[Footnote 140: The point, of course, is that the different media of the several arts are inherently, and in virtue of the fact that we have not here _mere_ matter as opposed to that which is intellectual rather than sensuous, but matter in which the notional concept is already essentially present or pregnant (sound is, for instance, more ideal than the spatial matter of architecture), adapted to the particular arts in which they serve as the medium of expression.] [Footnote 141: Professor Bosanquet explains these "plastic forms" (_Gestaltungs formen_) as the various modifications of the subject-matter of art (Trans., p. 140 note). I am not quite sure of the meaning here intended. It would apparently identify the term with the _Gebilde_ referred to in the third division. I should myself rather incline to think that Hegel had mainly in his mind the specific general types, that is, the three relations of the Idea itself to its external configuration, viewed as a historical evolution, which Hegel calls symbolic, classical, and romantic. Perhaps this is what Professor Bosanquet means. But in that case it does not appear to me so much the subject-matter as the generic forms in the shaping of that matter.] [Footnote 142: _Das wahrhaft Innere._ That is, the inward of the truth of conscious life.] [Footnote 143: Means apparently the notion in its absolute sense.] [Footnote 144: Because it represents spirit as independent of an appropriate bodily form.] [Footnote 145: What appears to be denoted by _Geistigkeit_ is the generic term of intelligence--that activity of conscious life which does not necessarily make us think of a single individual--the common nature of all spirit.] [Footnote 146: By _Innerlichkeit_, which might also be rendered as pure ideality, what is signified is that in a mental state there are no parts outside of each other.] [Footnote 147: _Subjekt_, _i.e._, the individual Ego of self-consciousness.] [Footnote 148: _Das subjective Innere,_ lit., the subjective inner state.] [Footnote 149: _Geistigkeit._ Professor Bosanquet translates it here "intellectual being."] [Footnote 150: The distinction between a percipient and an external object falls away. The content displayed is part of the soul-life itself.] [Footnote 151: Professor Bosanquet apparently assumes a negative has slipped out. But the text probably is correct in the rather awkward form in which it stands.] [Footnote 152: Thus poetry is primarily a romantic art, but in the Epic it is affiliated with the objective character of classical art, or we may say that there is a romantic and classical type of architecture, though the art is primarily symbolic.] [Footnote 153: _Gestalt._ Plastic power is perhaps a better translation.] [Footnote 154: He means that in architecture the building is merely a shrine or environment of the image of the god.]