1920
CONTENTS OF VOL. II
SECOND PART
INTRODUCTION
[Evolution of the Ideal in the Particular Types of Fine Art, namely, the Symbolic, the Classical, and the Romantic. Symbolic Art seeks after that unity of ideal significance and external form, which Classical art in its representation of substantive individuality succeeds in securing to sensuous perception, and which Romantic art passes beyond, owing to its excessive insistence on the claims of Spirit]
SUBSECTION I
THE SYMBOLIC TYPE OF ART
INTRODUCTION
OF THE SYMBOL GENERALLY
[1. Symbol as a sign simply in language, colours, etc. [8]
2. Not a mere sign to represent something else, but a significant fact which presents the idea or quality it symbolizes [9]
3. Thing symbolized must have other qualities than that accepted as symbol. Term symbol necessarily open to ambiguity [10]
(a) Ambiguity in particular case whether the concrete fact is set before us as a symbol. Difference between a symbol and a simile. Illustrations [10]
(b) Ambiguity extends to-entire worlds of Art, e.g, Oriental art. Two theories with regard to mythos discussed and contrasted [14]
(c) The problems of mythology in the present treatise limited to the question, "How far symbolism is entitled to rank as a form of Art?" Will only consider symbol in so far as it belongs to Art in its own right and itself proceeds from the notion of the Ideal, the unfolding of which it commences] [19]
DIVISION OF SUBJECT
[1. The artistic consciousness originates in wonder. The effects that result from such a state. Art the first interpreter of the religious consciousness. Conceptions envisaged in plastic forms of natural objects [23]
2. The final aim of symbolic art is classical art. Here it is dissolved. The Sublime lies between the two extremes [26]
3. The stages of symbolical art classified according to their subdivisions in the chapters of this. Second Part of the entire treatise] [29]
CHAPTER I
UNCONSCIOUS SYMBOLISM
A. Unity of Significance and Form in its immediacy [36]
1. The religion of Zoroaster [37]
2. No true symbolical significance in the above [42]
3. Equally destitute of an artistic character [44]
B. Fantastic Symbolism [47]
1. The Hindoo conception of Brahmâ [50]
2. Sensuousness, measurelessness, and personifying activity of Hindoo imagination [51]
3. Conception of purification and penance [64]
C. Genuine Symbolism [65]
1. Nature no longer accepted in its immediate sensuous existence as adequate to the significance. Art and general outlook of ancient Egypt [75]
[(a) The inward import held independent of immediate existence in the embalmed corpse [76]
(b) Doctrine of immortality of the soul as held by Egyptians [76]
(c) Superterranean and subterranean modes of Egyptian art. The Pyramids] [77]
2. Worship of animals, as the vision of a secreted soul. Symbolical and non-symbolical aspects of this cult [78]
3. Works of Egyptian art are objective riddles. The Sphinx symbolic of the genius of Egypt. Memnons, Isis, and Osiris [79]
CHAPTER II
THE SYMBOLISM OF THE SUBLIME
A. Pantheism of Art [89]
1. Hindoo poetry [90]
2. Persian and Mohammedan poetry. Modern reflections of such poetry as in Goethe [92]
3. Christian Mysticism [97]
B. The Art of the Sublime [97]
1. God as Creator and Lord of a subject World. He is Creator, not Generator. His Dwelling not in Nature [100]
2. Nature and the human form cut off from the Divine (entgöttert) [101]
3. Nullity of objective fact a source of the enhanced self-respect of man. Man's finiteness and immeasurable transcendency of God. No place for immortality. The Law [103]
CHAPTER III
THE CONSCIOUS SYMBOLISM OF THE COMPARATIVE TYPE OF ART
A. Modes of Comparison originating from the side of externality [110]
1. The Fable. Aesop [113]
2. The Parable, Proverb, and Apologue [122]
3. The Metamorphosis [125]
B. Comparisons, which in their imaginative presentation originate in the Significance [128]
1. The Riddle [130]
2. The Allegory [132]
3. The Metaphor, Image, and Simile [137]
C. The Disappearance of the Symbolic Type of Art [161]
1. The Didactic Poem [163]
2. Descriptive Poetry [165]
3. Relation of both aspects of internal feeling and external object in the ancient Epigram [165]
SUBSECTION II
THE CLASSICAL TYPE OF ART
INTRODUCTION
THE CLASSICAL TYPE IN GENERAL
1. Self-subsistency of the Classical type viewed as the interfusion of the spiritual and its natural form [175]
[(a) No return of the ideal principle upon itself. No separation of opposed aspects of inward and external [175]
(b) Symbolism absent from this type except incidentally [176]
(c) Reproach of anthropomorphism] [179]
