[451]Three notes are really essential to any true chord.
[451]Three notes are really essential to any true chord.
[452]The mediant lies about midway between the tonic and dominant as the third of the scale. The researches of Helmholtz prove that the distinction between consonant or semi-consonant and dissonant intervals is not arbitrary, but the result of the nature of the intervals themselves. A musical tone is mostly a compound one, containing, besides its principal tone, other tones with fixed relations to the lowest note, called harmonics, or "upper partials." Helmholtz has shown that when two of the earlier-produced and stronger of these upper partial tones coincide in two notes sounded together, the resulting tone is pure, free, that is, from the inequalities known as "beats" (Prout, "Harmony," 10th ed., pp. 21, 22).
[452]The mediant lies about midway between the tonic and dominant as the third of the scale. The researches of Helmholtz prove that the distinction between consonant or semi-consonant and dissonant intervals is not arbitrary, but the result of the nature of the intervals themselves. A musical tone is mostly a compound one, containing, besides its principal tone, other tones with fixed relations to the lowest note, called harmonics, or "upper partials." Helmholtz has shown that when two of the earlier-produced and stronger of these upper partial tones coincide in two notes sounded together, the resulting tone is pure, free, that is, from the inequalities known as "beats" (Prout, "Harmony," 10th ed., pp. 21, 22).
[453]As, of course, in the scale, notes independent of each other.
[453]As, of course, in the scale, notes independent of each other.
[454]Schärfe.
[454]Schärfe.
[455]The reader of Browning will recall how the poet in his "Abt Vogler" exclaims "Why rushed the discords in, but that harmony should be prized?" or speaks of blunting the minor into the ninth where the musician "stands on alien ground, surveying awhile the heights."
[455]The reader of Browning will recall how the poet in his "Abt Vogler" exclaims "Why rushed the discords in, but that harmony should be prized?" or speaks of blunting the minor into the ninth where the musician "stands on alien ground, surveying awhile the heights."
[456]This extreme emphasis on melody must be read as further explained lower down of melody in the wider sense. Even as thus qualified it is rather an overstatement. It may be questioned whether in the mind of a musician of genius the freedom of harmonic progression is of a different quality to that of melodic. It mayappearno doubt less spontaneous. But it is the task of the great artist to overcome that appearance in one case as much as in the other.
[456]This extreme emphasis on melody must be read as further explained lower down of melody in the wider sense. Even as thus qualified it is rather an overstatement. It may be questioned whether in the mind of a musician of genius the freedom of harmonic progression is of a different quality to that of melodic. It mayappearno doubt less spontaneous. But it is the task of the great artist to overcome that appearance in one case as much as in the other.
[457]It may be doubted how far such a statement is true of many chord progressions in modern music. It seems to me that this notion of harmony asfür sichhaving no musical significance is, to say the least, very misleading.
[457]It may be doubted how far such a statement is true of many chord progressions in modern music. It seems to me that this notion of harmony asfür sichhaving no musical significance is, to say the least, very misleading.
[458]This really is the point. Inspired harmony in its progression unfolds what is really a tissue of melodic threads. The complex musical structure of a Brahms symphony is a good example.
[458]This really is the point. Inspired harmony in its progression unfolds what is really a tissue of melodic threads. The complex musical structure of a Brahms symphony is a good example.
[459]Lit., "the free self-subsistency (Beisichseyn) of subjective life."
[459]Lit., "the free self-subsistency (Beisichseyn) of subjective life."
[460]Hegel puts it the other way. What he means is that in the medium of music we neither apprehend objects of sense nor ideas as we receive them in imagination or thought.
[460]Hegel puts it the other way. What he means is that in the medium of music we neither apprehend objects of sense nor ideas as we receive them in imagination or thought.
[461]Hegel throughout uses the termInnerlichkeit.That which is the Inmost is, in fact, the ideal. It is theraison d'êtreand the notion itself.
[461]Hegel throughout uses the termInnerlichkeit.That which is the Inmost is, in fact, the ideal. It is theraison d'êtreand the notion itself.
