Hegel's Philosophy of Mind by Georg Wilhelm Friedrich Hegel (romantic love story reading .TXT) 📖
- Author: Georg Wilhelm Friedrich Hegel
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§ 562. In another way the Idea and the sensuous figure it appears in are incompatible; and that is where the infinite form, subjectivity, is not as in the first extreme a mere superficial personality, but its inmost depth, and God is known not as only seeking his form or satisfying himself in an external form, but as only finding himself in himself, and thus giving himself his adequate figure in the spiritual world alone. Romantic art gives up the task of showing him as such in external form and by means of beauty: it presents him as only condescending to appearance, and the divine as the heart of hearts in an externality from which it always disengages itself. Thus the external can here appear as contingent towards its significance.
The Philosophy of Religion has to discover the logical necessity in the progress by which the Being, known as the Absolute, assumes fuller and firmer features; it has to note to what particular feature the kind of cultus corresponds,—and then to see how the secular self-consciousness, the consciousness of what is the supreme vocation of man,—in short how the nature of a nation's moral life, the principle of its law, of its actual liberty, and of its constitution, as well as of its art and science, corresponds to the principle which constitutes the substance of a religion. That all these elements of a nation's actuality constitute one systematic totality, that one spirit creates and informs them, is a truth on which follows the further truth that the history of religions coincides with the world-history.
As regards the close connexion of art with the various religions it may be specially noted that beautiful art can only belong to those religions in which the spiritual principle, though concrete and intrinsically free, is not [pg 173] yet absolute. In religions where the Idea has not yet been revealed and known in its free character, though the craving for art is felt in order to bring in imaginative visibility to consciousness the idea of the supreme being, and though art is the sole organ in which the abstract and radically indistinct content,—a mixture from natural and spiritual sources,—can try to bring itself to consciousness;—still this art is defective; its form is defective because its subject-matter and theme is so,—for the defect in subject-matter comes from the form not being immanent in it. The representations of this symbolic art keep a certain tastelessness and stolidity—for the principle it embodies is itself stolid and dull, and hence has not the power freely to transmute the external to significance and shape. Beautiful art, on the contrary, has for its condition the self-consciousness of the free spirit,—the consciousness that compared with it the natural and sensuous has no standing of its own: it makes the natural wholly into the mere expression of spirit, which is thus the inner form that gives utterance to itself alone.
But with a further and deeper study, we see that the advent of art, in a religion still in the bonds of sensuous externality, shows that such religion is on the decline. At the very time it seems to give religion the supreme glorification, expression and brilliancy, it has lifted the religion away over its limitation. In the sublime divinity to which the work of art succeeds in giving expression the artistic genius and the spectator find themselves at home, with their personal sense and feeling, satisfied and liberated: to them the vision and the consciousness of free spirit has been vouchsafed and attained. Beautiful art, from its side, has thus performed the same service as philosophy: it has purified the spirit from its thraldom. The older religion in which the [pg 174] need of fine art, and just for that reason, is first generated, looks up in its principle to an other-world which is sensuous and unmeaning: the images adored by its devotees are hideous idols regarded as wonder-working talismans, which point to the unspiritual objectivity of that other world,—and bones perform a similar or even a better service than such images. But even fine art is only a grade of liberation, not the supreme liberation itself.—The genuine objectivity, which is only in the medium of thought,—the medium in which alone the pure spirit is for the spirit, and where the liberation is accompanied with reverence,—is still absent in the sensuous beauty of the work of art, still more in that external, unbeautiful sensuousness.
§ 563. Beautiful Art, like the religion peculiar to it, has its future in true religion. The restricted value of the Idea passes utterly and naturally into the universality identical with the infinite form;—the vision in which consciousness has to depend upon the senses passes into a self-mediating knowledge, into an existence which is itself knowledge,—into revelation. Thus the principle which gives the Idea its content is that it embody free intelligence, and as “absolute” spirit it is for the spirit.
[pg 175]§ 564. It lies essentially in the notion of religion,—the religion i.e. whose content is absolute mind—that it be revealed, and, what is more, revealed by God. Knowledge (the principle by which the substance is mind) is a self-determining principle, as infinite self-realising form,—it therefore is manifestation out and out. The spirit is only spirit in so far as it is for the spirit, and in the absolute religion it is the absolute spirit which manifests no longer abstract elements of its being but itself.
