3. In establishing the position, as we have just done, on the one hand, that essentially free individuality is the content of classical art, and, on the other, that a like freedom is the equally requisite determinant of the form, we have already assumed that the entire blending of both together, however much it may be presented in the immediate form, is nevertheless no original unity such as Nature's, but is necessarily an _artificial_ association made possible by the subjective spirit. Classical art, in so far as its content and its form is spontaneity[134], originates in the freedom of the Spirit that is clear to itself. And for this reason also we may say that in the _third_ place the artist occupies a position different from that of his predecessors. That is to say his production declares itself as the spontaneous _product_ of a man in the full possession of his senses[135], who as truly _knows_ what he wills as he is _able_ to accomplish such a purpose; who is consequently obscure to himself neither in respect to the significance and substantive content of that which he has resolved to make visible in the form of art, nor finds himself hindered by any defects of technique from executing the result aimed after. (_a_) If we look more closely at this change in the position of the artist we shall in the first place find this freedom announced to us relatively to the _content_ in this way, that he does not feel compelled to seek for it with the restless process of symbolical fermentation. Symbolic art remains the captive of its travail to bring to birth and make clear its form to its own vision, and this embodiment is itself only the original form[136], that is, on the one side Being in the immediate guise of Nature, and on the other the ideal abstraction of the universal, unity, conversion, change, becoming, origination, and passing away. In this original form of the artistic process, however, art does not come to its rightful possessions. Consequently, these representations of symbolic art, which should be expositions of content, remain still themselves riddles and problems, and merely testify to the struggle after clarity and the effort of Spirit, which on and on seeks to discover without obtaining the rest and repose of discovery. In contrast to this troublous search the content must for the classic artist be presented him as something _already there_ in the sense that as a thing essentially positive, as belief, popular opinion, or as an actual event either of myth or tradition, it is determined for his imagination in all its essential character. Relatively to this objectively determined material the artist is placed in the freer relation that he does not himself undertake the process of production and fermentation, and pass no further than the impulse after the real significances of his art, but rather that for him a completely explicit and unfolded content lies before him which he accepts and freely reproduces from himself.