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قراءة كتاب The Introduction to Hegel's Philosophy of Fine Arts Translated from the German with Notes and Prefatory Essay
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The Introduction to Hegel's Philosophy of Fine Arts Translated from the German with Notes and Prefatory Essay
stupendous, never attain their goal. They constitute a recurrent failure to transcend a recurrent limit, precisely analogous to enumeration ad infinitum. A hundred thousand pounds' worth of bricks and mortar comes no nearer to the embodiment of mind than a thousand pounds' worth. To attempt adequate expression by mere aggregation of cost or size is therefore to fall into the infinite process or the false infinity.
Another well-known instance is the pursuit of happiness in the form of "pleasure for pleasure's sake." The recurrence of unchanging units leaves us where we were. A process which does not change remains the same, and if it did not bring satisfaction at first, will not do so at last.[9] We might as well go on producing parallels to infinity, in the hope that somehow or somewhere they may meet. An infinite straight line may serve as a type of the kind of infinity we are considering.
Infinity in the Hegelian sense does not partake in any way of this endlessness, or of the unreality which attaches to it. Its root-idea is self-completeness or satisfaction. That which is "infinite" is without boundary, because it does not refer beyond itself for explanation, or for justification; and therefore, in all human existence or production infinity can only be an aspect or element. A picture, for instance, regarded as a work of fine art, justifies itself, gives satisfaction directly and without raising questions of cause or of comparison, and is in this sense—i.e. in respect of its beauty—regarded as "infinite." When, on the other hand, we consider this same work of art as an historical phenomenon, as a link in a chain of causation—e.g. as elucidating the development of a school, or proving the existence of a certain technical process at a certain date—then we go beyond itself for its interest and explanation, and depress it at once into a finite object. The finite is that which presents itself as incomplete; the infinite that which presents itself as complete, and which, therefore, does not force upon us the fact of its limitation. This character belongs in the highest degree to self-conscious mind, as realized in the world above sense; and in some degree to all elements of that world—for instance, to the State—in as far as they represent man's realized self-consciousness. It is the nature of self-consciousness to be infinite, because it is its nature to take into itself what was opposed to it, and thus to make itself into an organized sphere that has value and reality within, and not beyond itself. If false infinity was represented by an infinite straight line, true infinity may be compared to a circle or a sphere.
The distinction between true and false infinity is of the profoundest moral import. The sickly yearning that longs only to escape from the real, rooted in the antithesis between the infinite and the actual or concrete, or in the idea of the monotonous "infini" which is one with the "abîme" or the "gouffre," is appraised by this test at its true value. It is seen to rest on a mere pathetic fallacy of thought and sentiment. So far from the infinite being remote, abstract, unreal, nothing but the infinite can be truly present, concrete, and real. The finite always refers us away and away through an endless series of causes, of effects, or of relations. The infinite is individual, and bears the character of knowledge, achievement, attainment. In short, the actual realities which we have in mind when, in philosophy, we speak of the infinite, are such as a nation that is conscious of its unity and general will, or the realm of fine art as the recognition of man's higher nature, or the religious community with its conviction of an indwelling Deity.
Now, whether we like the term Infinite or not, whether or no we think that man's life can be explained and justified within the limits of these aims and these phenomena, there is no doubt that these matters are real, and are the most momentous of realities. In acquainting ourselves with their structure, evolution, and relation to individual life, we are at least not wasting time, nor treating of matters beyond human intelligence.
There is a very similar contrast in the conception of human Freedom. "Free will" is so old a vexed question, that though the conflict still rages fitfully round it, the world hardly conceives that much can turn upon its decision. But when in place of the abstract, "Is man free?" we are confronted with the concrete inquiry, "When, in what, and as what, does man carry out his will with least hindrance and with fullest satisfaction?" then we have before us the actual phenomena of civilization, instead of an idle and abstract Yes or No.
Man's Freedom, in the sense thus contemplated, lies in the spiritual or supra-sensuous world by which his humanity is realized, and in which his will finds fulfilment. The family, for example, property, and law are the first steps of man's freedom. In them the individual's will obtains and bestows recognition as an agent in a society whose bond of union is ideal—i.e. existing only in consciousness; and this recognition develops into duties and rights. It is in these that man finds something to live for, something in which and for the sake of which to assert himself. As society develops he lives on the whole more in the civilized or spiritual world, and less in the savage or purely natural world. His will, which is himself, expands with the institutions and ideas that form its purpose, and the history of this expansion is the history of human freedom. Nothing is more shallow, more barbarously irrational, than to regard the progress of civilization as the accumulation of restrictions. Laws and rules are a necessary aspect of extended capacities. Every power that we gain has a positive nature, and therefore involves positive conditions, and every positive condition has negative relations. To accomplish a particular purpose you must go to work in a particular way, and in no other way. To complain of this is like complaining of a[Pg xxviii] house because it has a definite shape. If freedom means absence of attributes, empty space is "freer" than any edifice. Of course a house may be so ugly that we may say we would rather have none at all. Civilization may bring such horrors that we may say "rather savagery than this;" but in neither case are we serious. Great as are the vices of civilization, it is only in civilization that man becomes human, spiritual, and free.
The effort to grasp and apply such an idea as this can hardly be barren. It brings us face to face with concrete facts of history, and of man's actual motives and purposes. True philosophy here, as everywhere, plunges into the concrete and the real; it is the indolent abstract fancy that thrusts problems away into the remote "beyond" or into futile abstraction. Plato, the philosopher, knows well that the mind is free when it achieves what as a whole it truly wills. But Plato, the allegorist and imaginative preacher, refers the soul's freedom to a fleeting moment of ante-natal choice, which he vainly strives to exempt from causal influence. Pictorial imagination, with its ready reference to occurrences in past and future, is the great foe to philosophic intelligence.
Finally, it is impossible to omit all reference to the notion of an immanent Deity, which forms the very centre of Hegel's thought. When an unspeculative English reader first meets with Hegel's passionate insistence that God is not unknowable, that He

