Chapter 54 (c) Spiritual artwork

Those national gods who realize that their essence is embodied in a particular animal form come together.Those peculiar and beautiful national gods are thus united into a pantheon, and language is the element and sustenance of the pantheon. A pure intuition of the national spirit itself sees universal humanity.This universal human nature as seen by pure intuition, when the national spirit is realized, assumes the form that one national spirit is united with other national spirits by nature or natural conditions, engaged in a common cause, and For this work or career, a whole nation is formed, that is, a whole world is formed.But this universality which the spirit has attained in its specific existence is only a preliminary universality which starts from the individuality of ethical life and has not yet overcome its immediacy, which has not yet emerged from these scattered Nations form a nation.The ethical life of the actual national spirit depends on the direct trust of individuals in the nation as a whole and on the participation of all people, regardless of their status, in the decisions and actions of the government.In such a union, not first of all uniting to establish a permanent order, but only for a common action, all and everyone's freedom to participate must be temporarily set aside.This first communal life is thus a collection of individuals, not dominated by some abstract thought which would deprive the individual of his freedom to participate voluntarily in the will and action of the whole.

I．epic 1.its ethical world The process of assemblage of the national spirits constitutes a series of forms which here include the whole of nature as well as the whole of the ethical world.These two worlds also obey only the supreme command of one [highest essence], not its sovereign rule.They are really two universal entities of a self-conscious essence itself and its actions, but this self-conscious essence constitutes the [propelling] power, at least first of all, the center of connection, for the sake of this center and that of Two Universal Essences labor, and the Center at first seems to unite their accomplished work only in an accidental manner.But the return of the divine essence to self-consciousness already contains the basis on which self-consciousness forms the center of those divine forces, and in the form of the friendly, external connection of the two worlds lies their essential unity.

The universality of this content must also be shared by the form of consciousness in which this content appears.This form of consciousness is no longer the actual act of worship, but an act which, if not yet raised to the concept, has first of all been raised to the representation, to the synthesis of self-conscious beings and external beings. connected.The objective expression of this appearance, language, is the original language, which is the epic. The epic contains a universal content, at least the completeness of the world, although not the universality of thought as its represented content.The singer of the epic is an individual and real person, and the epic is created and spread from the singer who is the subject of this world.The emotion he expresses is not a natural force that makes people stunned, but the memory, recollection, remembrance of the great legendary figures in the past and makes it alive in his heart.He is an instrument lost in what he sings; he himself is insignificant, what matters is his muse, his universal singing.In fact, however, what is represented here is a corollary in which the two extremes (Extrem) of the universal (the world of the gods) and the individual (the singer) act as a medium through the particularity (the epic content of the song). items are combined.The middle term here is the hero of the nation, who, like the singers, are individual men, but only represented [as representatives or types], and are therefore at the same time universal men, like universal freedom. One extreme - like a god.

① Inference is the three-stage (Schluss), here it should be understood as the combination of opposites or the trinity, that is, the combination of universality, individuality and particularity. - translator 2.man and god In such epics, what is latent in worship, the relationship between God and man generally comes to consciousness.Its content is an act of self-conscious nature.This action disturbs the tranquility of the [ethical] substance and stirs the essence, so that its simple unity is broken into parts, from which a world of natural and ethical forces unfolds.This action is the destruction of the quiet earth.The quiet earth of this ethical entity is a tomb, and the destruction of it by the epic hero is a kind of grave-digging.The tomb, sprinkled with blood by the sacrifices and acts of destruction of living gravediggers, is brought to life, awakening the spirits that are dead and longing to regain life, and arouse them in the act of self-consciousness. life.

