쉘링의 예술철학

노희직(Noh Hee-jik) 한국외국어대학교 외국문학연구소 2003 외국문학연구 Vol.- No.14

In his philosophical system, Schelling locates what he is seeking in aesthetic intuition. Thus, transcendental idealism culminates in a philosophy of an to which Schelling attaches a great importance. An is grounded on the power of productive intuition which is indispensable organ or instrument of transcendental idealism. Aesthetic intuition manifests the basic truth of the unity of the unconscious and the conscious, of the real and the ideal. It is considered from the side of the creative power. For Shelling, this is the same power which operates in Nature. In other words, it acts with consciousness in producing the work of art. Transcendental idealism starts with the idea of intelligence which is considered as an absolute act of self-consciousness. But this absolute act produces its object which is objectified in the work of art. The organism is ascribed to an unconscious productive power which does not work with freedom, whereas the work of art expresses freedom: it is the free ego's manifestation of itself to itself. Schelling argues that things are beautiful in virtue of their participation in divine ideas. He emphasizes the metaphysical significance of the work of art as the finite manifestation of the infinite Absolute. Aesthetic intuition is regarded as the intuition of the infinite in a finite product of intelligence. The creative genius exhibits in the work of art an eternal idea. In his philosophical system, Schelling locates what he is seeking in aesthetic intuition. Thus, transcendental idealism culminates in a philosophy of an to which Schelling attaches a great importance. An is grounded on the power of productive intuition which is indispensable organ or instrument of transcendental idealism. Aesthetic intuition manifests the basic truth of the unity of the unconscious and the conscious, of the real and the ideal. It is considered from the side of the creative power. For Shelling, this is the same power which operates in Nature. In other words, it acts with consciousness in producing the work of art. Transcendental idealism starts with the idea of intelligence which is considered as an absolute act of self-consciousness. But this absolute act produces its object which is objectified in the work of art. The organism is ascribed to an unconscious productive power which does not work with freedom, whereas the work of art expresses freedom: it is the free ego's manifestation of itself to itself. Schelling argues that things are beautiful in virtue of their participation in divine ideas. He emphasizes the metaphysical significance of the work of art as the finite manifestation of the infinite Absolute. Aesthetic intuition is regarded as the intuition of the infinite in a finite product of intelligence. The creative genius exhibits in the work of art an eternal idea.

