(_a_) And, in close connection with this inquiry into the interpenetration through all parts of the animating soul, we may justly ask ourselves, what precisely we understand under this conception of a soul which is throughout visible: or to restrict attention to definite limits we may inquire what are the specific characteristics of the soul whereof art reveals to us the truest manifestation. For in ordinary parlance one refers to the animating principle[271] peculiar to metals, stones, wild animals, to say nothing of that belonging to every kind of human character and its expressions. To natural objects, however, such as stones and plants, the expression "soul" in the complete acceptation of the term above mentioned is not strictly applicable. Such soul as purely natural objects possess is entirely finite, transitory, and rather a specific nature than a soul. The determinate individuality of such existences is consequently completely exposed in their finite existence; and, inasmuch as all that is present there is a positive limit of restriction, such appearance as there may be of a further claim to independence and freedom is only an appearance; ideal characteristics which may indeed be imported into them from without by means of art, but are not in the nature of the objects by themselves. In the same way the soul of sense-feeling, through which Nature manifests first the Life-principle only betrays a subjective individuality, which still remains shut within itself, unable to assert its reality in the further sense of a return upon itself in a consciousness which shall attach to it the form of infinity. Its content is, therefore, of a restricted nature, and its manifestation in part the unrest, power of motion, sexual impulse, anxiety or fear of the dependent life; and, in part, it is the mere expression of an _inwardness_ capable of overcoming its finitude. The animating life of Spirit (mind) brings us first into contact with the free infinity capable within its own external and determinate existence of remaining constant to the inner principle of unity, and, in the act of expression, still reflected back upon its ideal substance. To Spirit consequently is it alone permitted to impress the hall-mark of its infinity and free self-recurrence on its external expression, even though by such expression it enters the realm of narrow boundaries. At the same time we may observe that Spirit, too, is only free and infinite in so far as it truly apprehends its universality, and deliberately posits for itself and accepts those ends which are adequate to its own notion. Consequently, in so far as it fails to grasp its own freedom it can only exist in a restricted content, a character that is stunted, a temperament at once crippled and superficial. In combination with nullity of this kind the manifestation of Spirit must perforce remain wholly formal. We shall only find here the abstract crust of self-conscious Spirit, whereof the content