The lack of this free reduplication of itself within the same unity carried with it in the symbolic type precisely this absence of freedom in the content and with it also in the form. Spirit was here not clear to itself, and for this reason declared its external reality not as that which belonged to itself, set forth in its explicit significance through and in it. Conversely the form had no doubt to be significant, but its significance only lay partly and on one side in it. The external existence gave here primarily to what passed for its ideal aspect, though still under a mode that was external, merely _itself_ instead of a significance which declared an ideal content; and in attempting to show that there was something further which it suggested its power was necessarily put under a constraint. In this distortion it neither remained true to itself, nor was it the Other, that is significance, but declared nothing save that which was a problematical connection and confusion between incompatible things, or tended to be the purely co-adjutant attire and external adornment of what was simply the glorification of the one absolute significance of all things whatever, until it was finally obliged to surrender itself to the purely subjective caprice of comparison with a significance which was far removed from it and indifferent to it. If this relation of unfreedom is to find a release the form must already inherently possess its significance, or, to speak more definitely, must possess the significance of mind or Spirit itself. This form is essentially the _human_ form because the externality of this form is alone capable of revealing the spiritual in sensuous guise. Human expression in countenance, eye, pose, and carriage is, it is true, material and therein not that which the spirit is; but within this corporeal frame itself the human exterior is not merely alive and a part of Nature as the animal is, but it is the bodily presence which reflects Spirit to itself. Through the human eye we look into the soul of a man just as through the entire presentment of him his spiritual character is expressed. When consequently the body belongs to Spirit, as _its_ determinate presence, Spirit is also that ideal principle which is appropriate to the body, and is no form of ideality which is foreign to the external form in the sense that materiality still inherently possesses a significance other than that to which it testifies or suggests. It is quite true that the human form still carries within it much of the universal animal type, but the fundamental distinction between the human and the animal body consists simply in this, that the human is obviously, by virtue of its entire conformation, declared as the dwelling, nay, we may add the only possible dwelling-place of Spirit. And for this reason also it is only in the body that Spirit is immediately present to others. This is, however, not the place to discuss the necessity[131] of this association and the peculiar reciprocity of soul and body. We must here assume this necessity. We have, of course, many indications on the human figure of death and ugliness, that is, of other influences and defects which are traceable to their source. When we find this to be the case it is the function of art to expunge the divergence between the purely natural and the spiritual, to exalt the external bodily appearance to a form of beauty, that is, a form throughout dominated and suffused with the animation of Spirit.