[Footnote 128: That is, the comparative type of art discussed at the conclusion of the preceding section.] [Footnote 129: That is, the Inward or ideal principle and the natural externality.] [Footnote 130: _Selbstständigkeit._ Self-consistency or independence are perhaps better words here.] [Footnote 131: That is, I suppose, the causal necessity as part of natural evolution.] [Footnote 132: _Bis zur zeitlichen gänzlichen Äußerlichkeit._] [Footnote 133: These words contain no doubt the epitome of Hegel's "Philosophy of Religion" and are involved in its difficulties. The reference to the historical facts of Christianity under ideal conceptions is obvious. I have translated the words _das Moment des Natürlichen_ ... _zwar vorhanden seyn_ as a phasal moment of "a process," but I am well aware that no mere amplification of this sort can in itself make the words clear.] [Footnote 134: _Das Freie._] [Footnote 135: _Des besonnenen Menschen_, _i.e._, the man of clear intelligence, sound sense, as we say.] [Footnote 136: The words _dieser Gehalt ist selber nur der Erste_ would seem to refer back to the expressions _Keine Erste und somit natürliche Einheit._ But the sense is not very clear.] [Footnote 137: _Deren Gattungen,_ their specific types.] [Footnote 138: _Entgöttert_--a mode from which the Divine is removed.] CHAPTER I THE COMING INTO BEING OF THE CLASSIC IDEAL In the notion of free Spirit is contained immediately that aspect of the process of intelligence we may describe as self-introspection, return upon the self, of being explicit as an object existing for the self and in a determinate place, although this penetration into the realm of subjectivity, as we have already observed, does not either necessarily proceed to the length of making the subject essentially self-substantive in its negative aspect as against all that is concrete in Spirit and presented us as the stability of Nature, nor to that absolute reconciliation which constitutes, the freedom of the infinite subjectivity in truth. With the freedom of Spirit, however, in whatever form it may appear, is generally associated the elimination of that which is purely natural, regarded as that which is the Other in contrast to Spirit. Spirit must in the first instance essentially withdraw itself from Nature, uplift itself over, her boundaries and overcome them, ere it can prevail with unfettered movement within those bounds as within an element that is opposed to it, and can build itself up in a positive mode of existence truly indicative of its own freedom. If we further ask for a closer definition of the object through the transcendence of which Spirit attains to its self-substantive form in classical art we shall find this object is not Nature merely as such, but rather a Nature that is already throughout suffused with the significations of Spirit, in other words the symbolic type of art, which made use of the immediately natural form as a means of