HEGEL ON ROMANTIC ART Author(s): HEGEL and WM. M.

BRYANT Reviewed work(s): Source: The Journal of Speculative Philosophy, Vol. 12, No. 4 (October, 1878), pp. 403-418 Published by: Penn State University Press Stable URL: http://www.jstor.org/stable/25666101 . Accessed: 16/12/2012 19:48
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Hegel

on Romantic

Art.

403

HEGEL
[translated from the

ON ROMANTIC ART.
german edition of the second part of hegel's esthetics.] by wm. m. bryant.

second

PART III.
Introduction.1

Of
1. Principle the Basis

theRomantic
?2. Of Of

in General.
the Ideas Mode and Forms which constitute

of inner Subjectivity. of Romantic Art.?3.

its Special

of Representation.

so now in in the preceding parts of our investigation, the form is determined by the inner idea of the Romantic Art, content or substance which this art is called upon to repre sent. We must, therefore, in the next place, attempt to make As

clear the characteristic principle of the new content which, in new epoch of the development of human thought, is re this as the absolute essence of truth, and to consciousness vealed At

now appears in its appropriate form of art. the very origin of art there existed the tendency of the nature into spirituality. imagination to struggle upward out of as yet, the struggle consisted in nothing more than a But, which yearning precise content

of the spirit, and, in so far as this failed to furnish a for art, art could really be of service only

1 This Art is so profoundly introductory chapter of the section on Romantic suggestive, respecting not only the relations between modern art and the funda but also respecting the significance of those doc mental doctrines of Christianity, trines themselves, as to render it one of the most important and interesting parts of the whole

able

to that portion (the more strictly specu It belongs, however, work. His has thought it best to abridge. lative) of the ^Esthetics which M. B6nard version, therefore, cannot be expected, as indeed it does not profess, to present in I have, therefore, translated full the thought of this and other similiar parts. at the same time, to this chapter directly from the German, and have endeavored, secure as nearly as possible that clearness which is so much more easily attain in translating from the French. Wm. M. B.

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Tlie Journal of Speculative Philosophy.

in providing external forms for mere natural significations, or impersonal abstractions of the substantial inner principle which constitutes the central point of the world. Here In Classic Art, however, we find quite the contrary. it is now for the first time able to struggle spirituality, though aside setting is nevertheless the basis significations, it is a natural phenomenon and principle of the content; in from the corporeal and sensuous. It is an external separable of mere natural through form. This form, however, does not, as indefinite, unpervaded superficial, the perfection of art is here contrary, into conscious existence the cancellation or

remain

in the very reached its outer manifesta fact that the spiritual completely pervades in this beautiful union with tion, that it idealizes the natural of the reality of spirit in its sub it, and rises to the measure stantial the individuality. It is thus that Classic There Art constituted perfect representation absolutely completion of the realm of Beauty. of the

in the first epoch, by spirit. On the

ideal, the final neither is nor can than the sim

of spirit in its immediate sensuous ply beautiful manifestation even though this form be fashioned by spirit as adequate form, to itself. For this very union of matter and form, which is thus in the element of the external, and which thus accomplished lifts sensuous existence, none the less reality to an adequate contradicts out The

there ever be anything more beautiful. But there exists something still more

elevated

simple, pure totality of the ideal [as found in the classic] dissolves and falls asunder into the double totality of self-ex

is thus forced the true conception of spirit which with the corporeal, back upon itself, of its reconciliation itself. and compelled to find its own true reconciliation within

the oneness of its idea conformity with itself [self-identity], It is, then, only in its own with the realization of the same. world, the spiritual or inner world of the soul, that spirit can find a reality (Daseyn) which corresponds to spirit. It

istent subjective substance on the one side, and external mani festation on the other, in order that, through this separation, a deeper reconciliation in its own element spirit may arrive at The very essence of spirit is of the inner or purely spiritual.

is,

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Hegel

on Romantic

Art.