2. Greek art as the realized existence of the classical type [181]
3. Position of the creative artist under such a type [183]
[(a) His freedom no result of a restless process of fermentation. Receives his material as something assured in history or belief [183]
(b) His plastic purpose is clearly defined [184]
(c) High level of technical ability [185]
Classification of subject-matter] [186]
CHAPTER I
THE FORMATIVE PROCESS OF THE CLASSICAL TYPE OF ART
Introduction and Division of subject [189]
1. The Degradation of Animalism as such [191]
(a) The sacrifice of animals. How regarded by the Greeks [192]
(b) The Chase, or examples of such in heroic times [194]
(c) Tales of metamorphosis. Illustrations both from Greek and Egyptian traditions [194]
2. The Contest between the older and later Dynasties of Gods [201]
(a) The oracles whereby the gods attest their presence through natural existences [205]
(b) The ancient gods in contradistinction from the new [208]
[(α) The Titan natural potences included among the older régime [208]
(β) They are the powers of Earth and the stars [208] without spiritual or ethical content. Prometheus. The Erinnyes [209]
(γ) The order of these gods is a succession] [215]
(c) The conquest of the older régime of gods [217]
3. The Positive Conservation of the conditions set up by Negation [220]
(a) The Mysteries [220]
(b) Preservation of old régime still more obvious in artistic creations. Illustrations from Greek poetry [221]
(c) The Nature-basis of the later gods. Nature not in itself divine to the Greek. Illustrations of both points of view [223]
CHAPTER II
THE IDEAL OF THE CLASSICAL TYPE OF ART
Introduction and Division of subject-matter [229]
1. The Ideal of Classical Art generally [230]
(a) The Classical Ideal is a creation of free artistic activity, though it reposes on earlier historical elements [230]
[(α) The Greek gods are neither the appearance of mere external Nature, nor the abstraction from one Godhead [232]
(β) The Greek artist is a poet. But his productive power is concretely spiritual, not merely capricious [233]
(γ) The relation of the Greek gods to human life. Illustrations from Homer, etc.] [233]
(b) What is the type of the new gods of Greek art? [235]
[(α) Their concentrated individuality, or substantive characterization [236]
(β) Their beauty not merely spiritual, but also plastic [237]
(γ) Removal of them from all that is purely finite into a sphere of lofty blessedness exalted above mere sensuous shape] [238]
(c) The nature of the external representation. Sculpture, in its secure self-possession, most suited as the medium [241]
2. The Sphere or Cycle of the Individual Gods [242]
(a) What is called the "divine Universum" is here broken up into particular deities [242]
(b) Absence of an articulate system [243]
(c) The general character of their distinguishing attributes [244]
3. The particular Individuality of the Gods [246]
(a) The appropriate material for such individualization
[(α) The natural religions of symbolism a primary source. Illustrations [247]
(β) That of local conditions [250]
(γ) That of the world of concrete fact. Illustrations from Homer, etc.] [254]
(b) Retention of a fundamental ethical basis [258]
(c) Advance in the direction of grace and charm [259]
CHAPTER III
THE DISSOLUTION OF THE CLASSICAL TYPE
1. Fate or Destiny [261]
2. Dissolution through the nature of the anthropomorphism of the gods [263]
[(a) Absence or defect of the principle of subjectivity as here asserted [263]
(b) The transition to Christian conceptions only found in more modern art. The prosaic art of the Aufklärung. Illustrations [266]
(c) The dissolution of classical art in its own province] [270]
3. Satire [273]
(a) Distinction between the dissolution of classical and symbolic art [274]
(b) The Satire [276]
(c) The Roman world as the basis of the satire with illustrations ancient and modern [277]
SUBSECTION III
THE ROMANTIC TYPE OF ART
INTRODUCTION OF THE ROMANTIC IN GENERAL
1. The Principle of inward Subjectivity [282]
2. The steps in the Evolution of the content and form of the Romantic Principle [283]
[(a) Point of departure deduced from the Absolute viewed as the determinate existence of a self-knowing subject of thought and volition. Man viewed as self-possessed Divine. History of Christ [286]
(b) This process of self-recognition and reconcilement viewed as a process in which strain and conflict arise. Death as viewed by Christian and Greek art contrasted [287]
(c) The finite aspect of subjective life in the secular interests, the passions, collisions, and suffering, or enjoyment of the earthly life] [290]