The cause of this universal activity has two aspects: one is the part belonging to the self, that is, the part completed for the whole of many actual nations and the outstanding figures of each nation; the other is the aspect of universality. One side is the part completed for the substantive power of the peoples.But the nature of the connection between the two aspects is the combination of the universal and the particular, in other words, through the process of representation, and the judgment of the world is based on the nature of this specific combination.The relation of the two sides is thus a mixture in which the actions of unity are unreasonably divided and the actions of the one are unnecessarily attributed to the other.The universal forces take the form of individuality (individuals), whereby these forces have principles of action;

Therefore, when they want to accomplish anything, they seem to do it completely by themselves, and do it freely, just like ordinary people.So gods and men do the same thing.The seriousness with which the divine powers act as if they were grandiose is actually ridiculous and unnecessary, since in fact the divine powers are the driving force of the acting individual.And personal strain and toil are likewise useless endeavors, for the Divine Power reigns supreme. —Those overstretched, doomed mortals, though nothing, are at the same time powerful egos capable of subduing the universal essence, offending the gods, and making them seem real and meaningful. as.On the contrary, the powerless universals, the gods, who feed themselves on the offerings of men, and have things to do through them, are, however, the natural essence and matter of all events and the ethical matter of all actions. and mood.To the same degree, if their primordial nature is realized and brought into play through the free ego of the individual, they are still such a commonality, free from the entanglement of actual activity, that its Nature is unrestricted, and because the unity of universality is highly flexible, it eliminates the isolation and looseness of individual activities and forms and maintains its own purity, and dissolves all individual things in its fluidity to return to unity.

3.The relationship between the gods themselves These universal gods, on the one hand, are in a contradictory relationship with the opposing individual ego, and on the other hand, their universality is also in conflict with their own specific determination and the relationship of this determination to other things.They are eternal and beautiful entities that exist quietly in themselves, never die, and are not dominated by alien forces. —but at the same time they are definite elements, particular gods, which are related to other things.But this relation to the other (conflicting with the other because it involves the opposite) is the ridiculous self-forgetfulness of their eternal nature. —This characteristic of them is rooted in their divine subsistence, and by virtue of that subsistence, has the independence of a whole individuality.Through this self-forgetfulness their characters at the same time lose their sharp individuality and blend indistinctly. —The purpose of the activity of these gods, and their activity itself, since it is directed against something else, and therefore against an invincible divine power, is only an accidental and false parade, this false might Immediately the boasting vanishes, and the feigned seriousness of the behavior is immediately transformed into a harmless, self-assured game, fruitless and fruitless.But if in the divine nature of the gods their negative element or determination [limitation] appears only as an inconsistency in their activities or a contradiction between purpose and effect, and if that independent self is sure to achieve victory over that particular The predominance of the elements of the human body, then, just because of this, the pure force of the negative elements will come out against their natural essence and nature, and this negative force, the last force that denies their [gods] divinity, is they cannot exceed.They are universal and affirmative to the individual selves of those doomed, and their power is against which the individual doomed cannot resist.But the universal ego therefore floats above them [the gods], and above the whole world of representations to which all content belongs, as an empty, non-conceptual necessity. —they can only look upon this event with an egoless, pathetic attitude, because in this purity these specific natures cannot be found.

But this necessity is the unity of the concept by which the contradictory substantiality of the individual moments is governed, in which the inconsistencies and contingencies in the behavior of the individual moments are orderly regulated , and the playful nature of the actions of these individual moments has conceptual seriousness and value in themselves.The content or matter of the world of representation moves loosely and loosely in its medium, and gathers the material of representation around the personality of a hero, but the hero feels the power and splendor of his life destroyed, and sees himself Sad that your death is coming too soon.For the self-fixed and actual individuality is [isolated], ostracized to the extreme, and split into two moments which have not yet discovered and united with each other.One of the moments, the abstract unreal, is the necessity of a life that does not participate in mediation, and so the other moment the real individual, the singer, when he himself stands outside the substance of the performance , and sinking into his appearance or singing, he did not participate in the intermediary life.Both extremes must approach the content; on the one hand, the aspect of necessity must fill itself with [representational] content, on the other hand, the linguistic side of the singer must participate in the content of the representation; The content of the negative must retain in itself the determinate and fixed character of the negative.

