(_β_) Movement as related to externality. The initial stage of action. Greek sculpture (_γ_) Situation in movement presented as an opportunity to further expression. Illustrations from poetry] (_c_) The Collision [(_α_) Collisions which arise from wholly material conditions. Only of artistic interest as a consequence of natural misfortune. Illustrations (_β_) Spiritual collisions dependent on natural conditions. Classified and illustrated. (_γ_) The above only form the starting-point of the collision of the essential forces of spiritual life. The third and most important type is the collision caused by the disruption of Spirit alone. Illustrations] 3. The Action (_a_) The universal forces operative in the action. [(_α_) These forces are the eternally paramount religious and ethical modes of relationship, such as family, fatherland, church, friendship, status, honour, and love. They are children of the one absolute Idea. Illustration of their contention (_β_) They must not act in discord with the main action. The position of evil powers as confronting them, and its treatment by classic and modern poetry (_γ_) Such forces must appear in Art as embodied in particular personalities. Contrast between ancient and modern art in this respect] (_b_) The individuals concerned in the action [(_α_) The relations between gods and men in classical art, and that between the Divine and the human in Christian art [_β_] Pathos considered in its relation to various modes of art] (_c_) Character [(_α_) Viewed as co-extensive or self-coherent individuality, relatively, that is, to the intrinsic wealth it connotes. Illustrations (_β_) Viewed relatively to the particular form under which it is bound to appear (_γ_) Viewed as a concrete unity coalescing wholly with its determinate form and as assured character. Illustrations classified in their stability and lack of such] III. The External Determination of the Ideal. 1. The abstract Externality as such. [(_a_) Spatiality, Uniformity, Figure, Time, and Colour. (_α_) How far such contribute to artistic production (_β_) The necessity of clear articulation of form and tone considered] 2. The Coalescence of the concrete Ideal with its external Reality [(_α_) The bond of unity regarded as no positive reality, but as a mysterious or secret connection. The relation of external Nature to the work of art. The Homeric poems contrasted with the "Niebelungenlied" in this respect (_b_) Where the unity is expressly due to human activity and human adaptation of means to ends [(_α_) The use made by man of ornament or of anything used for mere show, _e.g._, precious metals for statuary (_β_) The question how far objects used for practical purposes are suited for art. The idyllic, civilized and heroic condition compared in the degree they are thus adapted (_γ_) The spiritual environment itself in social institutions, etc., regarded in its relation to ideal character]