Owing to this change the image, instead of remaining as it was previously the unique expression of the Absolute, becomes now merely an ornament, and we thereby discover a relation which ceases to correspond with the notion of beauty. In other words image and significance, instead of being moulded one within the other, confront each other as opposites, precisely, in fact, as was the case in genuine symbolism, though then the process remained incomplete. Consequently works of art which are based on this form are of subordinate rank, and their content is unable to comprise the Absolute itself, and is necessarily restricted to circumstances and occurrences of narrower range. For this reason the forms which are now under discussion are for the most part merely used occasionally and by way of diversion. More closely considered we have in this chapter to distinguish between three principal stages of our process. A. To the _first_ we appropriate those types of presentation commonly known as _Fable_, _Parable_, and _Apologue._ In these the severation of form and significance, which constitutes the characteristic trait of the entire sphere to which this chapter refers, is not as yet _expressly_ recognized; that is to say, the _subjective_ aspect of the comparison is not yet fully _emphasized_; consequently also the representation of the particular and concrete phenomenon, through which the universal significance is finally to declare itself, still remains the _predominant_ factor. B. In the _second_ stage, on the contrary, the universal _import_ asserts its independent mastery over the elucidating form, which now appears merely as _attribute_, or, under the guise of an image, capriciously selected by the mind which makes the contrast. To this type belong the _Allegory_, _Metaphor_, and _Simile_. C. In the _third_ stage we meet with the visible and complete _collapse_ of those related aspects in the symbol which previously had either been immediately joined in union, despite the fact of their relative incongruity, or in their independent severation had still persisted under a relation of affinity[35]. Out of this arises that form of content which is cognized as independent in its prosaic[36] universality, to which the art-form has become wholly an external relation; on the one hand we find it represented by the _didactic_ poem, on the other that very aspect of its external form is accepted for what it is, and exemplified in so-called _descriptive_ poetry. Here we find that every association and relation of symbolism has vanished; we have to look round us for some more comprehensive union of form and content, and one more truly adequate to the notion of art. [Footnote 5: So the French expression _des couleurs_, and our English "the colours."]