By Georg Wilhelm Friedrich Hegel

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III, B, n 3(a). INTRODUCTION 9 does indeed appear too, but in the form of a chaos of accidents, aftlicted by the immediacy of the sensuous and by the capriciousness of situations, events, characters, etc. Art liberates the true content of phenomena from the pure appearance and deception of this bad, transitory world, and gives them a higher actuality, born of the spirit. Thus, far from being mere pure appearance, a higher reality and truer existence is to be ascribed to the phenomena of art in comparison with [those of] ordinary reality.

What is now aroused in us by works of art is not just immediate enjoyment but our judgement also, since we subject to our intellectual consideration (i) the content of art, and (ii) the work of art's means of presentation, and the appropriateness or inappropriateness of both to one another. The philosophy of art is therefore a greater need in our day than it was in days when art by itself as art yielded full satisfaction. Art invites us to intellectual consideration, and that not for the purpose of creating art again, but for knowing philosophically what art is.

But nevertheless this higher standing of the work of art is questioned by another idea commonly entertained. For nature and its products, it is said, are r. work of God, created by his goodness and wisdom, whereas the art-product is a purely human o{ JO INTRODUCTION work, made by human hands according to human insight. In this contrast between natural production as a divine creation and 'human activity as something merely finite there lies directly the misunderstanding that God does not work in and through men at all, but restricts the sphere of his activity to nature alone.

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