The Phenomenology of Mind, by G. W. F. Hegel

c

The Spiritual Work of Art

THE national spirits, which become conscious of their being in the shape of some particular animal, coalesce into one single spirit.(1) Thus it is that the separate artistically beautiful national spirits combine to form a Pantheon, the element and habitation of which is Language. Pure intuition of self in the sense of universal human nature takes, when the national spirit is actualized, this form: the national spirit combines with the others (which with it constitute, through nature and natural conditions, one people), in a common undertaking, and for this task builds up a collective nation, and, with that, a collective heaven. This universality, to which spirit attains in its existence, is, nevertheless, merely this first universality, which, to begin with, starts from the individuality of ethical life, has not yet overcome its immediacy, has not yet built up a single state out of these separate national elements. The ethical life of an actual national spirit rests partly on the immediate confiding trust of the individuals in the whole of their nation, partly in the direct share which all, in spite of differences of class, take in the decisions and acts of its government. In the union, not in the first instance to secure a permanent order but merely for a common act, that freedom of participation on the part of each and all is for the nonce set aside. This first community of life is, therefore, an assemblage of individualities rather than the dominion and control of abstract thought, which would rob the individuals of their self-conscious share in the will and act of the whole.

The assembly of national spirits constitutes a circle of forms and shapes, which now embraces the whole of nature, as well as the whole ethical world. They too are under the supreme command rather than the supreme dominion of the One. By themselves, they are the universal substances embodying what the self-conscious essential reality inherently is and does. This, however, constitutes the moving force, and, in the first instance, at least the centre, with which those universal entities are concerned, and which, to begin with, seems to unite in a merely accidental way all that they variously accomplish. But it is the return of the divine Being to self-consciousness which already contains the reason that self-consciousness forms the centre for those divine forces, and conceals their essential unity in the first instance under the guise of a friendly external relation between both worlds.

The same universality, which belongs to this content, attaches necessarily also to that form of consciousness in which the content appears. It is no longer the concrete acts of the cult; it is an action which is not indeed raised as yet to the level of the notion, but only to that of ideas, the synthetic connexion of self-conscious and external existence. The element in which these presented ideas exist, language, is the earliest language, the Epic as such., which contains the universal content, at any rate universal in the sense of completeness of the world presented, though not in the sense of universality of thought. The Minstrel is the individual and actual spirit from whom, as a subject of this world, it is produced, and by whom it is borne. His “pathos” is not the deafening power of nature, but Mnemosyne, Recollection, a gradually evolved inwardness, the memory of an essential mode of being once directly present. He is the organ and instrument whose content is passing away; it is not his own self which is of any account, but his muse, his universal song. What, however, is present in fact, has the form of an inferential process, where the one extreme of universality, the world of gods, is connected with individuality, the minstrel, through the middle term of particularity. The middle term is the nation in its heroes, who are individual men like the minstrel, but only ideally presented, and thereby at the same time universal like the free extreme of universality, the gods.

In this Epic, then, what is inherently established in the cult, the relation of the divine to the human, is set forth and displayed as a whole to consciousness. The content is an “act”(2) of the essential Being conscious of itself. Acting disturbs the peace of the substance, and awakens the essential Being; and by so doing its simple unity is divided into parts, and opened up into the manifold world of natural powers and ethical forces. The act is the violation of the peaceful earth; it is the trench which, vivified by the blood of the living, calls forth the spirits of the departed, who are thirsting for life, and who receive it in the action of self-consciousness.(3) There are two sides to the business the universal activity is concerned to accomplish: the side of the self-in virtue of which it is brought about by a collection of actual nations with the prominent individualities at the head of them; and the side of the universal — in virtue of which it is brought about by their substantial forces. The relation of the two, however, took, as we saw just now, the character of being the synthetic connexion of universal and individual, i.e. of being a process of ideal presentation. On this specific character depends the judgment regarding this world.