<구운몽(九雲夢)>에 나타난 미적(美的) 표현의 특징과 기능

강혜진 ( Kang Hye-jin ) 고려대학교 민족문화연구원 2020 民族文化硏究 Vol.88 No.-

본고에서는 <구운몽>에 나타난 표현상의 특질을 살펴 그것이 지향하는 아름다움의 성격을 규명하고자 했다. 특히 <구운몽>은 사대부 문인에 의해 창작된 고전소설이므로, 본 논의를 통해 사대부 문인의 의식 세계와 고전소설에 기반한 한국적 아름다움을 도출할 수 있으리라 예상했다. 그리하여 <구운몽>에서 아름다움에 관한 표현들(이하 미적 표현)을 살펴본 결과 크게 두 양상이 확인되었다. 하나는 비움의 미적 표현으로, 깨끗하게 씻겨지고 비워지는 방향으로 아름다움이 구현되고 있었다. 그러므로 여기에는 주로 맑음과 관련된 투명함의 시각적 이미지와 차가움의 촉각적 이미지가 활용되었다. 반대로 풍성하게 채워지는 방향으로 아름다움을 구현하는 채움의 미적 표현도 나타났다. 밝음과 관련된 시각적 이미지와 패옥·풍악의 청각적 이미지, 향의 후각적 이미지, 요리의 미각적 이미지 등이 채움의 미적 표현으로 활용되었다. 비움의 미적 표현과 채움의 미적 표현은 각기 성진의 세계와 소유의 세계의 성격을 표상하는 데에 주로 활용되고 있었다. 그러나 그와 같은 수사적 기능만 행한 것은 아니다. 미적 표현은 세계 전환을 예비하고 자연스럽게 형상화하는 역할을 했으며, 주제를 구현하는 데에도 크게 기여했다. 특히 이는 3차 세계 전환에 해당하는 결말부에서 잘 드러난다. 채움과 비움의 미적 표현이 오묘하게 어우러짐으로써 궁극의 이상적 경지가 묘사되고 있었다. 이처럼 <구운몽>의 미적 표현은 사대부가 중시하는 정신적 가치들과 공명하고 있다 는 점에서 특징적이었다. 채움의 미적 표현을 통해서는 조화롭고 고상한 삶의 성취가, 비움의 미적 표현을 통해서는 현세에 얽매인 삶의 초탈이 꿈꿔졌다. 또한 그 둘을 넘어서는 궁극의 깨달음도 미적 표현을 통해 구현되었다. 어느 것이든 간에 <구운몽>의 미적 표현은 이상을 상정해놓고 그리로 향하는 특질을 보여주고 있었다. This paper aimed to look at a phase of beauty represented by classical novels by paying attention to the aesthetic expression of Guunmong. In particular, Guunmong was created by a literati, so it was expected that the aesthetic expression would be able to extract the beauty that was combined with the nobility’s world of consciousness. Thus, the aesthetic expression of Guunmong confirmed two major aspects. One was the aesthetic expression of emptiness, by which beauty was being embodied in the direction of being washed clean and emptied. Therefore, visual images of transparency and tactile images of coldness, mainly related to clearness, were utilized here. On the contrary, there were aesthetic expressions of filling that embodied beauty in the direction of abundance. These include visual images related to brightness, auditory images of jade and music, olfactory images of incense, and tasteful images of cooking. The aesthetic expression of emptiness and the aesthetic expression of filling were mainly used to represent the character of Sungjin’s world and the Soyou’s world, respectively. However, such rhetorical functions are not the only ones that have been performed. More active functions were also found; first of all, attraction, a function in terms of narrative development. It is a function that induces a change in the main character’s behavior and thus leads to the development of the narrative. The second is the function of global transformation. The world of Guunmong was being transformed three times, and aesthetic expressions were being used to make the transition natural. Third is the function of subject implementation. This, in particular, is well illustrated in the end of the third world transition. The aesthetic expressions of fill and emptiness were subtly blending together to embody the ultimate ideal. As such, the aesthetic expression of Guunmong was characteristic in that it resonates with the spiritual values that nobility appreciates. Through the aesthetic expression of fill, a harmonious and noble life was dreamed. Through the aesthetic ex-pression of emptiness, rising above the common life tied to the present world was dreamed. The ultimate realization beyond the two was also embodied through the aesthetic expression. Either way, the aesthetic expression of Guunmong showed the character of assuming ideals and heading toward those ideals.

박목월 시의 산에 나타난 미학적 특성

정수자(Jeong Soo-Ja) 한국시학회 2006 한국시학연구 Vol.- No.16

Those mountains that appear frequently in the early poems of Park, Mok-Wol are his intensive method for aesthetics and ideal. Based on this idea, the paper tries to clarify the aesthetic root of his poetry focusing on his poems of mountains. In his poetry, mountains inherit tradition and manifest themselves as new aesthetic spaces through creative representations. Those representations, which are based on Oriental Classic Literature, are plain and secure simple aesthetic composition and ideal. This comes from the fact that Park, Mok-Wol considered the world of Oriental Painting as his aesthetic ideal and took its composition. Choice which works as an important method in his poems is a strict act of adopting or rejecting the object, and most of his aesthetics seems to have been realized by choice. With this aesthetic sense and pursuit, his poems of mountains secure the unique traditional beauty and ideal and show the mysterious world like Oriental Painting. Those mountains which are his poetic escape for rest and peace are manifested as an aesthetic utopia which he dreams of. Thus the mountains in his poems have the characteristics of the Oriental and unique ideal like Happy Valley where supernatural peach blossoms flower and blue roe deer live. Those mountains realize the ideal world which is the original space and secures the eternity of solitude. As such, those mountains in the poems that Park, Mok-Wol pursues are his intensive method for traditional aesthetics and ideal and secure unique aesthetic aura. His poems inherit tradition but also build his own unique mountains in the lineage of mountain poetry with the classic image and aesthetics that he preoccupies.