405

that spirit comes to possess its other, its thus, in consciousness as spirit, with and in itself, and so for the first time existence, to enjoy its infinitude and its freedom. I. Spirit thus rises to itself or attains to self-consciousness, and by this means finds within itself its own objectivity, which to seek in the outer and sensuous it was previously compelled forms of material existence. and Henceforth it perceives clear mental quence self-consciousness

knows

is that in this last stage of the development of art the which is beauty under itsmost per Ideal, beauty fect form and in its purest essence, can no longer be deemed a finality ; for spirit now knows that its true nature is not to be of the Classic into a corporeal form. It comprehends that it be brought to its essence to abandon this external reality in order longs to return upon itself, and it expressly posits or assumes outer to be an existence of fully representing reality incapable spirit. But if this new content proposes to render itself beau tiful, still it is evident that beauty, in the sense in which we have thus far considered it, remains for this content something inferior and subordinate, and develops into the spiritual beauty of the essentially into the beauty of that spiritual internal ? or personality which is in itself subjectivity (i. e., potentially) infinite. But ture

itself in this its unity with itself; and it is precisely this of spirit that constitutes the funda conse of Romantic Art. But the necessary principle

above merely formal and finite personality in order to reach the height of the Absolute. In other terms, the human soul must bring itself into actual existence as a person (Subjekt) and rational will; self-consciousness and this it ac possessing

in order that spirit may thus realize its infinite na it is so much the more necessary that it should rise

itself pervaded with the abso complishes through becoming substantial. On the other hand, the substantial, the lutely as located outside of true, must not be understood humanity, nor must the of Greek anthropomorphism thought be swept Rather the human as actual away. subjectivity or personality must become the principle, and thus, as we have already seen, for the first time attains to its ultimate full anthropomorphism ness and perfection.

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406
II.

The Journal of Speculative Philosophy.

From

the particular elements which are involved in this fundamental principle we have now in general to develop the circle of objects, as well as the form, whose changed aspect is conditioned The true

with

all processes

as Absolute subjectivity, or personality necessity. mysterious such, however, would escape from art and be accessible only to abstract thought, if, in order to be an actual subjectivity com mensurate with its idea, it did not pass into external existence, again collect itself out of this reality into itself. Now, for the to the Absolute, this element of actuality belongs as infinite negativity is of the activity of the Absolute product the Absolute itself, as simple self-unity of knowing, and, there Yet, as regards this immediate existence, fore, as immediacy. and

but one God, one Spirit, one absolute independence, which, as in free unity with abides and determining, absolute knowing no longer falls asunder into those-special characters itself, and was the constraint of a and functions whose sole bond of unity

divinities all particular and dissolved of spiritual existence, all In this pantheon into pure, infinite identity with itself. are dethroned. The flame of subjectivity has con the gods art now knows In place of plastic polytheism, sumed them.

has destroyed of nature, with their circle of genesis, decay, and in short, has put an end to all limitation renewal?which,

is in itself infinite and wholly universal tivity of all that is finite and particular. self which

internality, as comprehen spiritual subjectivity, or conscious personality, sion of its own independence and freedom. Now, that whioh

by the new content of Romantic Art. content of Romantic thought, then, is absolute and appropriate is form of which the adequate

is the absolute nega It is the simple unity all mutually exclusive objects,

in the Absolute is grounded itself, it does not manifest itself as the one jealous God who dissolves the natural, together with finite human existence, without bringing itself into mani re festation as actual divine personality, but the true Absolute a phase and thus presents itself (schliesst sich auf), veals and represent. which art is able to comprehend which But the external

is not the natu of God existence (Daseyn) to the as such, but the sensuous elevated ral and sensuous, to personality, which, to spiritual subjectivity, supersensuous,

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Hegel instead

on Romantic

Art.

407

He

in the midst of the finitude and outer acci places Himself of immediate existence, and yet knows Himself in all dentality as the divine this principle (SubjeJct) which in itself remains infinite and creates for itself this infinitude. Since, therefore, actual

of losing the certainty of itself in its outer manifesta tion, truly for the first time attains to the present actual cer in His truth is, God tainty of itself through its own reality. therefore, no mere ideal created by the imagination. Rather,

of God, art now subject or person is the manifestation the higher right of employing the human form, to acquires gether with the modes and conditions of externality generally,

for the expression of the Absolute. the new Nevertheless, for art can consist only in this: that in. this form problem the inner shall not be in outer corporeal existence,' submerged but shall, on the contrary, return into itself in order to bring into view the spiritual consciousness of God The various moments or elements (Subjekt). in the individual