①The representational world mentioned here many times contains the meaning of image or imaginary world. - translator Ⅱ.tragedy This higher language—tragedy—brings closer together the split or scattered moments of the essential, action-world.The substance of the divine is differentiated into its forms according to the nature of the concept, and the movement of these forms is also carried out according to the concept.In terms of form, the language of tragedy ceases to be an (epic) narrative, since it enters into content, just as the content of tragedy ceases to be an imaginary thing.The hero himself is his own mouthpiece, while the tragic performance presents to the audience (and the audience is also the audience) self-conscious beings who know their rights and purposes, that is, the limits of their power and will. Prescriptive, and know how to put these things out.They are artists, and their language is different from that which accompanies the usual behavior in real life, and instead of unconsciously, naturally, and naively speaking the outward aspects of what they have begun to do and decide to do, they are It is to express the "thoughts and feelings" (Pathos) that dominate them, to get rid of accidental situations and special details related to individuals, and to prominently express the universal individuality of these thoughts and feelings.Finally, it is the real man who embodies the hero in these tragedies, who plays the tragic hero, just as the molding of a man's hands is essential to a statue, so the actor is essential to his mask, From the point of view of art, the actor is not an external condition which can be abstracted away; or, if the role of the actor can be abstracted from art, then we can say that this art does not yet contain in it the real reality. Inherent self or subject.

1.The different individualities of the chorus, of the tragic hero, of the divine power The common ground on which these movements of form arising from concepts arise is the consciousness of the first representational language and its selfless, disconnected content.The wisdom expressed in words in the chorus of elders is generally the wisdom of the common people; and the common people are represented by this impotent chorus, for the common people themselves constitute only the opposite of themselves. The traditional and passive material of the ruler's individuality.Without the power of negation, ordinary people are unable to hold and connect the richness and diversity of the sacred life, but let them scatter, sometimes praising this moment in the choral hymn that represents the attitude of ordinary people. , Praise that link from time to time, and regard each link as an independent god.But whenever the common people feel the seriousness of concepts and see how they destroy forms and stride forward, whenever they come to see that the gods they sing about try to act on the ground dominated by concepts, How to get into a bad situation, when the ordinary people themselves do not interfere with the negative power of the situation by action, but keep themselves in the thought of the selflessness of that negative power, in the into the consciousness of fate, and brings with it an empty wish for quiet and weak words for consolation.Due to the fear of the higher powers which are the immediate helpers of the entity, of the struggle between these powers, and of the simple self of necessity which destroys not only the living beings united with the higher powers, but also the fear of destroying those higher powers themselves); and out of sympathy for these living beings (because at the same time they know that they are human beings as well), so, as far as ordinary people are concerned, facing this process, One can only feel at first dumbfounded shock, then helpless pity, and finally empty peace, the peace of being at the mercy of necessity.The action produced by this necessity is recognized neither as the necessary action of the character nor as the action of the absolute essence within itself.

