that by itself, that is, accepted as a real mode of objectivity, tone, in contrast to the material of the plastic arts, is wholly abstract.
Stone and colour receive the forms of an extensive and varied world of objects, and place them before us in their actual existence. Tones are unable to do this. For musical expression therefore it is only the inner life of soul that is wholly devoid of an object which is appropriate, in other words, the abstract personal experience simply.
This is our entirely empty ego, the self without further content. The fundamental task of music will therefore consist in giving a resonant reflection, not to objectivity in its ordinary material sense, but to the mode and modifications under which the most intimate self of the soul, from the point of view of its subjective life and ideality, is essentially moved.
3. We may say the same of the _effect_ of music. The paramount claim of that, too, is the direct contact with the most intimate ideality of conscious life. It is more than any other the art of the soul, and is immediately addressed to that. The art of painting, no doubt, as we have observed, is able to express in physiognomy and facial traits with other things the inner life and its activity, the moods and passions of the heart, the situations, conflicts, and fatalities of the soul; what, however, we have before us in pictures are objective appearances, from which the self of contemplation, in its most ideal self-identity, is still held distinctly apart. However much we become absorbed in or penetrate into the object, the situation, the character, the forms of a statue or a picture, admire a work of art, lose ourselves in or possess ourselves with it, the fact still remains that these works of art are and remain objects of independent subsistency, in respect to which it is quite impossible for us to escape the relation of external observation disappears. In music, however, this distinction disappears.
Its content is that which is itself essentially a part of our own personal[385] life, and its expression does not result at the same time in an objective mode of spatial _persistency_, but discloses, in virtue of the continuity and freedom of its flight as it appears and vanishes[386], that it is a manifestation, which, instead of possessing itself an independent consistency, is dependent for its support on the ideality of conscious life, and only can exist for that inward realm.
Tone is therefore no doubt a mode of both expression and externality; but it is an expression which inevitably disappears precisely at the point of and in virtue of becoming externality. At the very moment that our organ of sense receives the sound it is gone. The impression that should be given is at once transferred to the tablets of memory.
The tones merely resound in the depths of the soul, which are thereby seized upon in their ideal substance, and suffused with emotion. This ideality of content and mode of expression in the sense that it is devoid of all external object defines the purely _formal_ aspect of music. It has no doubt a content, but it is not a content such as we mean when referring either to the plastic arts or poetry. What it lacks is just this configuration of an objective other-to-itself, whether we mean by such actual external phenomena, or the objectivity of intellectual ideas and images. We may indicate the course of our further examination as follows: In the _first_ place we have to define more accurately the _general_ character of music and its effect in contradistinction to the other arts, not merely from the point of view of its material, but also from that of its form, which the spiritual content accepts.
_Secondly_, we shall have to discuss the particular _distinctions_, in which musical tones and their modes[387] are developed and mediated partly in respect to their temporal duration, and partly in relation to the qualitative distinctions of their actual resonance.
_Thirdly_, and in conclusion, music possesses a relation to the content, which it expresses, either by being associated as an accompaniment[388] with emotions, ideas, and considerations independently expressed by word of mouth, or by its free expansion within its own domain in unfettered independence.
In proposing now, however, after having thus in a general way specified the principle and division of the subject-matter of Music, to enter into a more detailed examination of its particular aspects, we are inevitably confronted with a peculiar difficulty. In other words, for the reason that the musical medium of tone and ideality, in which the content moves as a process, is of so abstract and formal a character, it is impossible for us to attempt such a closer survey without at the same time broaching technical formulae and definitions such as belong to the relations of tone-measure or distinctions that apply to different instruments, scales, or chords. I must admit to no expert knowledge in this sphere of musical science, and can only offer my apologies for being unable to do more than limit myself to more general points of view and a few isolated observations.
1. THE GENERAL CHARACTER OF MUSIC The essential points of view which are of general importance in a survey of music we may examine under the following heads of division: _First_, we have to compare music on the one hand with the plastic arts, and on the other with poetry.
_Secondly_, we shall by means of the above comparison be in a better position to understand the way in which music is able to master and disclose a given content.
_Thirdly_, and as a result of the latter inquiry, we may with more accuracy explain the peculiar effect which the art of music, in contradistinction to the other arts, exercises on the soul.
(_a_) With regard to the first point we should, if we are desirous of setting it forth clearly in its specific individuality, compare music with the other two arts from three distinct points of view.
(_α_) And, _first_, it may be observed that it stands in a relation of affinity to _architecture_, although it is in strong contrast with it.
