Chapter III
Francis Plumptre Beresford Osmaston translation
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