In this watching consciousness, that is, on the basis of indifferent representation or performance, spirit does not appear in its scattered multiplicity, but in the simple division of the concept into two (Entzweiung).The spiritual entity thus appears only as a split into its two extreme forces.These basic universal essences are at the same time self-conscious individualities—heroes who throw their consciousness into one of these two forces and find in this the determinateness [or limitation] of their character. nature], and make them functional and fulfilled. —This universal individuation, as we have pointed out, is also reduced to the immediate actuality of particular beings themselves, and is performed before an audience which sees their own reflection in the chorus, or also It can be said that their own ideas are expressed in it. Here the spirit as its own object, its content and movement, has been conceived as the nature and realization of the ethical entity.Spirit, in its religious form, attains consciousness of itself, or, in purer forms and simpler forms, it presents itself before its consciousness.If, therefore, the ethical substance, by virtue of its own conception, divides itself, according to its content, into two powers which are called the divine law and the human law or the lower law and the upper law— The former is the governing family, the latter the law governing the power of the state—the former has a feminine character, the latter a masculine character, and the former and the latter have many forms and have a vacillating character. The gods are likewise assigned to these two powers, which, through this determination, are brought closer to true individuality.For the former differentiation of the whole into multifaceted, abstract, apparently materialized forces is the dissolution of the subject, which sees these abstract forces only as moments within itself, and individuality is only those The apparent form of an essence (or force).On the contrary, further distinctions than the various characters (i.e., characters) just mentioned must be counted as accidental and freely external personalities. 2.The Double Meaning of Individual Consciousness At the same time the essence [of the ethical substance] is divided into two according to its form or according to whether it is known or not.The acting spirit, as consciousness, confronts the object to which it acts, and the object is thus determined as the negation of the knowing subject.The acting subject thus finds himself in the opposition of knowing and not knowing.He determines his own purpose from his character, and knows that this purpose is in accordance with the essence of ethics.But because of the determinate [limitations] of his character, he knows one power of the ethical entity, while another is latent to him.So the objective present reality is, on the one hand, something in itself.On the other hand is that which exists for consciousness; the law of the upper world and the law of the lower world, in this relation, signify the power which knows, which reveals to consciousness, and the power which is hidden in itself, which lurks behind. the power of.A power is the light side, the oracle god, who in its natural aspect (light) was born from the sun that shines all, the all-knowing and all-revealing sun (Phobus) and Zeus ), the latter being the father of the former.But this decree of the truth-speaking God, and its proclamation of what exists, is deceptive.For this knowledge in its conception [essence] is simply ignorance, since consciousness in action is itself this opposition [knowledge and ignorance].Those who had the power to solve the riddle of the Sphinx (Oedipus and he who trusted in the gods naively) were ruined by the words revealed to them by the gods.The priestesses, through whom the beautiful god proclaimed her decrees, are no different from the witches who foretell fate with puns, who, by their prophecies, lead men to sin, and who speak words as if they were certain, because of their puns or To allow two different interpretations deceives the man who takes it at face value.There is therefore a consciousness,5 purer than that which believes in witches, more sober and more thorough than that which believes in priestesses and fair gods, which regards the crime of killing him which the father's own ghost has done Apocalypse, instead of rushing to immediate vengeful action, has to seek other proofs,--so it is done because the ghost of this apocalypse may also be a devil. ①Sphinx is a monster with a sphinx in ancient Greek mythology. It once posed riddles to passers-by on the mountains outside the city of Thebes. Anyone who could not answer them was eaten by it.Oedipus solved its riddle and was made king by