(_αα_) Our meaning is this. In the art of building the content which should be made apparent in architectonic forms, does not, as is the case in works of sculpture and painting, wholly enter into the configuration, but remains distinct from it as an external environment; so, too, in music, under its aspect of the most specifically romantic art, the classical identity of ideality and its external existence receives its resolution in a similar, if converse, way to that in which architecture, as the symbolical type of presentation, was not as yet wholly able to secure such a unity. For this ideality of Spirit proceeds from what is purely the concentration of soul-life, to ideas and images and the forms of such, as elaborated by the imagination, whereas the art of music is throughout more occupied in expressing merely the element of feeling and furthermore surrounds the independently expressed ideas of the mind with the melodic chime of emotions, just as architecture in its province places around the statues of the god, no doubt in an unyielding way, the reasonable forms of its columns, walls, and entablatures[389].
(_ββ_) In this way tone and its formative combinations is for the first time a medium _created_ by art and entirely artistic expression of a wholly different type from that we find in painting and sculpture acting through the material of the human body and its pose and physiognomy. In this respect, too, music may be more nearly compared with architecture, which does not accept its forms from what is actually presented, but as the creation of human invention, in order to inform them, partly according to the laws of gravity, and in part according to the rules of symmetry and harmonious coordination.
Music does the same thing in its own sphere, in so far as it from one point of view follows the harmonious laws of tone which depend on quantitative relations independently of the expression of emotion, and in another aspect of it, in the recurrence of time and rhythm no less than in the further development of the tones themselves, in many respects is subject to the forms of regularity and symmetry.
Consequently we find operative in music not merely the profoundest ideality and soul, but the most rigorous, rationality. It unites, in fact, two extremes, which readily lend themselves to emphatic contrast in their independent self-assertion. In this aspect of independence music more particularly assumes an architectonic character when we find in it a coherent temple of harmony of its own creatively composed and co-ordinated according to the laws of music, and released from the direct expression of soul-life[390].
(_γγ_) Despite all this similarity, however, the art of tones moves to quite as large a degree in a sphere wholly opposed to that of architecture. We find, no doubt, in both arts as a basis quantitative or more accurately measure relations; the material, however, which in each case is informed, agreeably to such relations, is totally different. Architecture attaches itself to the heavy sensuous material in its tranquil juxtaposition and external form in Space. Music, on the contrary, lays hold of the tone-spirit[391] as it rings freely out of the spatial material in the qualitative distinctions of musical sound and in the flow of a movement subject to the condition of time.
For this reason the works of both arts belong to two entirely distinct spheres of spiritual activity. The art of building places in an enduring form its colossal constructions for external contemplation in symbolical forms. The swiftly evanescent world of tones, on the other hand, directly penetrates through the ears of man to the depths of his soul, attuning the same in concordant emotional sympathy.
(_β_) And if we, in the second place, consider the closer relation of music to the two other plastic arts[392], we shall find that the similarity and distinction, which attaches to such a comparison, is in some measure founded upon the truths already enunciated.
(_αα_) Of these music is furthest removed from sculpture; and this is not merely so in respect to material and type of configuration, but also in that of the completed coalescence of its ideal and external aspects. There is in short a closer affinity between painting and music. In part this is due to the predominant ideality of expression exemplified in both; in part it is referable to treatment of material, in which, as we have already seen, it is permissible for the art of painting to approach the very boundary of music itself. Painting has, however, for its aim in common with sculpture the representation of an objective form in Space, and is restricted in its material to the actual form of things already present outside the sphere of art. It is unquestionably true that neither in the case of the painter nor the sculptor do we accept a human countenance, a position of the human body, the outlines of a mountain, the leafage of a tree precisely in the forms they present to us as here or there in Nature; in both cases we are bound to justify what we have before us under the conditions of the art in question, to adapt it to a particular situation, no less than to employ it as a means of expressing the inevitable artistic result of the entire content of the work. We have, therefore, in both cases on the one hand an independently recognized content, which has to receive artistic individualization, and, on the other, we are confronted with the forms of Nature as they are similarly presented in isolation; and the artist is bound, if he be truly an artist, and seek to unite these two sources of inspiration in his composition, to discover in both the material and support[393] for his conception and execution. In short, he will, acting in the first instance on the security of such general principles[394], endeavour on the one hand to fill out with more concrete detail the generality of his imaginative idea, and on the other to idealize and spiritualize the human or any other of the forms of Nature, which are submitted to serve him as particular models. The musician, on the contrary, it is true, does not abstract from all and every content, but finds the same in a text, which he sets to music, or with absolute freedom gives musical utterance to some definite mood in the form of a theme, which he proceeds to elaborate. The actual region, however, of his compositions remains the more formal ideality, in other words pure tones, and his absorption of content becomes rather a _retreat_ into the free life of his own soul, a voyage of discovery into that, and in many departments of music even a confirmation, that he as artist is free of the content.