by the totality of this view of the world itself, therefore, now find their manifestation ? this, in the sense that neither nature as such sky, the stars, etc.?gives the circle of the divinities

brought to light as totality of the truth in man. And

as the sun, the the content and the form, nor does

of the Greek world of beauty, nor the heroes, nor external deeds in the province of the morality of the family and of political life, attain to infinite value. Rather it is the actual, individual or person who acquires this subject or ele value, since it is in him alone that the eternal moments ments are of absolute multifariously to a consistent and abiding unity. If now we compare these characteristics the task of Classic Art truth, which individualized exist actually only as spirit, and at the same time reduced of Romantic Art

with

Sculpture, we press the movement

and activity of spirit which has gone out of its corporeal reality into itself, and has become pervaded The changeable by internal independent-being (Fiirsichseyn). and accidental of empirical individuality are indeed ef phases faced in those lofty images of the gods, but what them is the actuality of self-existent personality,

in its perfect fulfillment in Greek see that the plastic forms of the gods do not ex

is lacking in the essential

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408

The Journal of Speculative Philosophy.

of which

is self-knowledge and independent will. this defect betrays itself in the fact that in the repre Externally the expression of the soul simply as sentations of sculpture soul ? the light of the eye? is wanting. The sub namely, art are sightless. of sculptured limest works subtle Their characteristic inner being does not beam forth from them, as a self-knowing of which the eye internality, in that spiritual concentration

The ray of the spirit comes from beyond gives intelligence. meets nothing which gives it a response ; it belongs alone and to the spectator, who cannot contemplate the forms, so to soul in soul, eye in eye. The God of Romantic Art, on speak, as a God who sees, who his appearance the contrary, makes who seizes himself in his own inner personality, knows himself, and who opens the recesses of his nature to the contemplation of the conscious self-return For infinite negativity, spirit of man. of the spiritual into itself, cancels this outflow is spiritual light which shines the corporeal. Subjectivity

the

into into

itself, into its hitherto dark realm ; and while natural light can own an object, this spiritual only shine upon light is itself its and object on which it shines, and which it recognizes ground as being one and the same with itself. But since now the ab solute inner or spiritual manifests itself, in its actual outer ex

objects belonging not only to the spiritual and subjective world, but also to the corporeal and objective, and to which the spirit bears relation as to its own. The have solute ence human thus constituted the following first point actuality of absolute subjectivity forms of content and of manifestation can :

istence, under the human form, and since the human stands in relation to the entire world, there is thus inseparably joined a vast multiplicity of the Absolute of to this manifestation

1. Our

at once as form is so represented that it is recognized not as man in the divine within itself. Man appears, having mere human character, in the constraint of passion, in finite aims God, nor as in the mere consciousness of achievements, as the one and universal God Himself, but self-knowing and

of departure we must take from the Ab itself, which, as actual spirit, gives itself an outer exist knows itself and is self-active. Here the (Daseyii),

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Hegel in whose life and

on Romantic

Art.

409

is suffering, birth, death, and resurrection, for the finite consciousness, what manifest, also, spirit, what the eternal and infinite, is in truth. This content Romantic Art sets forth in the history of Christ, of His mother, now made disciples, and even in the history of all those in whom the Holy Spirit is actual, in whom the entire divine nature is For, in so far as it is God, who, though inHimself present. still appears in human form, this reality is, neverthe universal, of His

mains

in the form less, not limited to particular immediate existence of Christ, but unfolds itself in all humanity the in which ever present, and in this Divine becomes Spirit actuality re itself. The spreading abroad [in humanity] of this self-contemplation, of this independent and self-sufficing existence of the spirit, is the (In-sich-und-Bei-sich-seyn) the reconciliation one with

of the spirit with itself in its objec ? a divine world ? a It constitutes in tivity. kingdom of God which the Divine, from the center outward, possesses the rec of its reality with its idea, completes onciliation itself in this peace, and reconciliation, 2. But however thus attains fully this in the essence of the Absolute to independent existence. identification may seem to be

grounded freedom and is

itself, still, as spiritual it is by no means a reconciliation which infinitude, immediate and ready at hand, from the center outward,

of this, the spirit, in order to secure its totality and freedom, the distinc is, it establishes separates itself from itself?that tion between in itself, as, on the one hand, a being belonging to the realm of nature, in part to that of spirit, but limited part in both ; and as, on the other hand, a being which is in itself infinite. But with this separation, again, is e., potentially) the necessity of closely joined escaping out of the estrangement from self?in which the finite and natural, the immediacy of as the existence, the natural heart, is characterized negative, the ? and of entering into the evil, the base kingdom of truth and Contentment by the sole means of subjugating this nugatori (i.