[462]He means at the point proposed by the dramatic theme. Hegel's words are literally "it subdues the subject (i.e., of consciousness) referably to its simple concentration (i.e., on the subject at hand)."
[462]He means at the point proposed by the dramatic theme. Hegel's words are literally "it subdues the subject (i.e., of consciousness) referably to its simple concentration (i.e., on the subject at hand)."
[463]The above distinction is hardly consonant with that of customary parlance. We should rather say that the melody of the song gave an utterance to the words, and the instrumentation was, for the very reason that it was more independent, more directly an accompaniment. But the point emphasized here seems to be the closeness of the association. In this aspect, no doubt, the music actually sung is more an accompaniment to the intelligible content. As a rule accompaniment is generally used as the accompaniment of a song or choral writing, and Hegel himself uses it in this sense previously.
[463]The above distinction is hardly consonant with that of customary parlance. We should rather say that the melody of the song gave an utterance to the words, and the instrumentation was, for the very reason that it was more independent, more directly an accompaniment. But the point emphasized here seems to be the closeness of the association. In this aspect, no doubt, the music actually sung is more an accompaniment to the intelligible content. As a rule accompaniment is generally used as the accompaniment of a song or choral writing, and Hegel himself uses it in this sense previously.
[464]A general truth, no doubt. But not without qualification if we consider the works and indeed the execution of such giants as Bach and Handel.
[464]A general truth, no doubt. But not without qualification if we consider the works and indeed the execution of such giants as Bach and Handel.
[465]That is, particularity due to the idiosyncrasies of the artist, and merely personal to him. But the statement applies to classic art more strictly than modern.
[465]That is, particularity due to the idiosyncrasies of the artist, and merely personal to him. But the statement applies to classic art more strictly than modern.
[466]That is, music as an accompaniment.
[466]That is, music as an accompaniment.
[467]Gediegenheit.Something that rings true as a whole, not a thing of patches.
[467]Gediegenheit.Something that rings true as a whole, not a thing of patches.
[468]The music of Mendelssohn and others in this direction will raise a doubt in some whether Hegel does not rather overstate his case here.
[468]The music of Mendelssohn and others in this direction will raise a doubt in some whether Hegel does not rather overstate his case here.
[469]Besonderung.The relative isolation that is effected by marked assertion.
[469]Besonderung.The relative isolation that is effected by marked assertion.
[470]Throughout this discussion the personal bias of Hegel for the Italian opera is obvious. In the light of the actual knowledge of his day the wonder is that his own tastes permitted his being even as fair as he is. It may be doubted whether he had any strong sense for orchestral or chamber music at all. His reflections must be read throughout with this reservation.
[470]Throughout this discussion the personal bias of Hegel for the Italian opera is obvious. In the light of the actual knowledge of his day the wonder is that his own tastes permitted his being even as fair as he is. It may be doubted whether he had any strong sense for orchestral or chamber music at all. His reflections must be read throughout with this reservation.
[471]Or, as Hegel more technically calls it, and I have above translated it, "subjectivity."
[471]Or, as Hegel more technically calls it, and I have above translated it, "subjectivity."
[472]That is, dependent on living beings for its presentation in every case.
[472]That is, dependent on living beings for its presentation in every case.
[473]The execution of Paganini is, of course, the classic example. But all cadenzas executed by a great artist, even though carefully studied, express something of the spirit.
[473]The execution of Paganini is, of course, the classic example. But all cadenzas executed by a great artist, even though carefully studied, express something of the spirit.
[474]Hegel means that such music expresses not so much rational freedom as the fundamental independence of the self-conscious principle.
[474]Hegel means that such music expresses not so much rational freedom as the fundamental independence of the self-conscious principle.
[475]Bydürftiger KopfI understand Hegel to mean the headstrong charlatan as contrasted with the virtuoso who is also a trained musician. Paganini had a vein of both in his composition. The epithetdürftig, lit., thirsty, is, however, not very clear, and in so far as it is, the emphasis would not be so much on quackery as absence of all training.
[475]Bydürftiger KopfI understand Hegel to mean the headstrong charlatan as contrasted with the virtuoso who is also a trained musician. Paganini had a vein of both in his composition. The epithetdürftig, lit., thirsty, is, however, not very clear, and in so far as it is, the emphasis would not be so much on quackery as absence of all training.
