2. Worship of animals, as the vision of a secreted soul. Symbolical and non-symbolical aspects of this cult 78 3. Works of Egyptian art are objective riddles. The Sphinx symbolic of the genius of Egypt. Memnons, Isis, and Osiris 79 CHAPTER II THE SYMBOLISM OF THE SUBLIME A. Pantheism of Art 89 1. Hindoo poetry 90 2. Persian and Mohammedan poetry. Modern reflections of such poetry as in Goethe 92 3. Christian Mysticism 97 B. The Art of the Sublime 97 1. God as Creator and Lord of a subject World. He is Creator, not Generator. His Dwelling not in Nature 100 2. Nature and the human form cut off from the Divine (_entgöttert_) 101 3. Nullity of objective fact a source of the enhanced self-respect of man. Man's finiteness and immeasurable transcendency of God. No place for immortality. The Law 103 CHAPTER III THE CONSCIOUS SYMBOLISM OF THE COMPARATIVE TYPE OF ART A. Modes of Comparison originating from the side of externality 110 1. The Fable. Aesop 113 2. The Parable, Proverb, and Apologue 122 3. The Metamorphosis 125 B. Comparisons, which in their imaginative presentation originate in the Significance 128 1. The Riddle 130 2. The Allegory 132 3. The Metaphor, Image, and Simile 137 C. The Disappearance of the Symbolic Type of Art 161 1. The Didactic Poem 163 2. Descriptive Poetry 165 3. Relation of both aspects of internal feeling and external object in the ancient Epigram 165 SUBSECTION II THE CLASSICAL TYPE OF ART INTRODUCTION THE CLASSICAL TYPE IN GENERAL 1. Self-subsistency of the Classical type viewed as the interfusion of the spiritual and its natural form 175 [(_a_) No return of the ideal principle upon itself. No separation of opposed aspects of inward and external 175 (_b_) Symbolism absent from this type except incidentally 176 (_c_) Reproach of anthropomorphism] 179 2. Greek art as the realized existence of the classical type 181 3. Position of the creative artist under such a type 183 [(_a_) His freedom no result of a restless process of fermentation. Receives his material as something assured in history or belief 183 (_b_) His plastic purpose is clearly defined 184 (_c_) High level of technical ability 185 Classification of subject-matter] 186 CHAPTER I THE FORMATIVE PROCESS OF THE CLASSICAL TYPE OF ART Introduction and Division of subject 189 1. The Degradation of Animalism as such 191 (_a_) The sacrifice of animals. How regarded by the Greeks 192 (_b_) The Chase, or examples of such in heroic times 194 (_c_) Tales of metamorphosis. Illustrations both from Greek and Egyptian traditions 194 2. The Contest between the older and later Dynasties of Gods 201 (_a_) The oracles whereby the gods attest their presence through natural existences 205 (_b_) The ancient gods in contradistinction from the new 208 [(_α_) The Titan natural potences included among the older régime 208