in mundane, and spiritual actuality. On the con natural, to completeness as the elevation it attains of trary, only the spirit out of the finitude of its immediate or unrealized existence to its truth, its realized existence. As a consequence

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410
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The Journal of Speculative Philosophy.

is to be conceived and rep Thus, spiritual reconciliation as an a movement a of the spirit??as resented only activity, process in the course of which there arises a struggle, a con

the flict; and the pain, the death, the agony of nothingness, make torment of the spirit and of materiality (Leiblichkeit) as essential moments or -elements. For as, their appearance in the next place, God separates or distinguishes (ausscheidet) so also finite man, who begins finite actuality from Himself, as outside the divine of elevating himself to God, of doing away with nugatoriness, of his this sacrifice {Ertddten) assumes the task kingdom, of freeing himself from the finite, and

with himself

of becoming, through that immediate actuality, as man, has made in His appearance which God, objective as true actuality. The infinite pain attendant upon this sacrifice the suffer of the individual's own subjectivity or personality, were more or less excluded from the rep ing and death which there of Classic Art ? resentations or, rather, which appeared to the ra.uk of real necessity only as natural suffering?attain for the first time in Romantic It cannot be said

Art. death was com that among the Greeks Neither the natural, as in its essential significance. prehended such, nor the immediacy of the spirit in its unity with materi to them as airything in itself negative, and to ality, appeared them, therefore, death was only au abstract transition, inspir nor fear. It was a cessation with which ing neither terror conse no further and immeasurable were associated there

But when personality quences for the dying. (Subjektivitdt) in its spiritual self-centered being comes to be of infinite im then the negation which death bears within itself is portance, a negation of this so significant and valuable self, and hence It is a death of the soul, which thus, as becomes fearful.

to surround death and hence ventured spiritual personality, is for man fears only for that which with bright images; value for to him of great worth. But life has this infinite

is excluded forever itself utterly and completely negative, and may find itself is absolutely miserable, from all happiness, Greek individuality, on the given up to eternal damnation. as considered contrary, did not ascribe to itself this value

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Hegel consciousness

on Romantic

Art.

411

death.

as spiritual and self only when the person, is the sole actuality, and must now, inwell-grounded conscious, fear, conceive himself as rendered (gesetzt) negative through On the other for Classic in Romantic attain Art

or after him, because he had formerly been as the and now was a ruler among the dead. gods, as we know, railed at this happiness, and answered Achilles, that Ulysses should not utter a word of consolation respecting the dead. Rather would he be a servant of the fields, and, poor others before honored himself, over all Art serve a poor man dead. the vanished

a immortality for the first time acquires satisfies a more advanced deeper meaning requirement. v. 482-491), in the For XL, example Ulysses (Odyss. as under world congratulated Achilles being happier than all with Socrates, that and

to the dignity of a serious conception with the Greeks. It is for the later reflection of the subjective consciousness,

hand, however, death does not acquire that affirmative signification to which it attains That which we call immortality did not Art.

affirmative which was united with natural, material existence ; and death, therefore, was the. mere outer, But in the of immediate actuality. the dissolution, negation, of the world it has the significance of ab Romantic conception that is, the negation of the negative ; and, solute negativity ? as the rising of the spirit out of its mere naturalness therefore, and inadequate finitude, turns out to be just as much affirma that life alone was tive as negative. The pain and death of expiring personality is reversed into a return to self; into content

of nugatory, and thus not only brings about the deliverance the spirit from its finitude and state of inner division, but also secures the spiritual reconciliation of the actual person (des with the absolute or ideal Person. For the Greeks, Subjekts)

death is only an extinction of the natural soul and of the as finite personality ; an extinction which operates negative is in itself negative ; which what the cancels only against

for a pittance, than lord it here On the contrary, in Romantic

(Subjektivitat) ment and happiness ; into that reconciled affirmative existence can with difficulty secure only through the which the spirit in which, so long as it of its negative destruction existence, 2 7

