Form and content are a pair of terms frequently employed by the reflective understanding, especially with a habit of looking on the content as the essential and independent, the form on the contrary as the unessential and dependent. Against this it is to be noted that both are in fact equally essential; and that, while a formless _content_ can be as little found as a formless _matter,_ the two (content and matter) are distinguished by this circumstance, that matter, though implicitly not without form, still in its existence manifests a disregard of form, whereas the content, as such, is what it is only because the matured form is included in it. Still the form comes before us sometimes as an existence indifferent and external to content, and does so for the reason that the whole range of Appearance still suffers from externality. In a book, for instance, it certainly has no bearing upon the content, whether it be written or printed, bound in paper or in leather. That however does not in the least imply that apart from such an indifferent and external form, the content of the book is itself formless. There are undoubtedly books enough which even in reference to their content may well be styled formless: but want of form in this case is the same as bad form, and means the defect of the right form, not the absence of all form whatever. So far is this right form from being unaffected by the content that it is rather the content itself. A work of art that wants the right form is for that very reason no right or true work of art: and it is a bad way of excusing an artist, to say that the content of his works is good and even excellent, though they want the right form. Real works of art are those where content and form exhibit a thorough identity. The content of the Iliad, it may be said, is the Trojan war, and especially the wrath of Achilles. In that we have everything, and yet very little after all; for the Iliad is made an Iliad by the poetic form, in which that content is moulded. The content of Romeo and Juliet may similarly be said to be the ruin of two lovers through the discord between their families: but something more is needed to make Shakespeare's immortal tragedy.