INDEXAccompaniment, Music as, iii,377-379,413-418; of human voice, iii,383.Aeschylus, reference to the "Agamemnon," i, 285;to the "Eumenides," i, 302, 303, 372;ii, 213-215, 223; iv, 306, 324;to the "Coephorae," and the "Seven before Thebes,"iv, 318; change of scene in his dramas, iv, 257;universal powers in dramas, i, 377; char acterof Clytemnaestra, ii, 345.Aesop, Fables of, ii, 115.Anacreon, odes of, iv, 203, 233.Aphrodite, description of, iii,185. Architecture, types of classical, iii,80-90;Roman, iii,87-88; Gothic, iii,91-104;Byzantine, iii,105.Aristophanes, subject-matter of his comedies,iv, 277, 283, 304, 329; himself an actor,iv, 286; his "Ecclesiazusae," iv, 303.Aristotle, reference to the "Poetics," i, 19;on tragedy, i, 283; on use of simile, ii, 143;proper subject of tragedy, iv, 131;on unities of time and place, iv, 256.Artist, as executant, iii,426-430.Athene, nature of as goddess of Athens, iv, 325.Bach, J. S., supreme master of ecclesiasticalmusic, iii,419.Beethoven, L. van, soul-release in art's freedom,iii,349; symphonies of, iii,355n.Bosanquet, B., references to translation ofHegel's Introduction by in present translator'snotes, i, 28, 29, 31, 32, 37, 40, 45, 52,65, 66, 68, 69, 71, 73, 76, 88,93, 96, 100, 108, 109, 116, 181.Bradley, A. C., reference to Lectures on Poetry, i, 265 n.Bradley, F. H., i, 73, 96 n.Brahman, supreme godhead in Hindu theosophy, ii, 50-61, 91.Calderon, quotation from, ii, 142; comparisons of, ii, 149.Camoens, the "Lysiad" of, iv, 190.Cervantes, type of comedy in "Don Quixote," i, 262; ii, 374;dissolution of chivalry as depicted by Cervantes andAriosto, ii, 373.Chivalry, general description of, iv, 185-187.Chorus, Greek, nature of, iv, 315-317.Cid, the Spanish poem of the,description of, iv, 182;heroic personality of the, ii, 348; iv, 138-140;nature of collision in, i, 321.Columns, Greek, iii,69-76; orders of, iii,82-85;on the Greek temple generally, iii,79.Creutzer, his work on symbolism, iii,17,18;affinity of Egyptian and Hellenic art on coins, iii,203.See also ii, 138; iii,39,41.Cuvier, analytical power of, i, 176.Dante, conciseness of, i, 350; allegory in, ii, 19;on the love of Beatrice, iii,340;description of the damned, iii,319;the "Divine Comedy" contrasted with "Æneid" and"Odyssey" as epical narrative, iv, 163;general description of "Divine Comedy," iv, 184.Denner, realistic portraits of, iii,270.Destiny, supreme significance of in Epos, iv, 144;fate in tragedy, iv, 312, 322; as necessity, iv, 254.See also particularly as to Greek art, ii, 261-264.Drapery. See under Sculpture.Dutch School, description of, i, 228-230; ii, 382-386;iii,334-337; landscape in art of, i, 397;colouring of, iii,276.Einbildungskraft, meaning of as distinct from Phantasieand Vorstellung, i, 55 n., 62 n., 381 n.Euripides, the "Alcestis" of, i, 275;treatment of love in the Phedra, iii,340;transition of drama of to sentimental pathos, iv, 321.Eyck, H. van, supreme concep tion of God the Father, iii,252;his picture of the Madonna, iii,255;his "Adoration," iii,262;description of brothers Hubert and John, iii,330.Ferdusi, "Shahrameh" of, i, 251, 277.Fichte, his position in history of Aesthetic Philosophy, i, 89-91.Flesh-colour, nature of, in painting, iii,285.Giotto, reforms of, in painting, iii,322.Goethe, definition of the beautiful by, i, 21, 36-38, 91;reference to his "Iphigeneia," i, 262, 