As regards Ludwig Tieck, his culture, too, dates from that period in which for some time Jena was the literary centre.[132] Tieck and others of these distinguished people display great familiarity with the phrases in question, but without telling us what they mean by them. Thus, Tieck no doubt always says there ought to be Irony; but when he himself approaches the criticism of great works of art, though his recognition and portrayal of their greatness is excellent, yet, if we fancy that now is the best opportunity to explain where the Irony is, _e.g._ in such a work as "Romeo and Juliet," we are taken in--for we hear no more about the Irony. CHAPTER V DIVISION OF THE SUBJECT. 1. After the above introductory remarks, it is now time to pass to the study of our object-matter. But we are still in the introduction, and an introduction cannot do more than lay down, for the sake of explanation, the general sketch of the entire course which will be followed by our subsequent scientific considerations. As, however, we have spoken of art as proceeding from the absolute Idea, and have even assigned as its end the sensuous representation of the absolute itself, we shall have to conduct this review in a way to show, at least in general, how the particular divisions of the subject spring from the conception of artistic beauty as the representation of the absolute. Therefore we must attempt to awaken a very general idea of this conception itself. It has already been said that the content of art is the Idea, and that its form lies in the plastic use of images accessible to sense. These two sides art has to reconcile into a full and united totality. The _first_ attribution which this involves is the requirement that the content, which is to be offered to artistic representation, shall show itself to be in its nature worthy of such representation. Otherwise we only obtain a bad combination, whereby a content that will not submit to plasticity and to external presentation, is forced into that form, and a matter which is in its nature prosaic is expected to find an appropriate mode of manifestation in the form antagonistic to its nature.