[165] In the sense "self-complete," "not primarily regarded as explained by anything outside," like a machine or an animal contrasted with a wheel or a limb, which latter are finite, because they demand explanation and supplementation from without, i.e. necessarily draw attention to their own limit.
[166] i.e. shape taken simply as an object filling space.
[167] The terms used in the text explain themselves if we compare, e.g., a Teniers with a Greek statue, or again, say, a Turner with the same. "Subjectivity" means that the work of art appeals to our ordinary feelings, experiences, etc. Music and poetry are still stronger cases than painting, according to the theory. Poetry especially can deal with everything.
[168] The unity of the individuals forming a church or nation is not visible, but exists in common sentiments, purposes, etc., and in the recognition of their community.
[169] An expression constantly applied to consciousness, because it can look at itself. Cf.:—
"'Tell me, good Brutus, can you see your face?'
'No, Cassius; for the eye sees not itself
But by reflection, by some other things.'"
Julius Cæsar.
[170] Posited or laid down to be ideal; almost = pronounced or made to be in the sense of not being; e.g. musical sound is "ideal" as existing, qua work of art, in memory only, the moment in which it is actually heard being fugitive; a picture, in respect of the third dimension, which has to be read into it; and poetry is almost wholly ideal, i.e. uses hardly any sensuous element, but appeals almost entirely to what exists in the mind. "Subdivided," "besondert," like "particularisirt" above; because of the variety and diversity present in the mere material of colours, musical sounds, and ideas.
[171] Again, the subject of a Turner or Teniers is not objectively universal, in the simplest sense; not something that is actually and literally the same everywhere and for every one. And both painting and music (immediately sensuous elements) are less completely amalgamated with the ideal, represent it less solidly and thoroughly than the statue, so far as the ideal is itself external or plastic.
[172] The greater affinity of Romantic art with the movement and variety of the modern spirit displays itself not only in the greater flexibility of painting, music, or poetry, as compared with architecture and sculpture, but in the fact that the Romantic type contains these three arts at least, while the Symbolic and Classical types had only one art each.