The Philosophy of Fine Art, volume 4 (of 4)
- Language:
- English
- Status:
- Complete work
- Authorship:
- Written by the author
- Condition of the text:
- No scanning noise detected (automatic measure over the whole text, not checked by hand)
- Extent:
- ~150,000 words · 724 passages
Cite this work
- APAHegel. (n.d.). The Philosophy of Fine Art, volume 4 (of 4). Digital reproduction: SigPhi. https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-4-of-4
- MLAHegel. The Philosophy of Fine Art, volume 4 (of 4). Digital reproduction, SigPhi, https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-4-of-4.
- ChicagoHegel. The Philosophy of Fine Art, volume 4 (of 4). Digital reproduction, SigPhi. https://sigphiai.com/en/works/georg-wilhelm-friedrich-hegel/the-philosophy-of-fine-art-volume-4-of-4.
Reference to the edition that SigPhi reproduces: SigPhi is its digital reproduction, not its publisher. The edition's year is not in the metadata (hence "n.d."), and the translator appears only when recorded.
What it is about
The fourth and last volume of Hegel's lectures on aesthetics in Osmaston's English translation: the one devoted to poetry.
Context and history
It should be known that this is not a book Hegel wrote. These are his Berlin lectures of the 1820s, reconstructed by his pupil Hotho from the manuscripts and from students' notes and published after his death; scholars dispute how much Hotho supplied himself. That said, the content is central: here poetry appears as the most spiritual of the arts and at the same time as one that can no longer quite say what would need saying, and it is here that the famous thesis of art's 'pastness' comes out — not that art ends, but that it has ceased to be the highest way in which a people grasps the truth. The three earlier volumes deal with the idea of beauty, and with architecture, sculpture, painting and music.
Editorial context, not a citable source: unlike the passages of the work itself, these statements cannot be checked against the corpus.
nature than in ancient tragedy. The issue as the effect of misfortune. "Romeo and Juliet," a kind of unhappy blessedness in misfortune. Social plays the link between tragedy and comedy. As a rule the triumph of ordinary morality celebrated. Modern comedy. Question whether folly is ridiculous only to others, or to the comic character also. The second type mainly that of Aristophanes, the first that of Molière. Invention of the intrigue or intricate plot. Comparison of Shakespeare's comedy with that of Aristophanes] Final Summary and Conclusion THIRD PART THE SYSTEM OF THE PARTICULAR ARTS SUBSECTION III THE ROMANTIC ARTS (CONTINUED) THE PHILOSOPHY OF FINE ART CHAPTER III POETRY INTRODUCTION I The temple of classical architecture demands a god, who resides therein. Sculpture exhibits the same in plastic beauty, and confers forms on the material it employs for this purpose, which do not in their nature remain external to what is spiritual, but are the form itself immanent in the defined content. The corporeality, however, and sensuousness, no less than the ideal universality of the sculptured figure, are opposed on the one hand to subjective ideality, and in part to the particularity of the individual, in whose element the content of the religious, no less than also the worldly life, must secure reality by virtue of a novel form of art. This mode of expression, which is of subjective import, and at the same time particularized in its characterization, the art of painting itself contributes under the principle of the plastic arts.…