If we are in a general way permitted to regard human activity in the realm of the beautiful as a liberation of the soul, as a release from constraint and restriction, in short to consider that art does actually alleviate the most overpowering and tragic catastrophies[395] by means of the creations it offers to our contemplation and enjoyment, it is the art of music which conducts us to the final summit of that ascent to freedom. Or in other language that which the plastic arts secure through the objective fact of a plastic beauty, which displays the entirety of human life, human nature as such, its universal and ideal significance, in the detail of its particularity, without losing that essential harmony, this effect music must produce in a wholly different manner. The plastic artist need only _exhibit_, in that which is enclosed in the conception, what _was already therein from the first_, so that every detail in its essential determinacy is merely a closer explication of the totality which already floats before the mind in virtue of the content which is there to exhibit it. A figure, for example, in a plastic work of art, requires in this or that situation a body, hands, feet, bust, a head with a given expression, a given pose, other figures, or other aspects to which it is related as a whole, etc., and all these aspects presuppose the others, in making collectively essentially complete work. The elaboration of the theme is in such a case merely a more accurate analysis of that which already itself essentially contains it, and the more elaborate the picture is, which thereby confronts us, the more concentrated is the unity, and the stronger becomes the connection of the parts. The most consummate expression of detail must be, if the work of art is the best class, at the same time an elucidation of the highest form of unity.
No doubt the ideal articulation and rounding off in a whole, in which the one part follows inevitably from another, ought to be present in a musical composition. But in some measure the execution here is of a totally different type, and moreover we can only accept the unity in a restricted sense.
(_ββ_) In a musical theme the significance which has to be expressed is already exhausted[396]. If it is repeated or carried on to further oppositions and mediations these repetitions, modulations, and elaborations by means of other scales may very readily appear superfluous, and rather are appertinent to the purely musical development and the assimilation of the varied content of harmonic progressions which are neither demanded by the content itself[397], nor remain dependent upon it, whereas in the plastic arts the execution of the detail and the passage to it is simply and always a more accurate exhibition and analysis of the content itself.
But of course it is impossible to deny that another theme is actually motived by the way a theme is developed, and each of them, then, in their alternation or their interfusion progress, change, are at one time suppressed, at another emphasized, and by their victory or defeat are able to make a content explicit in its more definite features, oppositions, transitions, developments, and resolutions. But in this case, too, the unity is not made more profound and concentrated by virtue of such elaboration as is the case in sculpture and painting, but is rather an expansion, an extension, a correlative series[398], an addition of remoteness or a return, for which the content, which is thus expressed, remains no doubt the universal centrum, yet does not keep the whole so securely together as we find it is possible to do in the plastic arts, particularly where their subject-matter is confined to the human organism.
(_γγ_) Looked at from this point of view the art of music, as contrasted with the other arts, lies too close to the medium of that formal freedom of soul life, and thereby cannot fail to a greater or less degree to be diverted beyond what is actually presented, in other words the content[399]. The recollection of a theme proposed is likewise a self-revealment[400] of the artist, in other words is an ideal realization, to the effect that this self is the artist, and he may progress just as he likes, and by what by-paths he likes. But on the other hand the free exercise of imaginative caprice of the above description is expressly to be distinguished from a musical composition which is essentially conclusive, that is to say, which constitutes a fundamentally self-integrated totality. In the free improvization[401] the absence of restrictions is itself an object, so that the artist is able to assert his caprice in the acceptance of any material he chooses, to interweave acknowledged melodies and motives in his improvized productions, to emphasize some new aspect of such, to elaborate them in a variety of modifications, or make them steps in his progression to other material, and advance from thence in the same way to developments of still more arresting contrasts.
In general, however, a musical composition determines the freedom of the composer, either by limiting it to a more self-contained execution, and the observance of what we may describe as a more plastic unity, or by permitting him with the full force of his personality and caprice to pass at every point into more or less important digressions, to let spontaneous ideas travel hither and thither as they please, to lay stress for the moment on this or that motive, and then once more to drown it in an overwhelming torrent. While, then, the study of Nature's forms is essential to both painter and sculptor, the art of music can look for no such fixed body of fact outside its own prescribed forms, with which it would be forced to comply. The extent of the regularity and necessity of its formal character is almost wholly determined within the sphere of tone itself, which does not come into so close an association[402] with the definition of the content that is therein reposed, and consequently in respect to deviations beyond the same permits for the most part a considerable opportunity for the free play of the characteristic impulse of the composer.
And this is the main point of view, from which we may contract music with the strictly plastic arts.
