In Hegel on Sacred Poetry: Love, Freedom, and the Practical Roots of the Sublime, Víctor Ibarra B. offers a reexamination of Hegel’s theory of the sublime, focusing on what he identifies as its core element: the sacred poetry of the Judaic Psalms. Challenging the prevailing scholarly view that Hegel showed little interest in the notion of sublimity, Ibarra contends that this interpretation is misleading and warrants deeper investigation. By analyzing Hegel’s remarks on sacred poetry, he reveals a critical engagement with the concept of agency as depicted in the Psalms, highlighting how this engagement is integral to Hegel’s broader philosophical project.
Ibarra situates his study within the context of Hegel’s early writings prior to 1800, a period often overlooked but crucial for understanding Hegel’s developing thoughts on freedom, love, and the sublime. He argues that Hegel’s critique of the Judaic conception of divinity and his ensuing rejection of the art of sublimity stem from his early practical objections to Kantian morality. Specifically, Hegel’s discontent with Kant’s notion of freedom—as an abstract, formal autonomy detached from concrete human experience—leads him to critique the dualistic separation between the infinite and the finite, the divine and the human, which he perceives both in Kant’s philosophy and in the Judaic Psalms.
Central to the study is the concept of die heilige Poesie, or sacred poetry, which Hegel identifies as emblematic of the sublime within the symbolic form of art. Ibarra delves into Hegel’s analysis of the Psalms to uncover a critique of the Judaic relationship to God—a relationship characterized by an insurmountable gulf between an absolute, infinite deity and powerless, finite humanity. This dualism, according to Hegel, results in a form of heteronomy where the individual is subjected to external laws imposed by an otherworldly authority, undermining true freedom.
Ibarra explores how Hegel’s rejection of the sublime is interconnected with his philosophy of love, which seeks to overcome the alienation inherent in the Judaic and Kantian frameworks. Love, for Hegel, represents a unifying force that reconciles the finite and the infinite, enabling a form of freedom rooted in the immanent self-determination of the individual. By contrasting the Judaic Psalms’ portrayal of a distant, commanding God with the Christian notion of divine love and incarnation, Hegel advocates for a conception of art and religion that fosters autonomy rather than subjection.
The author also addresses the broader implications of Hegel’s aesthetics, challenging the dominant focus on the “end of art” thesis that has overshadowed other critical aspects of Hegel’s thought. He contends that the neglect of Hegel’s theory of the sublime in contemporary scholarship has led to misunderstandings and oversimplifications, such as the erroneous belief that Hegel’s sublimity is merely an objective counterpart to Kant’s subjective aesthetics. By providing a systematic reconstruction of Hegel’s views on the sublime, particularly through the lens of sacred poetry, Ibarra illuminates the practical dimensions of Hegel’s aesthetics and their relevance to issues of agency, freedom, and historical development.
The study examines the methodological challenges inherent in engaging with Hegel’s lectures on aesthetics, particularly the discrepancies between the original manuscripts and the editions published posthumously by Hotho. Ibarra emphasizes the importance of returning to the revised manuscripts, such as the 1823 lectures edited by Annemarie Gethmann-Siefert, to gain a more authentic understanding of Hegel’s aesthetic theories. This approach allows for a closer examination of Hegel’s actual words and intentions, empasizing his conceptualization of the sublime and its role within his system of art.
In reevaluating Hegel’s early fragments, including “Das Leben Jesu,” “Die Positivität der christlichen Religion,” and “Der Geist des Christentums und sein Schicksal,” Ibarra uncovers the philosophical continuity between Hegel’s early critiques of Kantian morality and his later aesthetic reflections. He demonstrates how Hegel’s early conceptions of love and life serve as a foundation for his mature rejection of the sublime as an art form that perpetuates dualism and hinders the realization of freedom. This continuity underscores the importance of Hegel’s early writings in understanding his overall philosophical development and his eventual stance on the sublime.
By bridging the gap between Hegel’s early practical philosophy and his aesthetics, Hegel on Sacred Poetry offers a comprehensive interpretation of Hegel’s approach to the sublime. Ibarra’s analysis not only fills a critical void in Hegelian scholarship but also contributes to contemporary aesthetic discourse by highlighting the significance of freedom and agency in the evaluation of art and its historical evolution. He contends that Hegel’s dismissal of the art of sublimity is not merely a marginal aspect of his thought but is deeply rooted in his commitment to overcoming forms of alienation and heteronomy that inhibit genuine freedom.
This study is essential reading for scholars of Hegel, aesthetics, and the philosophy of art, providing a fresh perspective on Hegel’s engagement with the sublime and its practical roots in his philosophy of love and freedom. Through rigorous textual analysis and a deep understanding of Hegel’s philosophical context, Víctor Ibarra B. invites readers to reconsider the complexities of Hegel’s aesthetics and their enduring relevance to modern philosophical debates. His work challenges prevailing assumptions and opens new avenues for exploring the intersections of art, freedom, and the human condition in Hegel’s philosophy.
Simon Gros 
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