Hegel on Sacred Poetry: Love, Freedom, and the Practical Roots of the Sublime
Víctor Ibarra B.
Publisher
transcript publishing
Publication Date
1/28/2025
ISBN
9783837674149
Pages
234
Categories
Questions & Answers
Hegel's concept of the sublime, particularly "die heilige Poesie" (sacred poetry), contrasts sharply with Kant's sublime theory. Hegel views the sublime as rooted in a dualistic conception of divinity, exemplified in sacred poetry like the Psalms, where God is seen as infinitely distant and powerful, while humans are finite and powerless. This dualism, according to Hegel, leads to a lack of freedom and autonomy, as humans are subject to an external, heteronomous law.
In contrast, Kant's sublime theory emphasizes the subject's mental faculties, particularly the imagination and reason, and their inability to grasp the infinite. This leads to a feeling of awe and reverence, as the subject recognizes its own limitations and the existence of something beyond itself. Kant's sublime is more about the subject's mental experience than the object itself.
Hegel's rejection of the sublime is due to its dualistic nature, which he sees as incompatible with freedom. He argues that the true understanding of freedom requires a monistic conception of love, where the individual and the divine are not separate but interrelated. This contrasts with Kant's emphasis on the subject's mental experience and the object's chaotic nature, which does not address the issue of freedom in the same way.
Hegel's early practical objections against Kantian morality and Judaism are crucial for understanding his theory of the sublime. His critique of Judaism, particularly the concept of divinity, reveals his disinterest in the sublime, which he associates with the dualistic conception of God and humanity. This dualism, rooted in the Judaic understanding of divinity, is incompatible with Hegel's concept of freedom. He rejects the Kantian sublime, which relies on an erroneous conception of infinity and places the absolute as a separate entity, as it creates a heteronomous position where humans are subject to external laws. By examining these early objections, we can see how Hegel's rejection of the sublime is a rejection of this dualistic structure, and how his theory of the sublime is deeply intertwined with his views on freedom and the relationship between the individual and the absolute.
Hegel's interpretation of the Judaic Psalms as the epitome of the sublime is central to his broader critique of the art of sublimity. He views these psalms as embodying a dualistic conception of the world, where God is infinite and separate from finite creatures, leading to a sense of powerlessness and fear. This dualism, according to Hegel, is incompatible with freedom, as it places individuals in a heteronomous position, where they are subject to external authority rather than being autonomous. Hegel's critique extends beyond aesthetics, as he sees the sublime as a reflection of this dualistic understanding of divinity and freedom. By rejecting the art of sublimity, Hegel is essentially rejecting this dualistic framework, advocating for a more integrated and autonomous understanding of both God and humanity. This critique underscores his broader philosophical project, which seeks to overcome dualisms and establish a more comprehensive and dialectical view of reality.
Hegel's understanding of the sublime, particularly his rejection of the art of sublimity, has several practical implications. Firstly, it critiques the dualistic conception of divinity and infinity, which he sees as a logical problem and a source of powerlessness and lack of freedom. This rejection is rooted in his early writings, where he criticizes the Judaic conception of divinity and Kant's moral philosophy, both of which he views as heteronomous and limiting.
Secondly, Hegel's analysis of the sublime highlights the importance of freedom and autonomy. He argues that the sublime, with its emphasis on powerlessness and the inability to represent the divine, represents an erroneous form of freedom. This leads him to seek a new understanding of freedom that is not based on the dualistic relationship between the finite and the infinite.
Thirdly, Hegel's rejection of the sublime has implications for aesthetics. He argues that the sublime, as depicted in art, is inadequate because it cannot express the infinite content it aims to represent. This leads him to prioritize other forms of art that are more capable of expressing the ideal and the spirit.
Overall, Hegel's understanding of the sublime and his rejection of the art of sublimity emphasize the importance of freedom, autonomy, and the limitations of art in expressing the divine and the ideal.
The book significantly contributes to the debate on the end of art and Hegel's relevance in contemporary aesthetics by offering a critical examination of Hegel's theory of the sublime, particularly focusing on "die heilige Poesie" or the Judaic Psalms. It challenges the prevalent view that Hegel's sublime is merely a translation of Kant's subjective aesthetics, highlighting the practical dimension of Hegel's sublime and its relationship to the problem of freedom. By exploring Hegel's early writings and his critique of Judaism, the book reveals the practical roots of Hegel's sublime and its implications for understanding the end of art. It argues that Hegel's philosophy offers a more nuanced understanding of the sublime and art's role in contemporary aesthetics, suggesting that art and aesthetics must address the challenges of freedom and objectification beyond the Kantian sublime's limitations. This reevaluation of Hegel's philosophy could reshape the debate on the end of art and its relevance in contemporary aesthetics.