304-306, 373; iv, 307;to "Faust," iv, 333; to his Tasso, iv, 307;to "Hermann and Dorothea," i, 256, 353;to "Werther," i, 271, 321;to the "Bride of Corinth," ii, 270;to the "Westöstlicher Divan," i, 372; ii, 96, 400; iv, 233;to "Dichtung und Wahrheit," iii,289;to the "King of Thule," ii, 363; his "Mignon," iii,298;his theory of colour, i, 117 n.;on the innate reason of nature, i, 179;Goethe on Hamlet, i, 307; ii, 364;his pathos contrasted with that of Schiller, i, 313;rivalry of with Shakespeare, iv, 338;quotation from Goetz von Berlichengen, i, 366;the ripeness of his maturity, i, 384;on Gothic architecture, iii,76;Xenien of, ii, 145; on harmonious colouring, iii,283;supreme quality of folk-songs of,386;songs of comradeship, iv, 205;prose in his dramas, iv, 71;imitation of Icelandic, iv, 208;as a Lyric poet generally, iv, 217.Greek art, origin of in freedom, ii, 183;content of, ii, 184-186;Gods of, ii, 224-228; iii,183-186,188;absence of the sublime in, ii, 237;incapable of repetition, iii,396;Greek epigrams, ii, 398;character of dramatis personae in Greek art, iv, 317-320.Greek chorus. See under Chorus.Greek mysteries. See under Mysteries.Greek oracles. See under Oracles,Hafis, Lyrics of, iv, 237; quotation from, ii, 94, 95, 147.Helmholtz, researches of in music, iii,390n.Herder, his conception of Folkslied, i, 364.Herodotus, statement of as to Homer and Hesiod, ii, 190, 231;his account of temple of Belus, iii,37;date of his history's commencement, iv, 39;on battle of Thermopylae, iv, 23;as general authority for Egyptian history and art,see vol. iii, ch. i.Hesiod, mythology of, ii, 63, 64, 167, 216;reference to his "Works and Days," iv, 108.Hindoos, architecture of, iii,48-51; religion of, ii, 47-64.Hippel, humour of his "Life's Careers," ii, 365.Hirt, connoisseur, his emphasis on the characteristic, i, 22-24;on origins of architecture, iii,27;on Memnons, iii,41;on the original materials of building, iii,66.Homer, vividness of his characterization, i, 225, 235;the heroes of, i, 250;starting-point of Iliad in wrath of Achilles, i, 290;iv, 30, 156, 167; hero as focus of many traits, i, 316;landscape in, i, 341; iv, 123, 154;type of society in Iliad, i, 352, 377;whether personal experience of poet, i, 357; iv, 122;his use of simile, ii, 154;quotations from the Iliad, ii, 154, 155;sacrifices in the Iliad, ii, 192;unity of Homeric god-world, ii, 219;human motives defined through god's action, ii, 234, 235;freedom of Greek gods in, ii, 239;individuality of gods in, ii, 242-258;poet later than the Trojan war, iv, 124.Horace, Ars Poetica of, i, 19, 69;artificial character of his Odes, iv, 229.Iffland, reference to, iv, 290, 344;superficial quality of, ii, 381.Immortality, contrast of conception in Paganand Christian thought, ii, 287-290.Irony, the views of Schlegel,Solger and Tieck on, i, 90-94; iv, 271.Jacobi, the "Woldemar" of, i, 322.Kant, Immanuel, relation of hisphilosophy to Philosophy ofAesthetik, i, 78-84, 149, 154 n.;on the sublime, iii,86,87.Klopstock, his rank as an Epic poet, iv, 150-152;his personality, iv, 216, 244, 245;partly artificial enthusiasm, iv, 229.Kotzebue, popular effects of, i, 362;superficial rapidity of, ii, 381;bad composition of, iv, 290;ethical baseness of, iv, 304.Landscape gardening, i, 332-333Laocoon, statue group, iii,191.Lessing, his introduction of prose into drama, iv, 71;didactic drama