is inflated to the measure of the universal import of Nature's life in its relation to the Brahmin and the power of Nature's gods, which is vouchsafed to man in return for his severe self-mortifications. Such modes of representation are also not to be termed in a strict sense symbolical. That is to say the true symbol suffers the determinate shape, which it applies, to remain under that original definition, because its purpose is not to envisage therein the immediate existent of the significance in its universality, but to point to that import merely _through_ the qualities of the object which are cognate to it. Hindoo art, however, although it severs universality from the singular existing fact, still adds the further requirement that both sides shall be immediately united through the imagination, and is consequently forced to divest determinate existence of its specific limitations, and, albeit in a material fashion, to enlarge in the direction of indefiniteness and generally to change and reconstitute. In this melting down of all clear definition, and in the confusion which results from it, so that that form is always set down as highest for everything, whether phenomena, events, or actions, which in the mode of their figuration can neither for themselves assert nor intrinsically possess and express any control over such content, we may rather seek for features analogous to the type of the _sublime_ than see any illustration of real symbolism. For in the Sublime, as we shall see for ourselves further on, the finite phenomenon only expresses the Absolute, which it would previsage for conscious sense to the extent that in so doing it escapes from the world of appearance, which fails to comprehend its content. This is just its treatment of eternity. Its idea of it is sublime when it has to be expressed in terms of time-duration, precisely through the emphasis it lays on the fact that no number, however great, is sufficient. In this strain runs the text: "A thousand years in Thy sight are even as a day." Hindoo art contains much of the same or similar nature. It strikes the opening notes of "the Sublime" symphony. The main difference, however, between it and the true Sublimity consists in this, that the Hindoo imagination does not in the wild exuberance of its images bring about the essential nothingness of the phenomena which it makes use of, but rather through just this very measurelessness and unlimited range of its visions believes that it has annihilated and made to vanish all difference and opposition between the Absolute and its mode of configuration. In this extreme type of exaggeration, then, there is ultimately little of real kinship with either true symbolism or Sublimity: it is equally remote from the true sphere of beauty. It offers us no doubt, more particularly in its more sober delineation of that which is exclusively human, much that is endearing and benign, many gracious pictures and