Willa Cather’s Godfrey St. Peter

Jaekwang Hwang 한국영미어문학회 2012 영미어문학 Vol.- No.103

Most critics of The Professor’s House have tended to oversimplify the novel as being structured around a clear-cut opposition between St. Peter’s idealism and Marsellus’s materialism or as being a bitter record of the author’s personal anxiety imbued with her anti-Semitism. To some extent, I also share such critical view that the novel is centered upon a clash between idealism and materialism. I contend, however, that the conflict between these two opposites is dramatized less in terms of St. Peter against Marsellus than as a matter of St. Peter being divided against himself. To put it differently, the fundamental source of St. Peter’s despair and anxiety, which at the novel's end drives him to feel indifferent to his own life and death, resides not so much in Marsellus’s materialism as in St. Peter’s own aesthetic and Romantic idealism, which confronts a subversive, materialistic force from within. His aesthetic idealism is imbued with such an oppositional element largely because it cannot dispense with material support. Thus, St. Peter’s despair and frustration are consequences of the nature of his idealism. The Professor’s House is more a critique of the self-dividing nature of St. Peter’s idealism than a direct indictment of materialism and commercialism. While St. Peter is not an adequate proponent of idealism, Marsellus, the professor's Jewish son-in-law, transcends a mere stereotype as a materialistic villain. Indeed, this flamboyant figure shows some qualities of Tom Outland's idealism, generosity and adventurous sprit that St. Peter admires, and makes untenable a simple dichotomous approach to the novel as a site of two competing forces of idealism and materialism.

Willa Cather’s Godfrey St. Peter: Idealist or Materialist?

황재광 한국영미어문학회 2012 영미어문학 Vol.- No.103

Most critics of The Professor’s House have tended to oversimplify the novel as being structured around a clear-cut opposition between St. Peter’s idealism and Marsellus’s materialism or as being a bitter record of the author’s personal anxiety imbued with her anti-Semitism. To some extent, I also share such critical view that the novel is centered upon a clash between idealism and materialism. I contend, however, that the conflict between these two opposites is dramatized less in terms of St. Peter against Marsellus than as a matter of St. Peter being divided against himself. To put it differently, the fundamental source of St. Peter’s despair and anxiety, which at the novel's end drives him to feel indifferent to his own life and death, resides not so much in Marsellus’s materialism as in St. Peter’s own aesthetic and Romantic idealism, which confronts a subversive, materialistic force from within. His aesthetic idealism is imbued with such an oppositional element largely because it cannot dispense with material support. Thus, St. Peter’s despair and frustration are consequences of the nature of his idealism. The Professor’s House is more a critique of the self-dividing nature of St. Peter’s idealism than a direct indictment of materialism and commercialism. While St. Peter is not an adequate proponent of idealism, Marsellus, the professor's Jewish son-in-law, transcends a mere stereotype as a materialistic villain. Indeed, this flamboyant figure shows some qualities of Tom Outland's idealism, generosity and adventurous sprit that St. Peter admires, and makes untenable a simple dichotomous approach to the novel as a site of two competing forces of idealism and materialism.

노자 자연관념의 미학적 의미

장민 ( Zhang Min ) 영산대학교 동양문화연구원 2017 동양문화연구 Vol.26 No.-

자연은 노자미학사상의 핵심 범주이다. 노자의 자연 관념은 세 가지서로 연관된 차원을 포함하고 있다. 즉, 자신이 이와 같다는 성질, 무위자연의 원칙, 자연스러운 상태를 말한다. 자신이 이와 같다는 성질이 강조하고 있는 것은 만물이 자신의 힘에 의해 존재하고 발전한다는 근본성으로서 아름다움이 아름다움인 이유의 근본 소재이며, 노자가 자연은 본래 진정 아름답다라는 이념을 상징적으로 드러내고 있다. 무위자연의 원칙은 만물이 자신이 이와 같다는 성질을 보편성을 가진 사회행위와 심리원칙으로 추상화한 것이며, 심미 주체에 있어서 심미의 마음의 경계인 심경(“玄鑒”、“虛靜”)이라는 것이다. 이 경계는 노자가 추구하는 사회이상이며, 노자의 심미이상(“恬淡”、“朴拙”)이기도 하다. 자연은 본래 진정 아름답다라는 것, “현감”, “허정”을 심미 심경으로 하는 것, “염담”, “박졸”을 심미이상으로 하는 것은 자연 본성으로의 회귀(“인간의 자연화”)의 미학 정신을 상징적으로 드러내고 있는 것이며, 유가의 “자연의 인간화”의 미학 정신과 상호 보완적 공생으로서 중국 고전미학 정신의 특질을 구성하게 되었다. Nature is the central category of Lao-tzu`s aesthetic thought. Lao-tzu`s idea of nature that includes three interrelated levels:being so in-oneself, natural inaction principle, the natural state. The meaning of nature is being so in-oneself, which emphasizes that all rely on their own strength to existence and development. This is the essence of beauty. Nature, as a kind of principle, is also a kind of aesthetic mood. Moreover, nature, as a kind of a state, is Lao-tzu`s Ideal social patterns and aesthetic ideal. Lao-tzu`s aesthetic ideology has a spirit to return to nature.