the Thebes.But because of his ignorance, he fell into the tragedy of killing his father and marrying his mother. - translator ② Refers to Orestes, a character in ancient Greek tragedy.Ortes innocently listened to the word of God and fell into the tragedy of killing his mother. - translator ③It refers to the ancient Greek Delphi altar through the priestess to declare the oracle issued by Apollo. - translator ④ refers to the witch in Shakespeare's tragedy "Macbeth". - translator This distrust [of revelation] is justified, since the knowing consciousness posits the opposite of ascertainment of itself and ascertainment of the nature of objectivity.Since the justice of the ethical substance insists that reality itself is insignificant in opposition to the absolute law, it finds that its knowledge is one-sided, that its law is only the law of its character, and that it only grasps [ Ethical] A force of entities.Behavior itself is a process of transformation, transforming what it knows subjectively into its counterpart, into objective existence, and transforming character and intellectual justice into the opposite objective justice, that is, into the essence of an ethical entity. Associated justice,—transformed into another agitated hostile force and character— Nemesis.This lower justice sits on the throne alongside Zeus, and enjoys equal respect and prestige with the revealed and all-knowing gods. The divine world of the chorus is confined to these three [supernatural] essences by the acting individuality.One is the [ethical] entity, which is both the power to keep the hearth and the spirit of family filial piety, and the general power to govern the state and government.Since this distinction belongs to the substance itself, it is not individuated in appearance into two different forms, but in reality has two representatives of its character.On the other hand, the distinction between knowledge and ignorance falls on every actual self-consciousness—it is only in the abstract, in the sphere of the universal, that it is distinguished into two individual forms.For the hero's ego (or subject) exists only as a whole consciousness, and thus contains essentially the whole distinction belonging to the form; but the substance of the hero's ego is limited, and only one aspect of the content of the distinction belongs to him of.Thus the two conscious aspects of the individual individuality, which are not separated in reality, each acquire in appearance its particular form: the one in the form of a god capable of giving revelation, the other in the The hidden form of the Nemesis.On the one hand both enjoy equal glory, and on the other hand the form which the substance, Zeus, takes is a necessity in their mutual relation.Substance is the relation: (1) knowledge is for itself (that is, not known to others), but its truth is expressed in simple language; It is based on the inner nature of the annihilation of this distinction; [3] the clear assurance of certainty can only be confirmed in the oblivion of [all distinctions]. 3.decline of individuality Consciousness by action reveals this opposition; consciousness acting on knowledge received by revelation recognizes the deceitfulness of this knowledge, and, in its content, is faithful to an attribute of substance at the expense of its Another attribute, thus giving the latter a right against itself.When it listens to the God who gave it knowledge and revelation, it does not grasp at the knowledge revealed to it, but by mistakenly believing knowledge which has double meanings for it (because double meanings are such nature of knowledge) against which it must remain vigilant.The delirium of a priestess, the inhuman image of a witch, the sound of a tree, the voice of a bird, the suggestion in a dream, etc., are not modes of expression of truth, but alarming signs of deceit and lack of clarity of mind. and a sign of reliance on piecemeal and casual knowledge.Or to put it another way, the opposing forces offended by (the consciousness that is the tragic hero) appear as written decrees and valid quasi-justice, whether as family rules or as laws of the state.Consciousness (the tragic hero), on the other hand, listens only to its own innate knowledge and conceals what is revealed.But the truth of these two opposing forces, content and consciousness, is the consequence that both are equally valid and, in their opposition produced by action, both are equally false.The movement of the act reveals a unity in the mutual destruction of two forces and two self-aware figures.The self-reconciliation of opposites is the "Lethe of Forgetfulness" (Lethe) in the lower world after death, or the "Lethe of Forgetfulness" in the upper world (or world) in the form of forgiveness, not