A modern translation directly from the original manuscript of Hegel's essay "Solger's Posthumous Writings and Correspondence". This translation contains an afterword explaining this work's place in Hegel's larger philosophic system, the relevant historical background, and a timeline of his life and works. The modern language of the translation and scholarly apparatus are designed to orient the modern reader to Hegel's world in his time, and highlight the continued influence of Hegel in our day. Hegel, a generally inaccessible philosopher due to the sheer size and intricacy of his thought, is explained through the interpretation of Tolstoy, Nietzsche, Schopenhauer and Heidegger in this Afterword to make his historically important body of work accessible to the armchair philosopher.

Karl Wilhelm Ferdinand Solger (1780–1819) was a German philosopher, writer, and aesthetic theorist associated with the Romantic and Idealist traditions of the early 19th century. He is best known for his philosophical exploration of art, aesthetics, and the nature of the infinite, particularly through the lens of dialectics and irony. Solger sought to understand the relationship between finite existence and the infinite, and he often used art, especially literature and poetry, as a medium for addressing this relationship.

Solger was a philosopher focusing on the nature of irony, and is considered to be broadly a part of the Romantic movement. Hegel argues that if knowledge derived from reason cannot gain general consensus and philosophers remain in constant disagreement, this suggests that the pursuit of such knowledge is an unattainable end goal based on a shared deception. He also doubts the abilities of philosophers to achieve such knowledge. Solger’s thought, characterized by its focus on the interplay between the finite and the infinite, resonated with Hegel in its philosophical depth, particularly in the realm of aesthetics. In his review, Hegel praises Solger’s commitment to exploring the dialectical relationship between opposites, such as the tension between the temporal and eternal, as a means of grasping the nature of art and the divine. However, Hegel also critiques Solger’s tendency to remain overly idealistic, arguing that his insights often lack the systematic rigor and philosophical grounding necessary to sustain a comprehensive worldview.

Hegel's extended review of K.W.F. Solger's posthumously published works marks one of his most significant engagements with Romantic aesthetics and philosophy. Written late in his career, the piece demonstrates Hegel's complex relationship with Romantic thought, showing both appreciation for Solger's insights and criticism of what he saw as the limitations of the Romantic approach. The review appeared at a time when Hegel was fully established in Berlin and was actively developing his own systematic aesthetics through his lectures.

While Hegel appreciated Solger's attempt to understand art in relation to the absolute, he criticized what he saw as an overemphasis on negativity and irony in Solger's thought. Unlike his harsh criticism of Friedrich Schlegel's irony, Hegel found in Solger a more philosophically serious attempt to grasp the relationship between finite and infinite in artistic creation. The review thus helps clarify Hegel's own position on art's relationship to absolute truth while demonstrating his capacity for sympathetic yet critical engagement with Romantic aesthetics.