论老子自然观念的美学意蕴

张敏 영산대학교 동양문화연구원 2017 동양문화연구 Vol.26 No.-

Nature is the central category of Lao-tzu's aesthetic thought. Lao-tzu's idea of nature that includes three interrelated levels:being so in-oneself, natural inaction principle, the natural state. The meaning of nature is being so in-oneself, which emphasizes that all rely on their own strength to existence and development. This is the essence of beauty. Nature, as a kind of principle, is also a kind of aesthetic mood. Moreover, nature, as a kind of a state, is Lao-tzu's Ideal social patterns and aesthetic ideal. Lao-tzu's aesthetic ideology has a spirit to return to nature. 自然是老子美学思想的核心范畴。 老子的自然观念包含着三个相互关联的维度:自己如此之性质;自然无为之原则;自然而然之状态。 自己如此之性质, 强调的是万物依靠其自身力量存在、发展的根本性, 是美之为美的根源所在, 表征了老子以自然本真为美的理念。 自然无为之原则, 是将万物自己如此之性质抽象为一种具有普遍性的社会行为、心理原则, 对审美主体而言则为一种审美心境(“玄鉴”、“虚静”)。 自然而然之状态, 强调的则是万物依凭其自身力量所达到的一种圆满的境界。 这一境界既是老子所追求的社会理想, 也是老子的审美理想(“恬淡”、“朴拙”)。 以自然本真为美, 以“玄鉴”、“虚静”为审美心境, 以“恬淡”、“朴拙”为审美理想, 表征了一种向自然秉性回归(“人的自然化”)的美学精神, 与儒家的“自然的人化”的美学精神互补共生, 构成了中国古典美学精神特质。

칸트의 미적 세계관은 비판적인가 탈비판적인가

김기수 ( Ki Soo Kim ) 한국칸트학회 2009 칸트연구 Vol.24 No.-

칸트의 `비판철학`은 순수이론이성을 선험적 관념론의 관점에서 비판함으로써 비판적 인식론을 수립한 『순수이성비판』에 정초되어 있다. 이러한 칸트의 비판적 인식론은 코페르니쿠스의 혁명에 비유되는 혁명적 세계관을 개진하는 것과 직접 관계한다. 본 논문이 제기하는 문제는 `비판철학`을 완결하는 『판단력비판』에서 배태된 칸트의 미적 세계관이 과연 그의 인식론적 세계관과 어떤 관계에 있는가이다: 즉, 연장이나 확장인가 아니면 재구성이나 탈피인가? 연장으로 보는 기존의 체계적 해석자들에 반하여, 필자는 칸트가 미적 판단의 원리를 -`(보편 없는) 반성적 판단력,` `목적 없는 합목적성,` `일체의 관심을 떠난 무관심성` 등에서 보듯- 오성과 이성에 대한 부정적(negative) 관계를 통해 미학을 자율적 담론으로 수립하고 있음에 주목하여, 칸트가 「미적 판단력 비판」에서 그의 `비판적 인식론`과는 대조적인 새로운 인간관(觀)과 주객의 관계를 정식화하고 있음을 밝힌다. 나아가 필자는 반성적 판단력과 자연의 합목적성이 미적으로 적용될 때 그 바탕으로서 상상력과 오성의 자유로운 유희가 -인식적 판단에서는 이 관계가 가부장적 수직적 통일로 규정되어 있는데 반해- 주체의 내면세계나 주객의 관계를 자발적인 수평적 조화로 수립하는 토대가 되고 있음을 논증함으로써 어떻게 미적 세계관이 인식론적 세계관으로부터 벗어나 있는지를, 따라서 탈비판적 인지를, 보여준다. 그리하여 필자는 『판단력비판』에서 개진된 칸트의 비판미학이 비록 체계적 취지에서 비판적으로 정향되어 있다할지라도 세계관적으로는 탈비판성을 지향하고 있는 것으로 -즉 주체와 객체, 자아와 타자 사이의 관계에서 탈주체중심주의, 탈자아중심주의를 제창함으로써 근대철학의 주관주의, 이성주의의 문제를 극복하려는 것과 연관된 것으로- 판명될 수 있고, 바로 거기에 칸트미학의 현대적 의의가 있다고 주장한다. Kant`s critical philosophy is founded on the Critique of Pure Reason wherein his critical epistemology is established by virtue of a critique of pure theoretical reason from the standpoint of transcendental idealism. Kant`s critical epistemology is concerned with putting forward an epochal worldview analogous to the Copernican revolution in astronomy. The question is: How is Kant`s epistemological worldview related to his aesthetic worldview advanced in the Critique of Judgment? An extension or abandonment? Contrary to the systematic commentators who see this as an extension, I observe that Kant establishes aesthetics as an autonomous discourse by pitting aesthetic judgments against the concepts of understanding and reason in the Critique of Judgment -as is the case of `reflective judgment,` `purposiveness without purpose,` `disinterestedness`- and thereby formulates a conception of humanity and a relationship between the subject and the object in contrast with his critical epistemology. For this purpose, I ascertain that, in the aesthetic enactment of `reflective judgment` and `natural purposiveness,` a free play of imagination and understanding constitutes their respective grounds upon which to promote a spontaneous and horizontal harmony between the subject and the object whereas the subject-object relationship features as a paternalistic and vertical unity in case of cognitive judgments, and show how Kant`s aesthetic worldview entails an abandonment of his epistemological worldview and thus can be regarded `post-critical.` All in all, I argue that Kant`s critical aesthetics, albeit systematically oriented toward the completion of critical philosophy, takes a post-critical stance insofar as it is concerned with a worldview, a stance that is relevant to dealing with problems of modern subjectivism and rationalism by propounding a balanced view on the relation between the self and the other, and that this may account for the significance of Kant`s aesthetics in light of our post-modern discourses.