The relation of the two is, by this means, a commingling of both, which illogically divides the unity of the action, and in a needless fashion throws the act from one side over to the other. The universal powers have the form of individual beings, and thus have in them the principle from which action comes; when they effect anything, therefore, this seems to proceed as entirely from them and to be as free as in the case of men. Hence both gods and men have done one and the same thing. The seriousness with which those divine powers go to work is ridiculously unnecessary, since they are in point of fact the moving force of the individualities engaged in the acts; while the strain and toil of the latter again is an equally useless effort, since the former direct and manage everything. Overzealous mortal creatures, who are as nothing, are at the same time the mighty self that brings into subjection the universal beings, offends the gods, and procures for them actual reality and an interest in acting. Just as, conversely, these powerless gods, these impotent universal beings, who procure their sustenance from the gifts of men and through men first get something to do, are the natural inner principle and the substance of all events, as also the ethical material, and the “pathos” of action. If their cosmic natures first get reality and a sphere of effectual operation through the free self of individuality, it is also the case that they are the universal, which withdraws from and avoids this connexion, remains unrestricted and unconstrained in its own character, and, by the unconquerable elasticity of its unity, extinguishes the atomic singleness of the individual acting and his various features, preserves itself in its purity, and dissolves all that is individual in the current of its own continuity.

Just as the gods fall into this contradictory relation with the antithetic nature having the form of self, in the same way their universality comes into conflict with their own specific character and the relation in which it stands to others. They are the eternal and resplendent individuals, who exist in their own calm, and are removed from the changes of time and the influence of alien forces. But they are at the same time determinate elements, particular gods, and thus stand in relation to others. But that relation to others, which, in virtue of the opposition it involves, is one of strife, is a comic self-forgetfulness of their eternal nature. The determinateness they possess is rooted in the divine subsistence, and in its specific limitation has the independence of the whole individuality; owing to this whole, their characters at once lose the sharpness of their distinctive peculiarity, and in their ambiguity blend together.

One purpose of their activity and their activity itself, being directed against an “other” and so against an invincible divine force, are a contingent and futile piece of bravado, which passes away at once, and transforms the pretence of seriousness in the act into a harmless, self-confident piece of sport with no result and no issue. If, however, in the nature of their divinity, the negative element, the specific determinateness of that nature, appears merely as the inconsistency of their activity, and as the contradiction between the purpose and result, and if that independent self-confidence outweighs and overbalances the element of determinateness, then, by that very fact, the pure force of negativity confronts and opposes their nature, and moreover with a power to which it must finally submit, and over which it can in no way prevail. They are the universal, and the positive, as against the individual self of mortals, which cannot hold out against their power and might. But the universal self, for that reason, hovers over them [the gods in Homer] and over this whole world of imagination to which the entire content belongs; and is for them the unintelligible void of Necessity — a mere happening to which they stand related selfless and sorrowing, for these determinate natures do not find themselves in this purely formal necessity.

This necessity, however, is the unity of the notion, a unity dominating and controlling the contradictory independent subsistence of the individual moments a unity in which the inconsistency and fortuitousness of their action is coherently regulated, and the sportive character of their acts receives its serious value in those acts themselves. The content of the world of imagination carries on its process in the middle element [term] detached by itself, gathering round the individuality of some hero, who, however feels the strength and splendour of his life broken, and mourns the early death he sees ahead of him. For individuality, firmly established and real in itself, is isolated and excluded to the utmost extreme, and severed into its moments, which have not yet found each other and united. The one individual element, the abstract unreal moment, is necessity which shares in the life of the mediating term just as little as does the other, the concrete real individual element, the minstrel, who keeps himself outside it, and disappears in what he imaginatively presents. Both extremes must get nearer the content; the one, necessity, has to get filled with it, the other, the language of the minstrel, must have a share in it. And the content formerly left to itself must acquire in itself the certainty and the fixed character of the negative.

This higher language, that of Tragedy, gathers and keeps more closely together the dispersed and scattered moments of the inner essential world and the world of action. The substance of the divine falls apart, in accordance with the nature of the notion, into its shapes and forms, and their movement is likewise in conformity with that notion. In regard to form, the language here ceases to be narrative, in virtue of the fact that it enters into the content, just as the content ceases to be merely one that is ideally imagined. The hero is himself the spokesman, and the representation given brings before the audience — who are also spectators — self-conscious human beings, who know their own rights and purposes, the power and the will belonging to their specific nature, and who know how to state them. They are artists who do not express with unconscious naïveté and naturalness the merely external aspect of what they begin and what they decide upon, as is the case in the language accompanying ordinary action in actual life; they make the very inner being external, they prove the righteousness of their action, and the “pathos” controlling them is soberly asserted and definitely expressed in its universal individuality, free from all accident of circumstance and the particular peculiarities of personalities. Lastly, it is in actual human beings that these characters get existence, human beings who impersonate the heroes, and represent them in actual speech, not in the form of a narrative, but speaking in their own person. Just as it is essential for a statue to be made by human hands, so is the actor essential to his mask — not as an external condition, from which, artistically considered, we have to abstract; or so far as abstraction must certainly be made, we thereby state just that art does not yet contain in it the true and proper self.