of, iv, 277.Libretto, nature of good, iii,355-357.Light, the nature of as an element, ii, 225-226.Longinus, his Essay on the Sublime, i, 19.Lötze, See i, 82 n.Luther. See ii, 13.Memnons, iii,41-43.Meredith, George, i, 36 n., 216 n.; ii, 339 n.; iv, 347 n.Michelangelo, his power to depict devils, iii,307.See also, i, 224 n.; iii,27n.Molière, character of comedies of, iv, 345-347.Mozart, example of precocity, i, 37 n.;symphonies of, iii,385;Libretto of his "Magic Flute," iii,415;just mean of splendour in opera, iv, 291.Mysteries, Greek, ii, 221.Natural, the natural in art as distinct fromthe barbarous or childish, iii,6-8;natural diction in Lessing,Goethe and Schiller, iv, 265-267.Oracles, Greek, ii, 205-208.Originality, nature of in art, i, 394-405.Ossian, character of his heroes, i, 343;similes of, ii, 151, 153;authorship of, iv, 146, 180. See also iv, 114, 127.Ovid, Metamorphoses of, ii, 126;similes of, ii, 152, 198.Pathos, nature of, i, 308-325;pathos of drama, iv, 265;that of Goethe and Schiller compared, i, 313.Pheidias, school of, i, 235;materials used by, iii,199;the plastic ideal of, iii,133;Elgin marbles, iii,138;the "Zeus" of, iii,117,184.Pindar, Odes of as occasional, i, 271;his odes compared with elegiesof Callinus and Tyrtaeus, iv, 201;Pythian priestess on his merit, iv, 216;enthusiasm of, iv, 229;his creative gift, iv, 241.Plastic, personality, of Greeks, as Pericles,Pheidias and Sophocles, iii,133.Plato, relation of his philosophyto the universal concept or notion, i, 27, 28, 197;his relation to art generally, i, 141;citation from, i, 210; his use of simile, ii. 143.Portraiture, in painting, iii,307-311. Praxiteles, iii,190.Prometheus, ii, 209-215.Psalms, Hebrew, general character of, i, 378;illustrate the sublime, ii, 102-104;iv, 226-228.Pyramids, the, iii,55.Racine, the "Esther" of, i, 361; his Phèdre, i, 321.Ramajana, the, episodes from, ii, 51-53, 61.See also iv, 110, 112, 165, 175.Raphael, general references to, i, 37, 212, 380, 385;possesses "great" manner with Homer and Shakespeare, i, 405;his Madonna pictures, iii,227; cartoons of, iii,242;mythological subjects, iii,245;his "Sistine Madonna," iii,255,262,304;his "School of Athens," iii,254;vitality of drawings of, iii,275;perfection of technique, iii,328;translator's criticism on extreme praiseof Raphael and Correggio, iii,329n.Reni, Guido, sentimental mannerisms of, iii,264.Richter, J. P., Kaleidoscopic effects of, i, 402;sentimentalism of, ii, 365;humour of compared with Sterne's, ii, 387.Rösel, Author of "Diversions of Insect life," i, 59.Rumohr, von, Author on Aesthetic Philosophy, i, 148, 232;on style, i, 399; on Italian painters and in particular,Duccio, Cimabue, Giotto, Masaccio, Fra Angelico,Perugino, Raphael and Correggio, iii,316-330.Ruskin, J., i, 62 n., 72 n., 230 n.Sachs, Hans, religious familiarity of, i, 359.Satire, in Plautus and Terence, ii, 277; iv, 305;in Sallust and Tacitus, ii, 278;not successful in modern times, ii, 279;belongs to third type after tragicand comic drama, iv, 305.Schelling, Art Philosophy of, iii,23n.Schiller, rawness of early work, iii,38;his "Letters on Aesthetic," i, 84-86;quotation from, i, 214;reference to "Braut von Messina," i, 258;to "Kabale und Liebe," i, 261; iv, 333;to Wallenstein," iv, 288;to the "Maid of Orleans," i, 261; iv, 291, 339;extreme scenic effect of the latter drama, iv, 291;narrative