of customary parlance. We should rather say that the melody of the song gave an utterance to the words, and the instrumentation was, for the very reason that it was more independent, more directly an accompaniment. But the point emphasized here seems to be the closeness of the association. In this aspect, no doubt, the music actually sung is more an accompaniment to the intelligible content. As a rule accompaniment is generally used as the accompaniment of a song or choral writing, and Hegel himself uses it in this sense previously.]
[Footnote 464: A general truth, no doubt. But not without qualification if we consider the works and indeed the execution of such giants as Bach and Handel.]
[Footnote 465: That is, particularity due to the idiosyncrasies of the artist, and merely personal to him. But the statement applies to classic art more strictly than modern.]
[Footnote 466: That is, music as an accompaniment.]
[Footnote 467: _Gediegenheit._ Something that rings true as a whole, not a thing of patches.]
[Footnote 468: The music of Mendelssohn and others in this direction will raise a doubt in some whether Hegel does not rather overstate his case here.]
[Footnote 469: _Besonderung._ The relative isolation that is effected by marked assertion.]
[Footnote 470: Throughout this discussion the personal bias of Hegel for the Italian opera is obvious. In the light of the actual knowledge of his day the wonder is that his own tastes permitted his being even as fair as he is. It may be doubted whether he had any strong sense for orchestral or chamber music at all. His reflections must be read throughout with this reservation.]
[Footnote 471: Or, as Hegel more technically calls it, and I have above translated it, "subjectivity."]
[Footnote 472: That is, dependent on living beings for its presentation in every case.]
[Footnote 473: The execution of Paganini is, of course, the classic example. But all cadenzas executed by a great artist, even though carefully studied, express something of the spirit.]
[Footnote 474: Hegel means that such music expresses not so much rational freedom as the fundamental independence of the self-conscious principle.]
[Footnote 475: By _dürftiger Kopf_ I understand Hegel to mean the headstrong charlatan as contrasted with the virtuoso who is also a trained musician. Paganini had a vein of both in his composition. The epithet _dürftig_, lit., thirsty, is, however, not very clear, and in so far as it is, the emphasis would not be so much on quackery as absence of all training.]
END OF VOL. III