(_d_) The question becomes inevitable how far a spiritual want of this kind is bound up as a necessary element in the life of man and his world-history. In the first instance these two spheres[180] appear simply as immediate factors of our entire survey. It is, however, the requirement of philosophy to probe more deeply into that which binds them as essential and necessarily interacting constituents of one organic whole. For on closer inspection it will be found that they do not stand in relation to one another on the mere basis of utility; rather we shall discover that only through the one we shall fully comprehend the other. In other words, the one circle overlaps the other, in the sense that the higher forms of its activity are found to be a part of the other; and that which is of less value in its own province is lifted into a finer atmosphere; and what had failed to free itself from its original bounds is now enlarged to liberty through the profounder satisfaction it receives in the widening of the range of its interests[181]. And it is this which makes clear the necessity of the ideal bond.

We will recall now for a moment the analysis we established of the notion of the beautiful and that of art generally. Two opposed aspects come under notice. In the first place we have a content, an end, a significance; and in addition to that we get the artistic expression of the same, the appearance and realization of such content; and, thirdly, these two aspects of the artistic product so pass into each other that the rationality or particularity is nothing short of the expression of the artistic purpose, nothing more or less is given us than the essential expression of the entire content. What we designate as content, "significance," is just this simplicity of idea, the work of art resolved into its simplest yet most comprehensive determinants, as it exists for mind in contrast with the actual work executed. As an example we may summarize the content of a book from a few words or sentences the book contains, and nothing may be necessary to expound the content of that book sufficiently in its general import. This simple idea, the thesis or main problem of our book, which forms the fundamental basis on which the entire structure is built, is the abstract significance. It is only the detailed exposition which gives us the concrete totality.

The Philosophy of Fine Art, volume 1 (of 4) — Part 106