too epical in same drama, iv, 161;reference to "Wilhelm Tell," i, 379;pathos of Schiller, i, 394;his use of metaphor, ii, 144;attitude to Christianity, ii, 268;profundity of, iii,414;character of his songs, iv, 207, 239;his criticism of Goethe's Iphigeneia, iv, 275;leaves much to actor, iv, 288.Schlegel, F. von, Aesthetic theory of, i, 87-89;art as allegory, ii, 134; statement of,that architecture is frozen music, iii,65.Sculpture, drapery of, iii,165-171;materials of, iii,195-201; Egyptian, iii,203-210;Etruscan, iii,211; Christian, iii,213;the Laocoon group, iii,178-191; soul-suffering of, iii,256.Shakespeare, William, materials of his dramas, i, 255, 324;reference to drama "Macbeth," i, 277; to Lady Macbeth, i, 324;to witches of "Macbeth," i, 307; ii, 366;to "Macbeth," iv, 337, 341; to "Hamlet," ii, 378; iv, 334, 342;to "Othello," iv, 337; to "Falstaff," ii, 375;to tragedy of "Othello," i, 283; to "King Lear," i, 296;to "Romeo and Juliet," i, 319; iv, 342; to "Richard III," iv, 341;the clowns of, i, 320; the fool in "King Lear," ii, 375;quotations from "Richard II," ii, 141, 159;from "Romeo and Juliet," ii, 153; from "Henry IV," ii, 158;from "Henry VIII," ii, 159, 160; from "Julius Caesar," ii, 260;from "Macbeth," ii, 160; from "Anthony and Cleopatra," ii, 161;mythical material of dramas, i, 351 n.;his historical dramas, i, 374;his use of metaphor, ii, 144, 156;the fidelity of Kent in "King Lear," ii, 346;self-consistency of characters, ii, 356-358; iv, 340;intelligence of vulgar characters, ii, 366, 375;subsidiary interest of part of material in dramas, iv, 260;vitality of characterization, iv, 274,and in particular, iv, 337; superiorityin modern comedy, iv, 348.Sophocles, reference to the "Philoctetes," i, 275, 301; iv, 306;to "Œdipus Rex," i, 276; iv, 319;to the "Antigone," i, 293; ii, 215; iv, 318;to "Œdipus Coloneus," ii, 503; iv, 319;to the "Electra," iv, 318; the choruses of, i, 371;no unity of place in the "Ajax," iv, 257;quotation from "Œdipus Coloneus," ii, 222;treatment of love in the "Antigone," ii, 339;praise of the "Antigone" as work of art, iv, 324;the "Œdipus Coloneus" as a drama of reconciliation, iv, 325.Style, significant of vitality, iii,9;the beautiful style, iii,10;the great style, ii, 400;educated style of Roman poetry, iii,11.Tasso, his "Jerusalem Liberated," iv, 141.See also iv, 132, 149, 159, 189,and for Goethe's play under head of Goethe.Thorwaldsen, the "Mercury" of, i, 270.Tieck, novels of, ii, 167; and for both Tieckand Solger under "Irony."Van-Dyck, the portraiture of described, iii,292.Velasquez, reference to Turner and Velasquez, i, 336 n.See also iii,337n.Vergil, artifice of V. and Horace, iv, 69;eclogues of compared with idylls of Theocritus, iv, 170.The "Æneid" as a national Epos, iv, 179.Versification, rhythmical of ancients discussed, iv, 81-84.That of rhyme compared, iv, 84-98.Vishnu, the Conserver of Life in Hindoo theosophy, iii,52;second Deity in triune Trimûrtis with Brahman and Sivas, ii, 59.Voltaire, contrasted with Shakespeare, i, 313;his "Henriad," iv, 132; his "Tancred" and "Mahomet," iv, 290.Watts, George, R.A., flesh colour of, i, 337 n.;relation to symbolism, ii, 27 n.Weber, his "Oberon" and "Freischütz," i, 216.Winckelmann, on Greek sculpture,iii,138,150-155,172-176,182,184;on Greek coins, iii,181.Zend-Avesta, light-doctrine of, ii, 37-44; cultus of, ii, 44.