In so far as the form of this new content is concerned we have already observed that romantic art from its first initiation was infected with the contradiction that the essentially infinite mode of the self-conscious life is, in its independence, incapable of being united with the external material, and is bound to remain in such separation. This independent opposition of both aspects and the withdrawal of the inwardness of spirit into its own domain is that which constitutes the content of romance. These two aspects are continually separated anew by self-rehabilitation[260], until at length they fall entirely apart, and thereby demonstrate that we must search for some _other field_ than _Art_ to secure their absolute union. And by this falling apart we find that these aspects in their relation to art are _formal_; in other words they fail to appear as a totality in that complete type of unity which was secured to them by the Classic Ideal. Classical art is placed in a region of stable figures, that is in the midst of a mythology and its irresoluble types perfected by art. The resolution of the classical form is consequently brought about--as we found in discussing its transition to the romantic form--leaving out of our present consideration the generally more restricted territory of the comic and satyric modes--by an over-elaboration in the direction of all that pleases the senses or an imitation which loses itself in the deadly frost of a pedantic learning, till it at length entirely degenerates into a negligent and inferior technique. The objects of art remain, however, the same throughout the process, and merely play truant to the earlier intelligent mode of production with a presentation that is increasingly more spiritless and a purely traditional and mechanical technique. The progress and conclusion of romantic art on the contrary is the resolution of the material of art within its own boundaries[261] altogether, a material which falls apart into its elements, an increase of freedom in the several parts, along with which process and in contrast to the previous case, the individual craftsmanship and artistic mode of presentment is enhanced; and in proportion as the substantive content tends to break up to that extent attains a fuller perfection. We may now attempt a more specific subdivision of this the final chapter of this part of our subject in the following terms. In the first place we have before us _the self-subsistency of character_, which is, however, a particular one, that is, a definite individual self-absorbed in its world, its specific qualities and aims.