The Philosophy of Fine Art, volume 1 · Georg Wilhelm Friedrich Hegel
II. The Action
1. The universal World-condition [(_a_) (_α_) The self-subsistency of such a condition as a necessary _prius_ of the embodiment of the Ideal (_β_) The nature of the reality adapted to artistic treatment as contrasted with what is not so adapted. The fixed order of the State as contrasted with conditions most favourable to free individuality (_γ_) Further examination of contrast in relation to judicial functions and the ideas of punishment or revenge as we find it in the heroic age. The reappearance of an analogous condition in the Middle Ages (_b_) Modern prosaic life the condition most favourable to the private or personal life as an object of interest (_c_) Resistance by individual poets to this process of social change. The permanent demand for the heroic] 2. The Situation [(_a_) The situation that is devoid of situation (_b_) The situation as defined in its harmlessness or absence of further conflict (_α_) The movement from pure tranquillity to movement or expression. Illustrations from classical art (_β_) Movement as related to externality. The initial stage of action. Greek sculpture (_γ_) Situation in movement presented as an opportunity to further expression. Illustrations from poetry] (_c_) The Collision [(_α_) Collisions which arise from wholly material conditions. Only of artistic interest as a consequence of natural misfortune. Illustrations (_β_) Spiritual collisions dependent on natural conditions. Classified and illustrated.
III. The External Determination of the Ideal. 1. The abstract Externality as such. [(_a_) Spatiality, Uniformity, Figure, Time, and Colour. (_α_) How far such contribute to artistic production (_β_) The necessity of clear articulation of form and tone considered] 2. The Coalescence of the concrete Ideal with its external Reality [(_α_) The bond of unity regarded as no positive reality, but as a mysterious or secret connection. The relation of external Nature to the work of art. The Homeric poems contrasted with the "Niebelungenlied" in this respect (_b_) Where the unity is expressly due to human activity and human adaptation of means to ends [(_α_) The use made by man of ornament or of anything used for mere show, _e.g._, precious metals for statuary (_β_) The question how far objects used for practical purposes are suited for art. The idyllic, civilized and heroic condition compared in the degree they are thus adapted (_γ_) The spiritual environment itself in social institutions, etc., regarded in its relation to ideal character] 3. The Externality of a work of Art in relation to a Public (_a_) What is implied in the assertion by the artist of the particular culture of his own times? (_b_) What may be regarded as truth when the reference is to a Past, either in an exclusive or objective sense? (_c_) What may still be regarded as valid in truth though the matter be appropriated from a time and nationality foreign to the artist? All three questions discussed and illustrated] 1. Imagination, Genius, and Inspiration 2. The objective character of the artistic presentation 3. Manner, Style, and Originality.
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