2. _Secondly_, if we consider the aspect of the representation on its _external_ side, we find that it is by virtue of its particularity at once self-subsistent and possesses a claim to stand forth in this independence, and this for the reason that the principle of subjectivity excludes that correspondence in its immediacy, and disallows to itself the absolute interfusion of the ideal and external aspects in every part and relation of it. For the subjective principle is here precisely that which comes to be, in self-subsistent seclusion, that inward life which retires from real or objective existence into the realm of the Ideal, the world of emotion, soul, heart, and contemplation[216]. This ideal life is manifested no doubt in its external form, under a mode, however, in which the external form itself appears, that is to say it is _merely_ the outer shell of a conscious subject that is growing _independently_ within. The hard and fast association of the bodily form and the life of Spirit in classical sculpture is not therefore carried to the point of an all-dissolving unity[217] but in so light and slack a coalescence that both aspects, albeit neither is present without the other, preserve in this connection their separate independence relatively to the other, or at least, if a profounder union is really secured, the spiritual aspect as that inward principle, which asserts its presence over and beyond its suffusion with the objective or external material, becomes the essentially illuminating focus of all. And it results from this that, to promote the enhancement of this relatively increased self-subsistency of the objective and material aspect,--we have in our mind mainly, no doubt, the extreme case of the representation of external Nature and its objects, even in their isolated and most exclusive particularity,--yet even in such a case and despite all realism in the presentment it is necessary that such counterfeits should permit a reflection of the artist's soul to be visible on their face. They should in other words suffer us to see the sympathy of Spirit in the manner of their artistic realization, and therewith discover to us the life of soul, the ideal life which is the vital breath of their co-ordination, the penetration of man's emotional life itself into this extreme type of external environment. Speaking, then, generally, we may affirm that the principle of subjectivity carries with it as its inevitable result, on the one hand, that the wholly unconstrained union of Spirit with its corporeal frame should be given up, and the bodily aspect be asserted in a more or less negative relation over against the former, in order that the ideality of Spirit may be emphasized on the front of that external reality, and, on the other hand, in order to procure free scope for every separate feature of the variety, division, and movement of what is spiritual no less than what directly appeals to man's senses.