The aesthetic dimension of the ideal state comes out in the idea of harmony, which is the classical idea of beauty as "concinnitas" or "unity-in-variety".

The connection between romantic politics and aesthetics is plain in Schiller's and Novalis's concept of the aesthetic or poetic state.

The romantics really did want to romanticise the world itself, and that meant re-creating the state, society and even nature so that it became a work of art.

The years 1781 to 1793 are crucial for many reasons, but chiefly because they pose in an especially clear way the main problem of German philosophy for the next century. This is the old conflict between reason and faith which recurred during the pantheism controversy between Jacobi and Mendelssohn.

You only have to talk to artists to see that they work according to rules, and that they know all too well that they can employ only certain means to achieve the ends they want.

The absolute as the idea is neither subjective nor objective; it is the intellectual structure under which they are subsumed.

That Hegel is a metaphysician, and that he thinks metaphysics is fundamental to philosophy, is plain enough from his definition of philosophy.