3. The romantic mode of exposition in relation to its content [291]
(a) The content of romantic viewed relatively to the Divine extremely restricted. Nature divested of its association, symbolic or otherwise, with Divinity [291]
(b) Religion the premiss of romantic art in a far more enhanced degree than in symbolic art. Influence of the romantic principle on the medium adopted [293]
(c) Two worlds covered by the romantic principle, viz., the soul-kingdom of Spirit reconciled therein, and the realm of external Nature from which even the aspect of ugliness is not excluded. Latter world only portrayed in so far as soul finds a home therein] [293]
Division of subject-matter [295]
CHAPTER I
THE RELIGIOUS DOMAIN OF ROMANTIC ART
1. The Redemption history of Christ [302]
(a) The principle of Love as paramount in this religious sphere. How far Art in such a sphere is a superfluity [303]
(b) From a certain aspect the appearance of Art is necessary [303]
(c) The aspect of contingency in the particularity of an individual Person as such Divine [304]
[(α) The presentment by artists of the exterior personality of Christ [304]
(β) The conflict inherent in the religious growth, viewed as a process, though determining that process universally, is concentrated in the history of one person in the first instance [306]
(γ) The feature of death only regarded here as a point of transition to self-reconcilement] [308]
2. Religious Love [309]
(a) Conception of the Absolute as Love [309]
(b) Form of Love as self-concentrated emotion. Affiliation of such with sensuous presentment [310]
(c) Love as the Ideal of romantic art [310]
[(α) Christ as Divine Love [311]
(β) Form most compatible with Art the love of mother. Mary, mother of Jesus [311]
(γ) Love of Christ's disciples and the Christian community] [313]
3. The Spirit of the Community [313]
(a) The Martyrs [315]
(b) Penance and conversion within the soul [320]
(c) Miracles and Legends [323]
CHAPTER II
CHIVALRY
Introduction [325]
1. Honour [332]
(a) Notion of same. Contrast between Greek and modern art in this respect [332]
(b) Vulnerability of same [335]
(c) Reparation demanded. Honour a mode of self-subsistency which is self-reflective [336]
2. Love [337]
(a) Fundamental conception of. Illustrations from poetry [337]
(b) Collisions of the same [341]
[(α) That between honour and love [341]
(β) That between the supreme spiritual forces of state, family, etc., and love [342]
(γ) Opposition between love and external conditions in the prose of life and the prejudice of others] [342]
(c) Limitation of contingency inherent in the conception itself [343]
3. Fidelity [345]
(a) Loyalty of service [346]
(b) The nature of its co-ordination with a social order either in the world of Chivalry or the modern [347]
(c) Nature of its collisions. Illustrations. The "Cid," etc. [348]
CHAPTER III
THE FORMAL SELF-STABILITY OF PARTICULAR INDIVIDUALITIES
Introduction [350]
1. The Self-subsistence of individual Character [354]
(a) The formal stability of character [355]
(b) Character viewed as an inward but undisclosed totality. Illustrations from Shakespeare [359]
(c) The substantial interest in the display of such formal character. Shakespeare's vulgar characters, and the geniality of their presentment [365]
2. The Spirit of Adventure [367]
(a) The contingent nature of ends and collisions [368]
[(α) Christian Chivalry in its conflict with Moors, Arabs, and Mohammedans. Crusades. Holy Grail [369]
(β) The universal spirit of adventure in the personal experience of individuals. Dante and the "Divine Comedy" [371]
(γ) The contingency within the soul due to love, honour, and fidelity] [371]
(b) The comic treatment of such contingency. Ariosto and Cervantes, contrast between [372]
(c) The spirit of the novel or romance [375]
3. The Dissolution of the Romantic type [377]
(a) The artistic imitation of what is directly presented by Nature [379]
[(α) Naturalism in poetry. Diderot, Goethe, and Schiller [381]
(β) Dutch genre painting [382]
(γ) Interest in objects delineated related to artistic personality] [385]
(b) Individual Humour [386]
(c) The end of the romantic type of Art [388]
[(α) Conditions under which it is possible for the artist to bring the Absolute before the aesthetic sense [389]
(β) The position of Art at the present day. Analogous position of modern artist and dramatist [391]
(γ) General review of previously evolved process of Art's typical structure. What is possible for modern art and the conditions necessary. Illustration of the terminus of romantic art with the nature of the Epigram. Supreme function of Art] [394]