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but

a process which the must complete within truly live, external negation. it is also 3. The

This remains, it is separated from its own truth and vitality. fundamental characteristic, therefore, not only relates to that man from the natural side, form of death which approaches spirit, in order that itmay itself independent of this

third side of this absolute world of the spirit has its in man, in so far as he neither immediately, in representative absolute and divine, as divine, into mani himself, brings the the process of elevation to God, and festation, nor represents reconciliation with God, but remains within circle.

the limits of his the finite, as such, constitutes Here, too, the content, as well from the side of spiritual aims, worldly sorrows and and interests, passions, collisions, joys, hopes as from the side of the external affairs of nature gratifications, own human its realm, together with the most restricted phenomena For the mode of apprehending thereto. this con belonging tent a twofold attitude presents itself. On the one hand, ? ? because an affirmation with itself it has acquired spirit nounces itself upon this ground as a self-justified and satis and

this positive character and permits itself in its affirmative sat isfaction and internality to reflect itself therefrom. On the is reduced other hand, this content to mere accidentally, which can lay claim to no independent Fpr in it validity. own true spirit does not find its being, and therefore can ar dissolves

fying element, fromwhich it only puts forth (herauskehrt)

rive at unity no otherwise than with itself, since for itself it as finite and this finite character of spirit negative and of nature. have now, finally, to consider somewhat more the significance of the relation of this entire content length the mode of its representation. III. We 1. The material of Romantic at to to as

the divine, is extremely we have already pointed

out, nature is deprived of its divine and valley, streams, springs, time, sea, mountain, attributes; and night, as well as the universal process of nature, have all lost their value with respect to the representation and content

Art, at least with reference limited. in the first place, For,

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Hegel of the Absolute. The

on Romantic

Art.

413

are no images of nature longer set are stripped of the characteristic forth symbolically. They as traits which rendered their forms and activities appropriate of a divinity. For all the great questions the whence, origin of the world?concerning of created the the concerning the whither, the together with all

wherefore

is swallowed in the single events, up in spirit, condensed and its eternal process of luminous point of the Absolute The entire content, there Redemption^ Erlosungsgeschichte). ? fore, is thus concentrated upon the internality of the spirit the imagination, the soul?which strives upon the perception,

nature and humanity, and plastic attempts to solve and to represent symbolic of the revela have vanished in consequence these problems ? of God in the spirit; and even the gay, tbousand-hued tion and earth, with all its classically-figured characters, deeds,

after unity with the truth, and seeks and struggles to produce and to retain the divine in the individual Thus, (Subjekt). the soul is still destined to pass through the world, it though no aims and undertakings. longer pursues merely worldly it has for its essential of man within himself, purpose and and endeavor the inner with his reconciliation

Rather,

struggle and God, ment of

but a heroism and remains

its The heroism which can here make this end. a heroism which makes is by no means its own appearance law, establishes regulations, creates and transforms conditions, of submission, for which determined and everything is settled to which there thenceforth

only personality and its brings into representation for the accomplish with appliances conservation, togethet

beforehand, only the task of regulating temporal affairs according to it, of applying to the existing world that higher principle which has validity in and for itself, and, finally, of rendering valuable it practically now this absolute since

in the affairs of every-day life. But in content appears to be concentrated

the spaceless, subjective soul, and thus each and every proc ess comes to be transferred to the inner life of man, the circle of this content into so much is thus again infinitely extended. It develops more unrestrained For manifoldness. the

though the objective process (of history) to which we have

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The Journal of Speculative Philosophy.

