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 B. BOSANQUET, HEGEL'S PHILOSOPHY OF FINE ART. 599 books are often executed with little clearness of principle and little consideration of the real needs of those who are likely to use them. Some of the notes explain allusions, and give useful references to Scherer's History of German Literature. The only pity is that there are not more references of this kind. Once or twice Mr. Bosanquet quotes Browning in illustration. Might he not have referred to Keats's Ode on a Grecian Urn, as explaining better than anything else the significance of Hegel's rather bald and undeveloped remark about the relative permanence of the work of art (p. 55 in tr.) ? A passage in Wilhelm Meister, bk. viii. ch. 5 (near the beginning), would also be in point here. When Hegel refers to Home's Elements of Criticism (p. 30 in tr.), the English reader would probably recognise the work more easily under the name of Kames, Henry Home as a Scotch judge taking the title of Lord Kames. The " Prefatory Essay by the Translator " is entitled " On the true Conception of another World ". Any one judging a priori might suppose this rather irrelevant to the philosophy of art. A reference to Hegel himself would show its appositeness. It might be regarded as specially a commentary on a passage in the ^Esthetik (p. 13 in the tr.), as well as on the words from the Logi/c which are quoted as a motto. The writer proposes in this essay " to explain by prominent examples the conception of a spiritual world which is present and actual " (p. xiv.). It might serve as a help to the right understanding of Plato as well as of Hegel. " The ' things not seen ' of Plato or of Hegel are not a double or a pro- jection of the existing world. Plato, indeed, wavered between the two conceptions in a way that should have warned his interpreters of the divergence in his track of thought. But in Hegel, at least, there is no ambiguity. The world of spirits with him is no world of ghosts " (p. xv.). On p. xx. are some striking remarks about "ideal unity". "An army, qua army, is not a mere fact of sense ; for not only does it need mind to perceive it a heap of sand does that but it also needs mind to make it." The Hegelian conceptions, specially chosen for explanation in what follows, are the " Infinite " (which has been so greviously misrepresented in popular opinions about Hegel), Freedom and Immanent Deity. The ' Extreme Eight * among Hegel's professed followers would probably not find the exposition on the last point quite satisfactory to themselves. The Introduction to the ^Esthetik is very valuable as, in Mr. Bosanquet's phrase, " almost a microcosm of Hegel's entire system ". But it is to be hoped that we shall not have to wait very long before the whole of the ^Esthetik, or (what might be better) many of the most striking and significant passages are translated into English. 1 There are pieces of brilliant criticism, 1 There is a translation by Mr. Bryant of the Second and most interesting Part of the ^Esthetik, that which deals with the three types of Art, the Symbolic, the Classical and the Romantic. This appeared in the Journal of Speculative Philosophy (vols. xi.-xiii.), and has been republished (see