미적 가치와 여성성의 교착 피그말리온 신화를 넘어

윤조원 ( Joe Won Yoon ) 미국소설학회(구 한국호손학회) 2010 미국소설 Vol.17 No.3

The myth of Pygmalion is a classical instance of male desire to mold femininity into men`s aesthetic ideals. It also illustrates how the creature embodying the male notion of ideal feminine beauty ultimately dismantles the structure of epistemological binarism. Many discursive variations of the Pygmalion myth are found in turn-of-the-century America and Europe, where the commodification of art and women centered around the bourgeois male subject`s conflation of femininity, aesthetic value, and the notion of beauty. I revisit Pygmalion`s story in an attempt to deconstruct layers of gender politics embedded in the myth. A close reading of the myth provides a relevant frame of reference for uncovering Pygmalion`s prototypical impulse for aesthetic idealization of the feminine and also for reconsidering the reinforcement of the cult of feminine beauty in the burgeoning modern consumer culture of the turn-of-the-century. Numerous literary works incorporate the motif of Pygmalion, reflecting the persistence of the myth`s archetypal gender dynamics as well as a perceived necessity for a critical intervention thereof. I turn to Edith Wharton`s tale "The Daunt Diana," for it redefines the nature of artistic experience by revising power relations traditionally ascribed between the aesthetic/feminine object and the masculine artist/collector. Through its revised Pygmalionic paradigm, Wharton`s story envisions a sexual and aesthetic relationship that resists phallocentric proprietary desire to shape, confine, and control femininity.

