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The webcomic so satanik – satanic pentagram of death for Satan from hell and darkness

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(Removed from the final dialogue)
"The second requirement, which is derivable from this first, demands of the content of art that it should not be anything abstract in itself. This does not mean that it must be concrete as the sensuous is concrete in contrast to everything spiritual and intellectual, these being taken as in themselves simple and abstract. For everything that has genuine truth in the mind as well as in nature is concrete in itself, and has, in spite of its universality, nevertheless, both subjectivity and particularity within it. If we say, e.g., of God that He is simply One, the supreme Being as such, we have only enunciated a lifeless abstraction of the irrational understanding. Such a God, as he himself is not apprehended in his concrete truth, can afford no material for art, least of all for plastic art. Hence the Jews and the Turks have not been able to represent their God, who does not even amount to such an abstraction of the understanding, in the positive way in which Christians have done so. For God in Christianity is conceived in his truth, and therefore as in Himself thoroughly concrete, as a person, as a subject, and more closely determined, as mind or spirit. What He is as spirit unfolds itself to the religious apprehensions as the Trinity of Persons, which at the same time in relation with itself is One. Here is essentiality, universality, and particularity together with their reconciled unity; and it is only such unity that constitutes the concrete. Now, as a content, in order to posses truth at all, it must be of this concrete nature, and art demands the same concreteness, because a mere abstract universal has not in itself the vocation to advance to particularity and noumenal manifestation and to unity with itself therein.

If a true and therefore concrete content is to have corresponding to it a sensuous form and modelling, this sensuous form must, in the third place, be no less emphatically something individual, wholly concrete in itself and one. The character of concreteness as belonging to both elements of art, to the content as to the representation, is precisely the point in which both may coincide and correspond to one another; as, for instance, the natural shape of the human body is such a sensuous concrete as is capable of representing spirit, which is concrete in itself, and of displaying itself in conformity therewith. Therefore we ought to abandon the idea that it is a mere matter of accident that an actual phenomenon of the external world is chosen to furnish a shape thus conformable to truth. Art does not appropriate this form either because it simply finds it existing or because there is no other. The concrete content itself involves the element of external and actual, we may say indeed of sensible manifestation. But in compensation this sensuous concrete, in which a content essentially belonging to mind expresses itself, is in its own nature addressed to the inward being; its external element of shape, whereby the content is made perceptible and imaginable, has the aim of existing purely for the heart and mind. This is the only reason for which content and artistic shape are fashioned in conformity with each other. The mere sensuous concrete, external nature as such, has not this purpose for its exclusive ground of origin. The birds’ variegated plumage shines unseen, end their song dies away unheard, the Cereus (Fackeldistel- “torch thistle”)which blossoms only for a night withers without having been admired in the wilds of southern forests, and these forests, jungles of the most beautiful and luxuriant vegetation, with the most odorous and aromatic perfumes, perish and decay no less unenjoyed. The work of art has not such a naive self-centred being, but is essentially a question, an address to the responsive heart, an appeal to affections and to minds."

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243B – Ardour
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123 – Patience

Oct21

by Oasis Nadrama on October 21, 2014 at 11:38 pm

Chapter: Pantagrame Quest

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