We may, however, observe that this resolution of art, despite its adequacy, tends to disappear to this extent, that the contradictory antithesis persists in the form of its _opposition_, and, consequently, instead of the poetic reconciliation a prosaic relation is imported, by means of which the classical type of art appears to be annulled, and the gods of plastic shape no less than the entire world of human beauty vanish with it. We have, then, now to look about us for a form of art, which is able to reclothe itself from the ruins of this overthrow in a loftier configuration and to extract the real significance which it implies. We discovered as the terminating point of symbolic art in the same way that the separation of pure form from its significance was emphasized in a variety of modes such as simile, fable, parable, riddle, and the like. Inasmuch as the severation above adverted to is causally responsible for the dissolution of that art-type, in a similar way the question arises what is the nature of the distinction between our present example of transition as contrasted with the previous one. The distinction is as follows:

(_a_) In the truly symbolic and comparative type of art the form and significance are from the very first, despite the affinity of their relationship, alien to one another; they are placed, however, in no mere negative, but rather in amicable relationship; for it is precisely the qualities and traits which are identical to or resemble each other on the two sides which assert themselves as the causal basis of their conjunction and comparison. Their persistent separation and hostility is consequently within the bounds of this union neither, relatively to the separated aspects, of a _hostile_ character, nor is a blending of the same, within essentially narrow limits, thereby removed from them. The Ideal of classical art, on the contrary, proceeds from the perfect interfusion of significance and form, the ideal individuality of spirit and its external conformation; and when the composite aspects which have been brought together in such a consummated unity are disrupted, this disruption takes place simply because they are unable any longer to cohere one with the other, and are absolutely compelled to start forth from their peaceful state of harmony in disunion and hostility.

The Philosophy of Fine Art, volume 2 (of 4) — Part 196