The old conception—due to a one-sided survey of human life—of Nemesis, which made the divinity and its action in the world only a levelling power, dashing to pieces everything high and great,—was confronted by Plato and Aristotle with the doctrine that God is not envious. The same answer may be given to the modern assertions that man cannot ascertain God. These assertions (and more than assertions they are not) are the more illogical, because made within a religion which is expressly called the revealed; for according to them it would rather be the religion in which nothing of God was revealed, in which he had not revealed himself, and those belonging to it would be the heathen “who know not God.” If the word of God [pg 176] is taken in earnest in religion at all, it is from Him, the theme and centre of religion, that the method of divine knowledge may and must begin: and if self-revelation is refused Him, then the only thing left to constitute His nature would be to ascribe envy to Him. But clearly if the word Mind is to have a meaning, it implies the revelation of Him.
If we recollect how intricate is the knowledge of the divine Mind for those who are not content with the homely pictures of faith but proceed to thought,—at first only “rationalising” reflection, but afterwards, as in duty bound, to speculative comprehension, it may almost create surprise that so many, and especially theologians whose vocation it is to deal with these Ideas, have tried to get off their task by gladly accepting anything offered them for this behoof. And nothing serves better to shirk it than to adopt the conclusion that man knows nothing of God. To know what God as spirit is—to apprehend this accurately and distinctly in thoughts—requires careful and thorough speculation. It includes, in its fore-front, the propositions: God is God only so far as he knows himself: his self-knowledge is, further, his self-consciousness in man, and man's knowledge of God, which proceeds to man's self-knowledge in God.—See the profound elucidation of these propositions in the work from which they are taken: Aphorisms on Knowing and Not-knowing, &c., by C. F. G—l.: Berlin 1829.
§ 565. When the immediacy and sensuousness of shape and knowledge is superseded, God is, in point of content, the essential and actual spirit of nature and spirit, while in point of form he is, first of all, presented to consciousness as a mental representation. This quasi-pictorial representation gives to the elements of his content, on one hand, a separate being, making them [pg 177] presuppositions towards each other, and phenomena which succeed each other; their relationship it makes a series of events according to finite reflective categories. But, on the other hand, such a form of finite representationalism is also overcome and superseded in the faith which realises one spirit and in the devotion of worship.
§ 566. In this separating, the form parts from the content: and in the form the different functions of the notion part off into special spheres or media, in each of which the absolute spirit exhibits itself; (α) as eternal content, abiding self-centred, even in its manifestation; (β) as distinction of the eternal essence from its manifestation, which by this difference becomes the phenomenal world into which the content enters; (γ) as infinite return, and reconciliation with the eternal being, of the world it gave away—the withdrawal of the eternal from the phenomenal into the unity of its fullness.
§ 567. (α) Under the “moment” of Universality,—the sphere of pure thought or the abstract medium of essence,—it is therefore the absolute spirit, which is at first the presupposed principle, not however staying aloof and inert, but (as underlying and essential power under the reflective category of causality) creator of heaven and earth: but yet in this eternal sphere rather only begetting himself as his son, with whom, though different, he still remains in original identity,—just as, again, this differentiation of him from the universal essence eternally supersedes itself, and, though this mediating of a self-superseding mediation, the first substance is essentially as concrete individuality and subjectivity,—is the Spirit.
§ 568. (β) Under the “moment” of particularity, or of judgment, it is this concrete eternal being which is presupposed: its movement is the creation of the phenomenal [pg 178] world. The eternal “moment” of mediation—of the only Son—divides itself to become the antithesis of two separate worlds. On one hand is heaven and earth, the elemental and the concrete nature,—on the other hand, standing in action and reaction with such nature, the spirit, which therefore is finite. That spirit, as the extreme of inherent negativity, completes its independence till it becomes wickedness, and is that extreme through its connexion with a confronting nature and through its own naturalness thereby investing it. Yet, amid that naturalness, it is, when it thinks, directed towards the Eternal, though, for that reason, only standing to it in an external connexion.
§ 569. (γ) Under the “moment” of individuality as such,—of subjectivity and the notion itself, in which the contrast of universal and particular has sunk to its identical ground, the place of presupposition (1) is taken by the universal substance, as actualised out of its abstraction into an
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