The general ground, on which the movement of these shapes produced from the notion takes place, is the consciousness expressed in the imaginative language of the Epic, where the detail of the content is loosely spread out with no unifying self. It is the commonalty in general, whose wisdom finds utterance in the Chorus of the Elders; in the powerlessness of this chorus the generality finds its representative, because the common people itself compose merely the positive and passive material for the individuality of the government confronting it. Lacking the power to negate and oppose, it is unable to hold together and keep within bounds the riches and varied fullness of divine life; it allows each individual moment to go off its own way, and in its hymns of honour and reverence praises each individual moment as an independent god, now this god and now again another. Where, however, it detects the seriousness of the notion, and perceives how the notion marches onward shattering these forms as it goes along; and where it comes to see how badly its praised and honoured gods come off when they venture on the ground where the notion holds sway; — there it is not itself the negative power interfering by action, but keeps itself within the abstract selfless thought of such power, confines itself to the consciousness of alien and external destiny, and produces the empty wish to tranquillize, and feeble ineffective talk intended to appease. In its terror before the higher powers, which are the immediate arms of the substance; in its terror before their struggle with one another, and before the simple self of that necessity, which crushes them as well as the living beings bound up with them; in its compassion for these living beings, whom it knows at once to be the same with itself — it is conscious of nothing but ineffective horror of this whole process, conscious of equally helpless pity, and, as the end of all, the mere empty peace of resignation to necessity, whose work is apprehended neither as the necessary act of the character, nor as the action of the absolute Being within itself.

Spirit does not appear in its dissociated multiplicity on the plane of this onlooking consciousness [the chorus], the indifferent ground, as it were, on which the presentation takes place; it comes on the scene in the simple diremption of the notion. Its substance manifests itself, therefore, merely torn asunder into its two extreme powers. These elementary universal beings are, at the same time, self-conscious individualities — heroes who put their conscious life into one of these powers, find therein determinateness of character, and constitute the effective activity and reality of these powers. This universal individualization descends again, as will be remembered, to the immediate reality of existence proper, and is presented before a crowd of spectators, who find in the chorus their image and counterpart, or rather their own thought giving itself expression.

The content and movement of the spirit, which is, object to itself here, have been already considered as the nature and realization of the substance of ethical life. In its form of religion spirit attains to consciousness about itself, or reveals itself to its consciousness in its purer form and its simpler mode of embodiment. If, then, the ethical substance by its very principle broke up, as regards its content, into two powers — which were defined as divine and human law, law of the nether world and law of the upper world, the one the family, the other state sovereignty, the first bearing the impress and character of woman, the other that of man — in the same way, the previously multiform circle of gods, with its wavering and unsteady characteristics, confines itself to these powers, which owing to this feature are brought closer to individuality proper. For the previous dispersion of the whole into manifold abstract forces, which appear hypostatized, is the dissolution of the subject which comprehends them merely as moments in its self; and individuality is therefore only the superficial form of these entities. Conversely, a further distinction of characters than that just named is to be reckoned as contingent and inherently external personality.

At the same time, the essential nature [in the case of ethical substance] gets divided in its form, i.e. with respect to knowledge. Spirit when acting, appears, qua consciousness, over against the object on which its activity is directed, and which, in consequence, is determined as the negative of the knowing agent. The agent finds himself thereby in the opposition of knowing and not knowing. He takes his purpose from his own character, and knows it to be essential ethical fact; but owing to the determinateness of his character, he knows merely the one power of substance; the other remains for him concealed and out of sight. The present reality, therefore, is one thing in itself, and another for consciousness. The higher and lower right come to signify in this connexion the power that knows and reveals itself to consciousness, and the power concealing itself and lurking in the background. The one is the aspect of light, the god of the Oracle, who as regards its natural aspect [Light] has sprung from the all-illuminating Sun, knows all and reveals all, Phœbus and Zeus, who is his Father. But the commands of this truth-speaking god, and his proclamations of what is, are really deceptive and fallacious. For this knowledge is, in its very principle, directly not knowledge, because consciousness in acting is inherently this opposition. He,(4) who had the power to unlock the riddle of the sphinx, and he too who trusted with childlike confidence,(5) are, therefore, both sent to destruction through what the god reveals to them. The priestess, through whose mouth the beautiful god speaks,(6) is in nothing different from the equivocal sisters of fate,(7) who drive their victim to crime by their promises, and who, by the double-tongued, equivocal character of what they gave out as a certainty, deceive the King when he relies upon the manifest and obvious meaning of what they say. There is a type of consciousness that is purer than the latter(8) which believes in witches, and more sober, more thorough, and more solid than the former which puts its trust in the priestess and the beautiful god. This type of consciousness,(9) therefore, lets his revenge tarry for the revelation which the spirit of his father makes regarding the crime that did him to death, and institutes other proofs in addition — for the reason that the spirit giving the revelation might possibly be the devil.

