Chapter I: Unconscious Symbolism

A. Unity of Significance and Form in its immediacy 36

1. The religion of Zoroaster 37

2. No true symbolical significance in the above 42

3. Equally destitute of an artistic character 44

B. Fantastic Symbolism 47

1. The Hindoo conception of Brahmâ 50

2. Sensuousness, measurelessness, and personifying activity of Hindoo imagination 51

3. Conception of purification and penance 64

C. Genuine Symbolism 65

1. Nature no longer accepted in its immediate sensuous existence as adequate to the significance. Art and general outlook of ancient Egypt 75

[(_a_) The inward import held independent of immediate existence in the embalmed corpse 76

(_b_) Doctrine of immortality of the soul as held by Egyptians 76

(_c_) Superterranean and subterranean modes of Egyptian art. The Pyramids] 77

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