the same idea.
This is the opposite of the manner in which the Egyptians considered animals. Nature, here, in place of being venerated and adored, is lowered and degraded. To wear an animal form is no longer deification; it is the punishment of a monstrous crime. The gods themselves are shamed by such a form, and they assume it only to satisfy the passions of the sensual nature. Such is the signification of many of the fables of Jupiter, as those of Danaë, of Europa, of Leda, of Ganymede. The representation of the generative principle in nature, which constitutes the content of the ancient mythologies, is here changed into a series of histories where the father of gods and men plays a rôle but little edifying, and frequently ridiculous. Finally, all that part of religion which relates to sensual desires is crowded into the background, and represented by subordinate divinities: Circe, who changes men into swine; Pan, Silenus, the Satyrs and the Fauns. The human form predominates, the animal being barely indicated by ears, by little horns, etc.
Another advance is to be noted in the oracles. The phenomena of nature, in place of being an object of admiration and worship, are only signs by which the gods make known their will to mortals. These prophetic signs become more and more simple, till at last it is, above all, the voice of man which is the organ of the oracle. The oracle is ambiguous, so that the man who receives it is obliged to interpret it, to blend his reason with it. In dramatic art, for example, man does not act solely by himself; he consults the gods, he obeys their will; but his will is confounded with theirs; a place is reserved for his liberty.
The distinction between the old and the new divinities marks still more this progress of moral liberty. Among the former, who personify the powers of nature, a gradation is already established. In the first place, the untamed and lower powers, Chaos, Tartarus, Erebus; then Uranus, Gea, the Giants and the Titans; in a higher rank, Prometheus, at first the friend of the new gods, the benefactor of men, then punished by Jupiter for that apparent beneficence; an inconsequence which is explained through this, that if Prometheus taught industry to men, he created an occasion of discords and dissensions, by not giving them instruction more elevated,—morality, the science of government, the guarantees of property. Such is the profound sense of that myth, and Plato thus explains it in his dialogues.
Another class of divinities equally ancient, but already ethical, although they recall the fatality of the physical laws, are the Eumenides, Dice, and the Furies. We see appearing here the ideas of right and justice, but of exclusive, absolute, strict, unconscious right, under the form of an implacable vengeance, or, like the ancient Nemesis, of a power which abases all that is high, and re-establishes equality by levelling; a thing which is the opposite of true justice.
Finally, this development of the classic ideal reveals itself more clearly in the theogony and genealogy of the gods, in their origin and their succession, by the abasement of the divinities of the previous races; in the hostility which flashes out between them, in the resolution which has carried away the sovereignty from the old to place it in the hands of the new divinities. Meanwhile the distinction develops itself to the point of engendering strife, and the conflict becomes the principal event of mythology.