This mistrust has good grounds, because the knowing consciousness takes its stand on the opposition between certainty of itself on the one hand, and the objective essential reality on the other. Ethical rightness, which insists that actuality is nothing per se in opposition to absolute law, finds out that its knowledge is onesided, its law merely a law of its own character, and that it has laid hold of merely one of the powers of the substance. The act itself is this inversion of what is known into its opposite, into objective existence, turns round what is right from the point of view of character and knowledge into the right of the very opposite with which the former is bound up in the essential nature of the substance — turns it into the “Furies” who embody the right of the other power and character awakened into hostility. The lower right sits with Zeus enthroned, and enjoys equal respect and homage with the god revealed and knowing.

To these three supernatural Beings the world of the gods of the chorus is limited and restricted by the acting individuality. The one is the substance, the power presiding over the hearth and home and the spirit worshipped by the family, as well as the universal power pervading state and government. Since this distinction belongs to the substance as such, it is, when dramatically presented, not individualized in two distinct shapes [of the substance], but has in actual reality the two persons of its characters. On the other hand, the distinction between knowing and not knowing falls within each of the actual self-consciousnesses; and only in abstraction, in the element of universality, does it get divided into two individual shapes. For the self of the hero only exists as a whole consciousness, and hence includes essentially the whole of the distinction belonging to the form; but its substance is determinate, and only one side of the content distinguished belongs to him. Hence the two sides of consciousness, which have m concrete reality no separate individuality peculiarly their own, receive, when ideally represented, each its own particular form: the one that of the god revealed, the other that of the Furies keeping themselves concealed. In part both enjoy equal honour, while again, the form assumed by the substance, Zeus, is the necessity of the relation of the two to one another. The substance is the relation (1) that knowledge is for itself, but finds its truth in what is simple; (2) that the distinction, through and in which actual consciousness exists, has its basis in that inner being which destroys it; (3) that the clear conscious assurance of certainty has its confirmation in forgetfulness.

Consciousness disclosed this opposition by action, through doing something. Acting in accordance with the knowledge revealed, it, finds out the deceptiveness of that knowledge, and being committed, as regards its inner nature., to one of the attributes of substance, it did violence to the other and thereby gave the latter right as against itself. When following that god who knows and reveals himself, it really seized hold of what is not revealed, and pays the penalty for having trusted the knowledge, whose equivocal character (since this is its very nature) it also had to discover, and an admonition thereanent to be given. The frenzy of the priestess, the inhuman shape of the witches, the voices of trees and birds, dreams, and so on, are not ways in which truth appears; they are admonitory signs of deception, of want of judgment, of the individual and accidental character of knowledge. Or, what comes to the same thing, the opposite power, which consciousness has violated, is present as express law and authentic right, whether law of the family or law of the state; while consciousness, on the other hand, pursued its own proper knowledge, and hid from itself what was revealed. The truth, however, of the opposing powers of content and consciousness is the final result, that both are equally right, and, hence, in their opposition (which comes about through action) are equally wrong. The process of action proves their unity in the mutual overthrow of both powers and both self-conscious characters. The reconciliation of the opposition with itself is the Lethe of the nether world in the form of Death-or the Lethe of the upper world in the form of absolution, not from guilt (for consciousness cannot deny its guilt, because the act was done), but from the crime, and in the form of the peace of soul which atones for the crime. Both are forgetfulness, the disappearance of the reality and action of the powers of the substance, of their component individualities, and of the powers of the abstract thought of good and evil. For none of them by itself is the real essence: this consists in the undisturbed calm of the whole within itself, the immovable unity of Fate, the quiescent existence (and hence want of activity and vitality) of the family and government, and the equal honour and consequent indifferent unreality of Apollo and the Furies, and the return of their spiritual life and activity into Zeus solely and simply.