character of the still the as

referred does not itself include the substantial

to be infinitely rich, and can adapt itself in to ever-changing and circumstances manifold ways . if now, for the first time, man steps out of situations. And in worldly circle and mingles this absolute affairs, by so of much the more immeasurable will be the sphere ( Umfang) of the soul comes the most as the spirit, in accordance interests, aims, and inclinations; has become more profound, and has, there with this principle, to its infinitely en itself in its development fore, unfolded hanced

still able to absorb into itself the whole extent of is, besides, as mere environment and locality of the spirit, and to nature, an important purpose. Thus, the life ( Geschichte) assign to it

that process soul, individual, subject, penetrates from every side, brings to light every point therein, or pre sents itself in ever newly-developed and human inclinations,

fullness of inner and outer collisions, distractions, pro of gressive stages of passion, and to the most varied degrees in itself completely is the Absolute satisfaction. Though itself known inmankind especially, universal, still, as itmakes the inner content of Romantic Art, and thus, forms the all humanity, with its entire development, indeed, and legitimate material of that art. immeasurable 2. It may be, indeed, that Romantic Art, as art% does not it constitutes

is already at hand for itself out imagination, but the content side the region of art in imagination and sensuous perception. as the universal of truth in a consciousness Here, religion, the essential point constitutes wholly other sphere (Grade), It lies quite outside the external modes of departure for art. its ap .of manifestation for the actual consciousness, and makes as prosaic events belonging to the in sensuous reality pearance

as was done in great meas bring this content into prominence, form of Art, ure in the Symbolic, and, above all, in the Classic, As we have already with its ideal gods. seen, this art is which produces not, as art, the revealed teaching (Belehren) the content of truth directly only in the form of art for the

Since, indeed, the content of revelation to the spirit present. is the eternal, absolute nature of spirit, which separates itself in the from the natural as such and debases it, manifestation

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Hegel immediate so far as thus holds it subsists

on Romantic

Art.

415 that this outer, in remains (Daseyn),

to which the spirit can no longer has an abode. longer give credence, and inwhich it The less worthy the spirit esteems this outer actuality, by so much the less is it possible for the spirit ever to seek its satis no looked upon indifferent element faction therein, or to find itself reconciled the external as with itself. 3. In Romantic through union with

actual-being out of which the Absolute takes only an incidental world itself up into the spiritual and inner, and thus for the first time really arrives at the truth. At this stage the outer is as an

and has

such rank (Stellung)

ifestation, with this principle

Art, therefore, on the side of external man in accordance the mode of actual representation does

dinary actuality, real outer existence

not go essentially "beyond specific, or and in nowise fears to take up into itself this (?)aseyn) has in its finite incompleteness and vanished that ideal beauty

mantic Art no longer has for its aim this free vitality of actual of the soul existence, in its infinite calmness and submergence nor even this life, as such, in its most precise in the corporeal,

Here, again, particularity. the external view of temporality and the which repudiates traces of transitoriness in order to replace its hitherto imper the blooming Ro fect development by beauty of existence.

significance, but turns its back upon this highest phase of Indeed, it interweaves its inner being with' the acci beauty. of external and allows unrestricted dentally organization, room to the marked of the ugly. characteristics play In the Romantic, The one therefore, we have two worlds. is complete in itself?the soul, within itself, and which now for round the otherwise rectilinear repetition

is the spiritual realm, which which finds its reconciliation the first time bends of

a wholly empirical actuality, respecting whose form the soul is In Classic Art, spirit controlled empirical mani unconcerned. festation and pervaded it completely, because it was that form 2 7 *

and renewal, to the true circle, to destruction genesis, to the genuine of the spirit. Phcenix-life return-into-self, The other is the realm of the external, as such, which, shut out from a firmly cohering unity with the spirit, now becomes

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Now, spirit was to gain its perfect reality. the inner or spiritual is indifferent the however, respecting or sensuous world, mode of manifestation of the immediate itself in which of the soul immediacy is unworthy of the happiness The external and phenomenal is no longer able to and since, indeed, it is no longer called express internality; to do this, it thus retains the task of upon proving that the external or sensuous is an incomplete existence, and must refer in itself. back to the internal as Art very to again appear on its own account, and in this respect permits each and every mat into the representation. ter to enter unhindered Even and the most ordinary household furniture are flowers, trees, of mere admitted, and this, too, in the natural accidentality This content, however, bears with it at present existence. sensibility, reason Romantic allows externality the same time the characteristic that as mere external matter to the or spiritual, to intellect element. But essential (Gemuth) for this and because

it

is insignificant and low; that it only attains to its true value when it is pervaded by human interest; and that it must ex press not merely the inner or subjective, but even internality or subjectivity itself, which, instead of blending or fusing itself with the outer or material, appears reconciled only in and with itself. Thus driven

to extremity, the inner at this point be comes manifestation It is, as it were, destitute of externality. a tone, as such invisible, and comprehended only by itself; a resound or form ; a wave upon water; without objectivity a world, which in and upon its heterogeneous ing through can only take up and send back a reflected ray of phenomena of the soul. this independent-being (Lisichseyns)

