[Footnote 33: The relative here agrees, I think, with _die Dienstbarkeit_ rather than _die Kreatur_ or _die Poesie._ Hegel says "compatible with itself and its significance," we should rather say "its sense of its own insignificance."] [Footnote 34: Hegel's words are _sondern in einem subjectiven Dritten_, _welches in beiden Seiten nach seiner subjectiven Anschauung_, etc. This "subjective third" is, as explained below, the way in which the relation between the image and the absolute significance ceases to be regarded as identical.] [Footnote 35: This sentence as it stands is ungrammatical; there is a change in the construction as it proceeds.] [Footnote 36: The prosaic universality is the prose of its form separated from content. It is prosaic because it is unrelated to the vitality of the notion.] CHAPTER I UNCONSCIOUS SYMBOLISM Now that we pass to the consideration of the several distinctions of symbolical art in more detail, we have to make a beginning with the identical beginning of art as it proceeds out of the notion of art itself. This commencement, as we have seen, is the symbolical form of art in its still immediate form wherein the appearance, as purely image or likeness, is neither brought to consciousness nor presupposed--_unconscious symbolism_, that is to say. Before, however, we shall be in a position to consider this form in its genuine symbolical character, it will be necessary to review several presuppositions which the notion of symbolism itself determines in order that we may utilize them for the basis upon which the symbol may unfold itself for scientific apprehension. The point from which we make a start may be defined more closely as follows: The fundamental root of the symbol is, regarding it from one aspect, the immediate union of the universal and thereby spiritual significance with the form which may at the same time be described as adequate and inadequate, an inadequacy, however, which is as yet unperceived. This association, however, must, on the other hand, receive a form from the _imagination_ and _art_, and must not _merely_ be conceived as a Divine reality exclusively immediate to sense. By this means the symbolical originates in the first instance with the _severation_ of a universal import from the immediate _presence of Nature_, in whose existence the Absolute is contemplated as actually present. These two aspects supply us with the preliminary stages for the genuine forms of symbolic art. The _first_ presupposition consequently--we may call it the coming into being of the symbolical--is not that union which is the product of art, but rather just that immediate unity of the Absolute and True and its existence, which is discovered in the visible world apart from art's mediation. A. IMMEDIATE UNITY OF SIGNIFICANCE AND FORM