Georg Wilhelm Friedrich Hegel, German philosopher and theologian (1770–1831)
23 Quotes Tagged: hegel
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"When we say, "God is love," we are saying something very great and true. But it would be senseless to grasp this saying in a simple-minded way as a simple definition, without analyzing what love is. For love is a distinguishing of two, who nevertheless are absolutely not distinguished for each other. The consciousness or feeling of the identity of the two - to be outside of myself and in the other - this is love. I have my self-consciousness not in myself but in the other. I am satisfied and have peace with myself only in this other - and I am only because I have peace with myself; if I did not have it, then I would be a contradiction that falls to pieces. This other, because it likewise exists outside itself, has its self-consciousness only in me, and both the other and I are only this consciousness of being-outside-ourselves and of our identity; we are only this intuition, feeling, and knowledge of our unity. This is love, and without knowing that love is both a distinguishing and the sublation of the distinction, one speaks emptily of it. This is the simple, eternal idea."
Beauty and art, no doubt, pervade all business of life like a kindly genius, and form the bright adornment of all our surroundings, both mental and material, soothing the sadness of our condition and the embarrassments of real life, killing time in entertaining fashion, and where there’s nothing to be achieved, occupying the place of what is vicious, better, at any rate, than vice.
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La dialettica hegeliana si fondava sul coraggio fisico: colui che non ha paura sarà il padrone, colui che ha paura sarà lo schiavo. La dialettica romanzesca si fonda sull'ipocrisia: la violenza, lungi dal servire gli interessi di colui che la esercita, rivela l'intensità del suo desiderio; è dunque un segno di schiavitù.
Epic art is founded on action, and the model of a society in which action could play out in greatest freedom was that of the heroic Greek period; so said Hegel, and he demonstrated it with The Iliad: even though Agamemnon was the prime king, other kings and princes chose freely to join him and, like Achilles, they were free to withdraw from the battle. Similarly the people joined with their princes of their own free will; there was no law that could force them; behavior was determined only by personal motives, the sense of honor, respect, humility before a more powerful figure, fascination with a hero's courage, and so on. The freedom to participate in the struggle and the freedom to desert it guaranteed every man his independence. In this way did action retain a personal quality and thus its poetic form.
Against this archaic world, the cradle of the epic, Hegel contrasts the society of his own period: organized into the state, equipped with a constitution, laws, a justice system, an omnipotent administration, ministries, a police force, and so on. The society imposes its moral principles on the individual, whose behavior is thus determined by far more anonymous wishes coming from the outside than by his own personality. And it is in such a world that the novel was born.
[O]ne has to have endured a few decades before wanting, let alone needing, to embark on the project of recovering lost life. And I think it may be possible to review 'the chronicles of wasted time.' William Morris wrote in The Dream of John Ball that men fight for things and then lose the battle, only to win it again in a shape and form that they had not expected, and then be compelled again to defend it under another name. We are all of us very good at self-persuasion and I strive to be alert to its traps, but a version of what Hegel called 'the cunning of history' is a parallel commentary that I fight to keep alive in my mind.
"Hölderlin's sense of loss and destitution was not simply due to a personal predilection for suffering, but was part of a larger cultural phenomenon that arose from powerful currents seething under the Enlightenment — an increasing alienation from nature and a growing sense of disenchantment in the face of a triumphant rationality and waning traditions and values. Hölderlin was not alone in perceiving these changes and experiencing them deeply. Hegel, for example, famously wrote of alienated consciousness, and Schiller described modern human beings as "stunted plants, that show only a feeble vestige of their nature." Hölderlin, for his part, reacted to these currents with an almost overwhelming longing for lost wholeness."
"May Hegel's philosophy of absolute nonsense - three-fourths cash and one-fourth crazy fancies - continue to pass for unfathomable wisdom without anyone suggesting as an appropriate motto for his writings Shakespeare's words: "Such stuff as madmen tongue and brain not," or, as an emblematical vignette, the cuttle-fish with its ink-bag, creating a cloud of darkness around it to prevent people from seeing what it is, with the device: mea caligine tutus. - May each day bring us, as hitherto, new systems adapted for University purposes, entirely made up of words and phrases and in a learned jargon besides, which allows people to talk whole days without saying anything; and may these delights never be disturbed by the Arabian proverb: "I hear the clappering of the mill, but I see no flour." - For all this is in accordance with the age and must have its course."
No matter how deeply it [a faith based on mere authority] entrenches itself behind authority, no matter how artfully it seeks to ward off all counter-hypotheses and alternative possibilities by assembling a system that covers every conceivable circumstance . . . , reason will still venture to subject it to critical scrutiny. And it will do so spontaneously [aus sich selbst], generating from within itself principles of possibility and plausibility irrespective of any such artificial historical structure predisposed to neglect reason and to claim primacy on historical grounds over the persuasiveness of rational truths.