This destiny completes the depopulation of Heaven-of that unthinking blending of individuality and. ultimate Being — a blending whereby the action of this absolute Being appears as something incoherent, contingent, unworthy of itself; for individuality, when attaching in a merely superficial way to absolute Being, is unessential. The expulsion of such unreal insubstantial ideas, which was demanded by the philosophers of antiquity, thus already has its beginning in tragedy in general, through the fact that the division of the substance is controlled by the notion, and hence individuality is the essential individuality, and the specific determinations are absolute characters. The self-consciousness represented in tragedy knows and acknowledges on that account only one highest power, Zeus. This Zeus is known and acknowledged only as the power of the state or of the hearth and home, and, in the opposition belonging to knowledge, merely as the Father of the knowledge of the particular — a knowledge assuming a figure in the drama:— and again as the Zeus of the oath and of the Furies, the Zeus of what is universal, of the inner being dwelling in concealment. The further moments taken from the notion (Begriff) and dispersed in the form of ideal presentation (Vorstellung), moments which the chorus permits to hold good one after the other, are, on the other hand, not the “pathos” of the hero; they sink to the level of passions in the hero — to the level of accidental, insubstantial moments, which the impersonal chorus no doubt praises, but which are not capable of constituting the character of heroes, nor of being expressed and revered by them as their real nature.

But, further, the persons of the divine Being itself, as well as the characters of its substance, coalesce into the simplicity of what is devoid of consciousness. This necessity has, in contrast to self-consciousness, the characteristic of being the negative power of all the shapes that appear, a power in which they do not recognize themselves, but perish therein. The self appears as merely allotted amongst the different characters, and not as the mediating factor of the process. But self-consciousness, the simple certainty of self, is in point of fact the negative power, the unity of Zeus, the unity of the substantial essence and abstract necessity; it is the spiritual unity into which everything returns. Because actual self-consciousness is still distinguished from the substance and fate, it is partly the chorus, or rather the crowd looking on, whom this movement of the divine life fills with fear as being something alien and strange, or in whom this movement, as something closely touching themselves, produces merely the emotion of passive pity. Partly again, so far as consciousness co-operates and belongs to the various characters, this alliance is of an external kind, is a hypocrisy — because the true union, that of self, fate, and substance, is not yet present. The hero, who appears before the onlookers, breaks up into his mask and the actor, into the person of the play and the actual self.

The self-consciousness of the heroes must step forth from its mask and be represented as knowing itself to be the fate both of the gods of the chorus and of the absolute powers themselves, and as being no longer separated from the chorus, the universal consciousness.

Comedy has, then, first of all, the aspect that actual self-consciousness represents itself as the fate of the gods. These elemental Beings are, qua universal moments, no definite self, and are not actual. They are, indeed, endowed with the form of individuality, but this is in their case merely put on, and does not really and truly belong to them. The actual self has no such abstract moment as its substance and content. The subject, therefore, is raised above such a moment, as it would be above a particular quality, and when clothed with this mask gives utterance to the irony of such a property trying to be something on its own account. The pretentious claims of the universal abstract nature are shown up and discovered in the actual self; it is seen to be caught and held in a concrete reality, and lets the mask drop, just when it wants to be something genuine. The self, appearing here in its significance as something actual, plays with the mask which it once puts on, in order to be its own person; but it breaks away from this seeming and pretence just as quickly again, and comes out in its own nakedness and commonness, which it shows not to be distinct from the proper self, the actor, nor again from the onlooker.

This general dissolution, which the formally embodied essential nature as a whole undergoes when it assumes individuality, becomes in its content more serious, and hence more petulant and bitter, in so far as the content possesses its more serious and necessary meaning. The divine substance combines the meaning of natural and ethical essentiality.

As regards the natural element, actual self-consciousness shows in the very fact of applying elements of nature for its adornment, for its abode and so on, and again in feasting on its own offering, that itself is the Fate to which the secret is betrayed, no matter what may be the truth as regards the independent substantialitv of nature. In the mystery of the bread and wine it makes its very owm this self-subsistence of nature together with the significance of the inner reality; and in Comedy it is conscious of the irony lurking in this meaning.