absolution of guilt, because consciousness already has It cannot deny its guilt, and what needs to be forgiven is its crime, so that its atonement can be comforted.Both are forgetting, and the so-called forgetting refers to the disappearance of the reality and action of the various forces of the entity, as well as the disappearance of the individuality which embodies the various forces, and the disappearance of the power of the abstract thought of good and evil.For none of them can be called essence in itself, but essence is the stillness of the whole in itself, the motionless unity of fate, the static being of the family and the government, and thus their inactivity and immobility. The equal glory, and thus the equal unreality, of vitality, Apollo, and Ellenes, and their spiritual life and activities simply return to Zeus. ① Refers to consciousness, which actually refers to the characters in the tragedy, the same below. ——Translator ②Individuality, here refers to the individual characters, individuals or gods in the tragedy. - translator This fate makes the gods less and less in the celestial world, the unthinking mixture of the divine and the (divine) essences.This amalgamation of the divine and the human makes the acts of the (divine) essence inconsistent, accidental, and undignified.Therefore, the ancient Greek philosophers demanded to exclude such non-essential appearances (or images), and generally speaking, this elimination work has already begun in tragedies, which is manifested in: the distinction of entities is dominated by concepts, Individuality is thus essential individuality, and determinations are absolute characters.The self-consciousness shown in the tragedy therefore knows and recognizes only one supreme power—Zeus, and only knows and recognizes that Zeus is the power that dominates the country or the family, and from the perspective of intellectual opposition, self-consciousness only knows And recognizes only this supreme power as knowledge in the making, the father of knowledge of the particular,—and at the same time it recognizes this supreme power as Zeus, called to by oath and vengeance, as the universal or hidden within. something of Zeus.On the other hand, those moments which further emanate from the concept and disperse into the form of representation, the validity of which is recognized by the chorus one by one, do not express the pathos of the tragic hero, but set him in passion. , Trapped in accidental and non-essential moments, which the chorus still praises, of course, but which do not constitute the character of the heroes, and are not regarded by the heroes as sufficient to express their essence. Furthermore, the incarnations of the Divine Essence itself and the personalities of its substance dissolve into unconscious simplicity.Contrary to self-consciousness, this inevitability is characteristic of all the negative forces that arise in all its forms, in which these images not only fail to know themselves, but destroy themselves in them.The ego appears only as what is assigned to the individual heroes, not as a mediating factor present in the movement.But self-consciousness, the simple certainty of the ego, is in fact the negative power, the unity of the essential and abstract necessity of Zeus's substantiality: this is the spiritual unity to which all things return.Since actual self-consciousness is still distinct from substance and destiny, it [real self-consciousness] is, on the one hand, the chorus, or rather the spectating crowd, which regards this movement of divine life as something alien. Filled with dread, or taking the movement personally, but eliciting only a touch of sympathetic inaction.On the other hand, although consciousness takes part in action and is connected with the tragic figure, this union is external and a disguise, since there is not yet a real union, no union of ego, destiny, and substance.The hero who appears to the audience splits into his mask and actor, character and real self. The self-consciousness of the hero in tragedy must emerge from its mask and manifest itself as knowing that it is both the destiny of the gods of the chorus and the destiny of the absolute forces themselves, and that it is not the same as the chorus, the general consciousness. separate. Ⅲ.comedy Comedy, then, first of all has the aspect of presenting the real self-consciousness as the destiny of the gods.These primordial gods, as universal links, are not ego, nor real.It is true that they have an individual form, but this form is only imposed on them by the imagination, and does not really suit them.The actual self does not have such an abstract moment as its substance and content.The actual self, the subject, is thus projected beyond such an