Chapter III

THE FORMAL SELF-STABILITY OF PARTICULAR INDIVIDUALITIES

Introduction 350

1. The Self-subsistence of individual Character 354

(_a_) The formal stability of character 355

(_b_) Character viewed as an inward but undisclosed totality. Illustrations from Shakespeare 359

(_c_) The substantial interest in the display of such formal character. Shakespeare's vulgar characters, and the geniality of their presentment 365

2. The Spirit of Adventure 367

(_a_) The contingent nature of ends and collisions 368

[(_α_) Christian Chivalry in its conflict with Moors, Arabs, and Mohammedans. Crusades. Holy Grail 369

(_β_) The universal spirit of adventure in the personal experience of individuals. Dante and the "Divine Comedy" 371

(_γ_) The contingency within the soul due to love, honour, and fidelity] 371

(_b_) The comic treatment of such contingency. Ariosto and Cervantes, contrast between 372

(_c_) The spirit of the novel or romance 375

3. The Dissolution of the Romantic type 377

(_a_) The artistic imitation of what is directly presented by Nature 379

[(_α_) Naturalism in poetry. Diderot, Goethe, and Schiller 381

(_β_) Dutch _genre_ painting 382

(_γ_) Interest in objects delineated related to artistic personality] 385

(_b_) Individual Humour 386

(_c_) The end of the romantic type of Art 388

[(_α_) Conditions under which it is possible for the artist to bring the Absolute before the aesthetic sense 389

(_β_) The position of Art at the present day. Analogous position of modern artist and dramatist 391

(_γ_) General review of previously evolved process of Art's typical structure. What is possible for modern art and the conditions necessary. Illustration of the terminus of romantic art with the nature of the Epigram. Supreme function of Art] 394

SECOND PART

EVOLUTION OF THE IDEAL IN THE PARTICULAR TYPES OF FINE ART

THE PHILOSOPHY OF FINE ART