헤겔철학 전반 : 헤겔의 실러 수용과 비판

서정혁 ( Jeong Hyok Seo ) 한국헤겔학회 2012 헤겔연구 Vol.0 No.31

헤겔은 ``미학 강의`` 등에서 실러에 대해 긍정적이면서도 동시에 부정적인 태도를 취한다. 헤겔이 실러의 사상에서 긍정적으로 수용하려는 점과 부정적으로 비판하려는 점이 무엇인지는 다음과 같이 네 가지 측면에서 검토될 수 있다. 첫째, 헤겔의 실러 사상의 수용은 그의 칸트 철학 비판과 밀접하게 연관되어 있다. ``미학강의``에서 헤겔은 칸트 철학의 주관주의와 이원론을 극복하려고 했다는 점에서 실러를 긍정적으로 수용하기도 하지만, 이러한 수용은 실러의 사상 전반에 대한 ``무조건적 수용``이라기보다, 칸트 철학의 한계를 비판한다는 조건 하에서의 ``제한적수용``이다. 그렇기 때문에 실러의 사상이나 작품도 헤겔에게는 언제나 특정한 조건 하에서 비판의 대상이 될 수 있는 가능성은 열려 있다. 둘째, 실제로 헤겔은 실러의 작품들을 구체적으로 분석함으로써 그의 사상을 비판한다. 헤겔은 실러의 『도적떼』의 주인공 ``칼 모어``와 『발렌슈타인』의 주인공 ``발렌슈타인`` 같은 영웅적인 인물을 ``미학 강의``에서 집중적으로 분석하고 비판한다. 헤겔은 고대와는 전혀다른 근대 세계에 고대의 원리를 재현하려는 실러의 시도는 비현실적이라고 주장하면서, 실러의 이상주의가 초래하는 비극적 최후는 작품뿐만이 아니라 실러라는 작가 자신의 삶 속에서도 드러난다고 본다. 셋째, 헤겔은 실러의 이상주의의 토대가 되는 종교에 대한 관점을 비판한다. 헤겔에 의하면 실러는 계몽주의의 영향을 받은 기독교에 대해 반감을 가지고, 그에 반해 고대 그리스에 대해서는 동경의 시선을 보낸다. 실러와 달리 헤겔은 고대 그리스의 종교를 근대 기독교보다 더 낮은 단계라고 평가한다. 이러한 평가에서 고대의 이상적인 모습을 희구만 하는 실러를 비판하는 헤겔의 ``현실주의``가 잘 드러난다. 끝으로, 실러가 제시한 ``아름다운 국가``를 헤겔이 어떻게 구체적으로 비판하고 있는지를 검토한다. 헤겔이 보기에 심미적 교육을 통해 분열을 극복하여 ``이상적인 국가``를 이루려는 실러의 시도는, 마치 『도적떼』에서 기존의 모든 질서를 부정하고 ``이상적인 공화국``을 이루려는 칼모어의 시도와 다르지 않다. 헤겔은 실러가 주장한 ``아름다운 국가``의 실현가능성에 대해 매우 회의적이다. 헤겔에 의하면 참된 이상은 감각적인 외적 현실 속에서 실현될 수 있어야 하고, 국가와 같은 정치적 형식을 예술의 심미적 형식과 혼동해서는 안 된다. 따라서 헤겔에 의하면 실러는 애초에는 근대성에 내재하고 있는 추상성과 분열을 극복하려고 하지만, 결국에는 실러 자신도 실현될 수 없는 이상에 집착함으로써 비현실성을 벗어나지 못한다. 이 점을 실러 자신도 의식하면서, 그것을 ``체념적 슬픔``으로 표현할 수밖에 없었던 것이다. Hegel is positive about Schiller, but at the same time portrays a negative attitude in his Lectures on Aesthetics, etc.. What he will accept as positive and criticize in Schiller`s thought can be examined in four aspects as follows: First, Hegel`s acceptance of Schiller`s ideas is closely related to his criticism of Kant`s philosophy. Hegel accepts Schiller`s thought favorably, because Schiller will overcome Kant`s subjectivism and dualism. But this is not an unlimited acceptance but a limited one, under the condition that Schiller criticizes the limits of Kant`s Philosophy. Therefore, it is possible that Schiller`s thought and works are criticized by Hegel under certain conditions. Second, Hegel criticizes Schiller by analyzing his work. Hegel concentrates on analysis and criticism of heroes like Wallenstein in Wallenstein and Karl Moor in Die Rauber in his Lectures on Aesthetics. Hegel claims that Schiller`s attempt to reproduce the ancient principles in the modern world is unrealistic, and that the tragic end which results from Schiller`s idealism appears not only in his work but also in his own life. Third, Hegel criticizes Schiller`s perspective on religion which is the basis for his idealism. According to Hegel, Schiller has a hatred of Christianity which has been affected by the Enlightenment, but in contrast, Schiller is envious of the ancient Greeks. However Hegel regards the religion of ancient Greece as being at a lower level than Christianity. In this evaluation Hegel`s actualism is revealed, which in turn criticizes Schiller`s desperate longing for the ancient ideal state. Finally, we examine how Hegel cirticizes Schiller`s beautiful state concretely. In Hegel`s view, Schiller`s attempt to make an ideal state through the aesthetic education to overcome devisions is not different from Karl Moor`s attempt in Die Rauber to establish the ideal republic by negating all of the existing order. Hegel is very skeptical about the feasibility of the beautiful state which Schiller suggests. Hegel claims that the true ideal could only be put in practice in a sensible and real world. According to Hegel the political form like a state should not be confused with the aesthetic form of art. Hegel claims that Schiller initially will overcome the abstractedness and dualism in the modern world, but eventually can`t escape from unrealism because he sticks to an ideal that can`t be realistic. Schiller is conscious of this point, and then is resigned to accept the flaw in his thought and works.