sense rather than one of reproduction which does not as yet venture to clothe itself and move in the objective medium of sense-perception. In order, however, to make this liberation intelligible in philosophical terms it is of importance that we have already disposed of the question what it is from which art undertakes to liberate itself. This question stands in close relation to the fact that poetry is essentially capable of embracing the entirety of intelligible content and artistic modes of expression. We may add further that we have viewed this as the acceptance of a totality, which can only be interpreted philosophically as the abrogation of limitation in particularity. Our previous consideration of what we mean by things that are one-sided would be involved in such an exposition, the self-exclusive character of such one-sidedness being cancelled by such a totality. It is only through the course of such an exposition that we can effectively demonstrate that poetry is the specific art in which a point is reached which marks the beginning of the disintegration of art itself, a point at which the philosophical consciousness discovers its bridge of passage to the notion of religion as such, as also to the prose of scientific thought. The boundary lines of the realm of beauty are, as we have already seen, on the one hand the prose of finite condition and our ordinary conscious life, starting from which Art makes its effort in the direction of truth, and, on the other, of the loftier spheres of religion and science, from which it passes over into a comprehension of the Absolute till more emancipate from all material association.