We may now comprise in a single word this relation between for here it is content and form as it appears in the Romantic ? It characterization. that this relation attains to its complete and rest is this : just because the ever-increasing universality the fundamental less working depth of the soul constitute

the key-note thereof is musical, of the Romantic, principle content of the im and, in connection with the particularized For Romautic Ait the lyrical is, as it lyrical. agination, ? a tone which the epic and were, the elementary characteristic

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Hegel the drama also

on Romantic

Art.

417

strike, and which breathes about the works of themselves like a universal, the arts of visible representation fragrant odor of the soul; for here spirit and soul will speak to spirit and soul through all their images. come now to the division Division: We necessary to be

in for the further and more precisely developing of this third great realm of art. The fundamental vestigation idea of the Romantic in its internal unfolding lies in the or elements : following three separate moments as such, constitutes the first circle, of which 1. The Religious, the central point is given in the history of redemption ? in the and resurrection of Christ. Introversion ( Umkehr) life, death, as the chief characteristic. here assumes The importance established spirit assumes an attitude of hostility toward, and overcomes, its own immediacy and finitude, and through thus rendering itself free it attains to its infinity, and absolute independence

to God, and passes into the affairs of the secular world. as such, that has Here at once it is the individual (Subjekt), become affirmative for itself, and has for the substance of its love, individuality, namely, honor, that is, the aims and duties which belong fidelity, and valor? to Romantic Knighthood. 3. The content and form of the third division may be summed up, in general, as Formal Independence of Character. is so far developed that spiritual inde If, indeed, personality has come to be its essential interest, then there pendence consciousness, tues of this as also for the interest of its existence, affirmative the vir

man

in its own sphere. 2. Secondly, out of the abstract this independence passes divine of the spirit, and also leaves aside the elevation of finite

comes, also, to be a special content, with which personality identifies itself as with its own, and shares with it the same inde pendence, which, however, can only be of a formal type, since it does not consist

in the substantiality of its life, as is the case in the circle of religious truth, properly But, on speaking. and situa the other hand, the form of outer circumstances of events, is indeed that of tions, and of the development freedom, the result of which XII?27 is a reckless abandonment

to a life

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418

The Journal of Speculative Philosophy.

of capricious adventures. We thus find the termination of the in general, to consist in the accidentally both of the Romantic, external and of the internal, and with this termination the two elements fall asunder. of art altogether. urges consciousness prehension in anywise emerge from the sphere that the necessity which It thus appears com on to the attainment of a complete With higher forms than Art this we

of the truth demands to produce.

is able

STATEMENT

AND REDUCTION
BY GEORGE BRUCE

OF SYLLOGISM.

HALSTED.

from any or all others. From this group we may select again those of them which so on. belong to some other defined class, and We will represent classes by letters of the alphabet. Sup " Then xz and z, " geometers." men," pose x represents " men and will mean would naturally be read geometers," such individuals

of class, the At the basis of Logic stands the conception formation of general notions, the use of a word to denote the e. g., Geometer. a common attribute ? objects possessing these objects apart This assumes our ability to contemplate

of the class men as belong also to the class an easy extension we take in all adjectives. By geometers. or the class French things; then Suppose y means French, are xyz will mean all Frenchmen who geometers. We see that the order in which we select the classes is in different, in the sense that it gives the same result whatever order is taken. then men, then ifwe first select geometers, In our example, French, we see that our final result, zxy, geometers who are or yzx, French geometers who are men, should Frenchmen, same final class of individuals. In ordinary language give the we use the position of words sometimes as a help toward ex pressing our meaning, but in this notation for Logic such help

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