So far, again, as this meaning contains the essence of ethical reality, it is partly the nation in its two aspects of the state, or Demos proper, and individual family life; partly, however, it is self-conscious pure knowledge, or rational thought of the universal. Demos, the general mass, which knows itself as master and governor, and is also aware of being the insight and intelligence which demand respect, exerts compulsion and is befooled through the particularity of its actual life, and exhibits the ludicrous contrast between its own opinion of itself and its immediate existence, between its necessity and contingency, its universality and its vulgarity. If the principle of its individual existence, cut off from the universal, breaks out in the proper figure of an actual man and openly usurps and administers the commonwealth, to which it is a secret harm and detriment, then there is more immediately disclosed the contrast between the universal in the sense of a theory, and that with which practice is concerned; there stand exposed the entire emancipation of the ends and aims of the mere individual from the universal order, and the scorn the mere individual shows for such order.(10)

Rational thinking removes contingency of form and shape from the divine Being; and, in opposition to the uncritical wisdom of the chorus — a wisdom, giving utterance to all sorts of ethical maxims and stamping with validity and authority a multitude of laws and specific conceptions of duty and of right — rational thought lifts these into the simple Ideas of the Beautiful and the Good. The process of this abstraction is the consciousness of the dialectic involved in these maxims and laws themselves, and hence the consciousness of the disappearance of that absolute validity with which they previously appeared. Since the contingent character and superficial individuality which imagination lent to the divine Beings, vanish, they are left, as regards their natural aspect, with merely the nakedness of their immediate existence; they are Clouds,(11) a passing vapour, like those imaginative ideas. Having passed in accordance with their essential character, as determined by thought, into the simple thoughts of the Beautiful and the Good, these latter submit to being filled with every kind of content. The force of dialectic knowledge(12) puts determinate laws and maxims of action at the mercy of the pleasure and levity of youth, led astray therewith, and gives weapons of deception into the hands of solicitous and apprehensive old age, restricted in its interests to the individual details of life. The pure thoughts of the Beautiful and the Good thus display a comic spectacle:— through their being set free from the opinion, which contains both their determinateness in the sense of content and also their absolute determinateness, the firm hold of consciousness upon them, they become empty, and, on that very account, the sport of the private opinion and caprice of any chance individuality.

Here, then, the Fate, formerly without consciousness, consisting in empty rest and forgetfulness, and separated from self-consciousness, is united with self-consciousness. The individual(13) self is the negative force through which and in which the gods, as also their moments, (nature as existent fact and the thoughts of their determinate characters), pass away and disappear. At the same time, the individual self is not the mere vacuity of disappearance, but preserves itself in this very nothingness, holds to itself and is the sole and only reality. The religion of art is fulfilled and consummated in it, and is come full circle. Through the fact that it is the individual consciousness in its certainty of self which manifests itself as this absolute power, this latter has lost the form of something ideally presented (vorgestellt), separated from and alien to consciousness in general — as were the statue and also the living embodiment of beauty or the content of the Epic and the powers and persons of Tragedy. Nor again is the unity the unconscious unity of the cult and the mysteries; rather the self proper of the actor coincides with the part he impersonates, just as the onlooker is perfectly at home in what is represented before him, and sees himself playing in the drama before him. What this self-consciousness beholds, is that whatever assumes the form of essentiality as against self-consciousness, is instead dissolved within it — within its thought, its existence and action — and is quite at its mercy. It is the return of everything universal into certainty of self, a certainty which, in consequence, is this complete loss of fear of everything strange and alien, and complete loss of substantial reality on the part of what is alien and external. Such certainty is a state of spiritual good health and of self-abandonment thereto, on the part of consciousness, in a way that, outside this kind of comedy, is not to be found anywhere.(14)

1. v. sup., A., b.

2. A “drama”.

3. The Epic exorcises the dead past; v. Odyssey, XI.

4. Oedipus.

5. Orestos.

6. In the Delphic Oracle.

7. The witches in “Macbeth”.

8. Macbeth.

9. Hamlet.

10. Cp. Cleon in Aristophanes, Knights.

11. Cp. Aristophanes, Clouds.

12. Cp. the arguments in the Clouds.

13. In comedy.

14. Cp. Hegel’s Aesthetik, W W., X., 3, 560.

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