By Georg Wilhelm Fredrich Hegel
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Additional resources for Aesthetics: Lectures on Fine Art. Volume I
There are portraits which, as has been wittily said, are 'disgustingly like', and Kant,' in relation to this pleasure in imitation as such, cites another example, namely that we soon get tired of a man who can imitate to perfection the warbling of the nightingale (and there are such men); as soon as it is discovered that it is a man who is producing the notes, we are at once weary of the song. We then recognize in it nothing but a trick, neither the free production of nature, nor a work of art, since from the free productive power of man we expect something quite different from such music which interests us only when, as is the case with the nightingale's warbling, it gushes forth purposeless from the bird's own life, like the voice of human feeling.
The purpose of the limbs, for example, of an organism is the life which exists as actual in the limbs themselves; separated they cease to be limbs. For in a living thing purpose and the material for its realization are so directly united that it exists only in so far as its purpose dwells in it. Looked at from this side, the beautiful should not wear purposiveness as an external form; on the contrary, the purposeful correspondence of inner and outer should be the immanent nature of the beautiful object.
Looked at from this side, the beautiful should not wear purposiveness as an external form; on the contrary, the purposeful correspondence of inner and outer should be the immanent nature of the beautiful object. (d) Fourthly, and lastly, Kant in treating of the beautiful holds firmly that it is recognized, without a concept, as the object of a necessary delight. 3 Necessity is an abstract category and it indicates an inner essential relation of two sides; if and because the Throughout this passage Hegel is dealing with Kant and indicating his connection between artistic and teleological judgement.