[119] Ein blosses Sollen, lit., a mere "should," a mere movement in a given direction.
[120] This is implied in the contrast of the verbs umstalten and überkleiden.
SUBSECTION II
THE CLASSICAL TYPE OF ART
INTRODUCTION
THE CLASSIC TYPE IN GENERAL
Thr central point[121] of art's evolution is the union, in a self-integrated totality, carried to the point of its freest expression, of content and form wholly adequate thereto. This realization, coinciding as it does with the entire notional concept of the beautiful, towards which the symbolic form of art strove in vain, first becomes apparent in classical art. We have already, in our previous consideration of the Idea of the beautiful and of art, outlined the general character of classic art. The Ideal supplies a content and form to classical art, which in this adequate mode in which it is embodied reveals that which true art is according to its notion.
To perfect this result, however, all the various phases of art, whose evolution is the subject-matter of our previous investigations, are contributive. For classical beauty has for its ideal substance[122] free and independent significance, that is to say, not the significance of any particular thing, but a significance which declares itself, and thereby points to its substance. This is the spiritual substance, which in general terms is that which makes of itself an object. In this objectification of itself it possesses the form of externality, which, as identical with its ideal character, is consequently also on its own part the significance of itself, and is made conscious of itself by this self-knowledge. It is true that in our consideration of the symbolical our point of departure was that of the unity of the significance and its mode of envisagement in the art product; but this unity was purely immediate, and for this reason inadequate.