abstract moment as an individual quality, and put on the mask of highlighting it, thus showing that the individual quality is exaggerated, alone The irony of being something great.This exaggeration and fanfare of the abstract universal essence (god) is revealed here in the actual ego.Just when the universal essence wants to do something divine, it is bound and unmasked by what appears to be a profane reality. The ego, which here takes the stage under the mask of a significant reality, plays what it once wanted to be; but it likewise soon throws off this pretense, and reveals itself in its naked commonplace, It also shows that its naked, ordinary face is indistinguishable from the real self, the actor, and the audience. The more serious and necessary its content is, the more mischievous and bitterly ironic the phenomenon of disintegration is when the whole of this essentiality embodied in the individual form disintegrates.The divine entity contains within itself natural and ethical essential meanings. 1.nature of being As far as natural things are concerned, real self-consciousness has shown itself to be such a fate when it uses natural things to decorate itself, build houses, etc., and use its offerings to make a feast. : It has seen through the secret of (nature), and knows what it is like to be independent from nature.In the mystical offering of bread and wine, self-consciousness takes for itself the independence of these natural things, together with the meaning of their inner nature; in comedy it is aware of the irony of this meaning. —In so far as this meaning has an ethical character, the essential meaning of natural things is, on the one hand, the nation with its two aspects, the state or real people (Demos) and the family life of the individual, and on the other hand it is the universal conscious pure knowledge or rational thought. —The people, that is, the masses in general, know that they are masters and rulers [of the country], and that their reason and opinions are to be respected, so they forget what they are doing, and put pressure on the country, blind to their own reality. The limitations implied by particularity; thus expressing the ludicrous contrast or contradiction between their own conception of themselves and their immediate existence, their necessity and contingency, their universality and meanness.If the principle of individuality, detached from universality, appears in a specific form of actuality, openly holding and governing the state (and the principle of individuality is the hidden danger of the state), then this will more directly expose the theory as an (abstract) theory. The contrast or difference between the universal and the universal related to practice also shows the complete liberation obtained by the purpose of direct individuality from the general order and the mockery of the general order by direct individuality. ① ①Refer to Aristophanes' comedy "Knight" which satirizes the Athenian democrat leader at that time and the typical political demagogue Cleo who was eloquent and deceived the people. - translator 2.The Essencelessness of God's Abstract Individuality Rational thinking cancels the contingent modality of the divine essence, and the non-conceptual wisdom of the chorus (which formulates various ethical maxims and holds authority for a whole host of moral rules, specific duties, and conceptions of justice) Instead, it elevates these things to simple ideas of beauty and goodness.This abstract [thinking] movement is a clear awareness of the dialectic contained in these maxims and rules, and thus of the disappearance of the absolute authority which they had previously had.由于表象赋予那些神圣本质性的偶然的规定性和肤浅的个体性消失了，这些神圣本质性就它们的自然一面看来便只剩下它们赤裸裸的直接存在了，于是它们就成为"云"①，一种消逝着的烟雾，就象它们的那些表象一样。按照它们的被思维所规定的本质性，它们就成为美和善的简单思想，于是这些关于美、善抽象的简单思想，人们就可以用任何内容去填补。辩证知识的力量使得行为的特定格言和规则成为情欲和为情欲所引入迷途的青年的轻浮性格所任意歪曲利用，而且对于由日常琐屑生活的束缚而感到苦闷和烦恼的老年人来说，这无异于把欺骗的武器放在他们手里。美和美的纯思想因而表现出一出滑稽的戏剧：由于它们从意见中解放出来了——这意见既包含着它们在内容上的规定性，也包含着它们的绝对规定性，意识〔对它们〕的坚执，——它们就成为空虚的东西，而且正因为这样它们就变成偶然的个人意见和任性的玩物。 ①"云"（Wolken），参看阿里斯多芬的喜剧，此剧用夸张手法嘲笑苏格拉底，借以反对当时社会上利用诡辩和雄辩以取得政治权力和诉讼胜利的风气，并借用苏格拉底的口来破除传统宗教对神灵的迷信。黑格尔这里的意思是说，喜剧标志着个人意识的提高，伦理格言，神灵信仰的烟消云散，向天启宗教过渡。——译者。 3.确知自己即绝对本质的个别自我 于是前此没有意识的、持存于单纯的静止和忘记之中的、与自我意识分离的命运，在这里就和自我意识相结合了。个别的自我〔在喜剧里〕乃是一种否定的力量，由于这种力量并且在这种力量支配之下，诸神灵以及它们的各环节——特定存在着的自然和关于自然的诸规定的思想——都消失了；同时个别的自我并不是消失为空无，而是保持其自身于这种空无之中，坚持自身并且是唯一的现实性。艺术的宗教在个别的自我里完成其自身并且完善地返回到自身。由于具有自身确信的个别意识就是这种绝对力量，因而这绝对力量便失掉其为一个与一般意识相分离、相疏远的想象的东西的形式了，——就象雕像那样、也象有生命的美的形体或者象史诗的内容和悲剧中的诸较高力量与人物那样。再则，这里所达到的统一也不是崇拜和神秘仪式中不自觉的统一，而是戏剧演员本人和他所扮演的人物之融合为一，正如观众对表演给他们观赏的人物，感觉非常熟悉，就象看到他们自己在表演一样。这个自我意识所观看到的就是那原来采取本质性的形式与自我意识处于反对地位的东西，现在在他的思想、存在和行动里，却被消融了，并可以受他支配了；这是一切普遍的东西之返回到自身确信，有了这种自身确信，一切异己的东西就完全不显得可怕并失掉其独立存在，而且这种确信也是意识的一种健康状态，和自安于这种健康状态，这是在喜剧以外没有别的地方可以找到的。