[64]I have made the best I can of a very badly expressed sentence, and, as I should add, a very meagre description of the aim of modern comic drama. I am, however, not quite satisfied that it is an adequate translation, or that I have grasped what Hegel means by the wordsnicht gestehen zu wollen. It would apply very aptly to such a character as Sir Willoughby Patterne, but the pertinency of such an epithet aslang empfundenI fail to see. I doubt myself if we have here anything more than a chance note of Hegel tacked in by editors. The whole of the present paragraph is a very jejune description of the treatment of the love passion or affairs of honour by modern drama. A pity we cannot supplement it with the substance of Meredith's "Essay on Comedy." The passage, however, must be read as qualified by the further note lower down on the exuberance of one aspect of modern comedy. But the reference to "Comedy" in the modern sense is a mere fragment.
[64]I have made the best I can of a very badly expressed sentence, and, as I should add, a very meagre description of the aim of modern comic drama. I am, however, not quite satisfied that it is an adequate translation, or that I have grasped what Hegel means by the wordsnicht gestehen zu wollen. It would apply very aptly to such a character as Sir Willoughby Patterne, but the pertinency of such an epithet aslang empfundenI fail to see. I doubt myself if we have here anything more than a chance note of Hegel tacked in by editors. The whole of the present paragraph is a very jejune description of the treatment of the love passion or affairs of honour by modern drama. A pity we cannot supplement it with the substance of Meredith's "Essay on Comedy." The passage, however, must be read as qualified by the further note lower down on the exuberance of one aspect of modern comedy. But the reference to "Comedy" in the modern sense is a mere fragment.
[65]That is, self-conscious life. The Absolute here seems to be identified with man's self-conscious activity.
[65]That is, self-conscious life. The Absolute here seems to be identified with man's self-conscious activity.
[66]I think this is what Hegel must mean here byim Elemente der Wirklichkeit, in the element, that is, of material reality.
[66]I think this is what Hegel must mean here byim Elemente der Wirklichkeit, in the element, that is, of material reality.
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, 355 n.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, 390 n.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,347n.Michelangelo, his power to depict devils, iii, 307.See also, i, 224 n.; iii, 27 n.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, 329 n.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, 23 n.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, 337 n.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.