In one word, Art is unable to persist in this breach between the abstract conceptions of the inward life and the objective world around, without proving itself false to its own principle. The subjective realm of the soul must be conceived as that which is itself an essentially infinite and independent existence, which, albeit it is unable to suffer the finite reality to subsist as Truth itself, nevertheless does not merely assert itself negatively toward the same in a bare contradiction, but proceeds all the while on the path of reconciliation, and for the first time, in its opposition to the ideal individualities of the classical art-form, declares this very activity, being in fact the presentment of the absolute mode of self-conscious life. [Footnote 197: Lit. "the essentially-and-for-itself-necessary."] [Footnote 198: Hölderlin, and of course Goethe no less than Schiller, would be included. With our moderns such as Swinburne the admission is less obvious than the qualification.] [Footnote 199: _Die Aufklärung._ That is, the end of the eighteenth century; usually translated as illumination or enlightenment.] [Footnote 200: _Verstand_, the faculty of science and common sense.] [Footnote 201: /$ What! doth this same stillness tell me sadly All I know of Him who voiced creation? Dark as e'en the veil that hides Him from me Is my heart's salute of resignation. $/ ] [Footnote 202: /$ Since the gods were then more human Men were more in image godlike. $/ ] [Footnote 203: /$ Wrested from the flood of Time's abysses Saved they float above high Pindus now; All that was immortal life within them Lives in song, all other life must go. $/ ] [Footnote 204: _Zornlos_ lit., without anger.] [Footnote 205: I think this is the meaning of the words _mit subjectiver Besonderheit_, but the interpretation "with other material peculiar to the writer" is not impossible.] SUBSECTION III THE ROMANTIC TYPE OF ART INTRODUCTION OF THE ROMANTIC GENERALLY The type of romantic art receives its definition, as we have hitherto throughout the present inquiry seen was always the case, from the ideal notion of the content, which it is the function of art to declare. We must consequently in the first place attempt to elucidate the distinctive principle of the new content, a content which now, in its significance as the absolute content of truth, opens up to our minds a new vision of the world no less than a novel configuration of art.