This earliest animation and inspiration of matter furnishes the medium for the inner and intimate life of the spirit, as yet on an indefinite level; it is through the tones of music that the heart pours out its whole scale of feelings and passions. Thus as sculpture constitutes the central point between architecture and the arts of romantic subjectivity, so music forms the centre of the romantic arts, and represents the point of transition between abstract spatial sensuousness, which belongs to painting, and the abstract spirituality of poetry. Within itself music has, like architecture, an abstract quantitative relation, as a contrast to its inward and emotional quality; it also has as its basis a permanent law to which the tones with their combinations and successions must conform. POETRY For the third and most spiritual expression of the romantic form of art, we must look to poetry. Its characteristic peculiarity lies in the power with which it subjugates to the mind and to its ideas the sensuous element from which music and painting began to set art free. For sound, the one external medium of which poetry avails itself, is in it no longer a feeling of the tone itself, but is a sign which is, by itself, meaningless. This sign, moreover, is a sign of an idea which has become concrete, and not merely of indefinite feeling and of its _nuances_ and grades. By this means the tone becomes the _word_, an articulate voice, whose function it is to indicate thoughts and ideas. The negative point to which music had advanced now reveals itself in poetry as the completely concrete point, as the spirit or the self-consciousness of the individual, which spontaneously unites the infinite space of its ideas with the time-element of sound. But this sensuous element which, in music, was still in immediate union with inner feelings and moods, is, in poetry, divorced from the content of consciousness, for in poetry the mind determines this content on its own account and for the sake of its ideas, and while it employs sound to express them, yet sound itself is reduced to a symbol with out value or meaning. From this point of view sound may just as well be considered a mere letter, for the audible, like the visible, is now relegated to a mere suggestion of mind. Thus the genuine mode of poetic representation is the inner perception and the poetic imagination itself. And since all types of art share in this mode, poetry runs through them all, and develops itself independently in each. Poetry, then, is the universal art of the spirit which has attained inner freedom, and which does not depend for its realization upon external sensuous matter, but expatiates only in the inner space and inner time of the ideas and feelings. But just in this, its highest phase, art oversteps the bounds of its own sphere by abandoning the harmoniously sensuous mode of portraying the spirit and by passing from the poetry of imagination into the prose of thought. SUMMARY