(_γ_) Looked at from _another_ aspect music is, in the third place[403], most nearly affiliated to _poetry_; both in fact make use of the same sensuous medium, that is, tone. Despite this, however, these arts are very strongly distinct from one another not only in virtue of the mode of treating tones in each case, but also in respect to their different modes of expression.
(_αα_) In poetry, as we have found already in our general differentiation of the several arts, tone is not as such elicited and artistically produced by various humanly constructed instruments, but the articulate sound of the human organ of speech is reduced to the mere symbol of speech, retaining thereby nothing more than the value of a sign of ideas, which is by itself devoid of significance. Consequently we find here that tone remains throughout a self-subsistent sensuous entity, which, as the mere symbol of emotions, ideas, and thoughts, possesses the externality and _objectivity_ which is _inherent in itself_ simply in virtue of the fact that is a _sign_ and nothing more. For the true objectivity of the soul-life as such does not consist in utterance and words, but in this fact, that I, as subject, am aware of a thought, a feeling, and so forth, that further I confront it as an object, and in this way have it present to the imagination, or forthwith develop for myself what is implicit in a thought or a conception, setting forth in a series the external and spiritual relations of the given content, and relating the particular features of it to one another. Unquestionably we think throughout in language, without, however, needing actual speech as spoken.
By reason of this ability to dispense with speech-utterance in its sensuous aspect as contrasted with the spiritual content of ideas, etc., to elucidate which they[404] are employed, tone receives once more self-subsistency. In the art of painting no doubt colour and its arrangement, regarded simply as colour, is likewise by itself without significance, and in the same way, as contrasted with the spiritual embodied, thereby a self-substantive sensuous medium; but we get no painting from colour simply as such: we must first attach to it form and its expression. With these spiritually animated forms colouring is brought into an association by many degrees more constrained than that which pertains to uttered speech and its coalescing result of words with ideas.
If we will now look at the distinction between the poetical and musical use of tones we shall find that music does not depress the tone sound to the mere speech-utterance, but creates out of tone simply its own independent medium, so that, in so far as there is musical tone, it is treated as the object of the art[405]. And on account of this the realm of tone, inasmuch as it cannot serve merely as a symbol, is by virtue of this emancipated function of its life[406] able to attain to a mode of configuration, which makes the form that is its peculiar possession, that is to say, the modes of tone as artistically developed, its fundamental aim and object. In recent times especially, the art of music, by its wresting itself from all content that is independently lucid, has withdrawn into the depths of its own medium. But on this very account and to this extent it has lost its compelling power[407] over the soul, inasmuch as the enjoyment, which is thus offered, is only applicable to one aspect of art, in other words, is only an interest in the purely musical characteristics of the composition and its artistic dexterity, an aspect which wholly concerns the musical expert, and is less connected with the universal human interest in art.
(_ββ_) All that poetry loses, however, in external objectivity by being able to place on one side its sensuous medium, in so far as that can be wholly dispensed with by art, it secures for itself, in the ideal objectivity of its vision and ideas, which poetical speech presents to soul and mind. For it is the function of imagination to clothe these concepts, emotions, and thoughts in a world that is itself essentially complete[408] with its events, actions, moods, and exhibitions of passion, and by this means it creates works, into which the entire fabric of reality, both in its external aspect as phenomena and in the ideal significance of its content, is brought home to the emotions, vision, and imagination of spiritual life. It is this type of objectivity which the art of music, in so far as it asserts its independent claims in its own province, is compelled to renounce. In other words, the realm of tone possesses, no doubt, as I have already indicated, a relation to the soul, and an alliance which is consonant with its spiritual movement; but it fails to pass beyond a sympathetic relation which is always of an indefinite character, albeit in this aspect of it a musical composition, if originating in the soul-life itself, and permeated by genius and emotions of a rich quality, cannot fail to react on our nature with an equivalent power and variety. In the case of a content and the ideal and personal creation such as poetry implies our emotions pass more completely out of their elementary medium of undefined conscious life into the more concrete vision and more universal[409] imagination which is embodied in such content. This may also be the effect of a musical composition, so soon as the emotions which it excites in ourselves by virtue of its own nature and the artistic energy that animates it are involved more closely in ourselves with a distinct vision and ideas, and thereby present to consciousness the tangible definition of soul-impressions in a more stable outlook and more universally accepted ideas. This is, however, _our_ imagination and vision, which no doubt has been suggested by the musical work, but which has not been itself directly disclosed by virtue of the artistic elaboration of musical tones.
Poetry, on the contrary, expresses emotions, perceptions, and ideas as they are[410], and is further able to delineate a picture of external objects, although it cannot itself either attain to the plastic clarity of sculpture and painting or the spiritual intimacy of music, and is consequently obliged to call as auxiliary to its powers the direct vision we otherwise receive through the senses and the speechless apprehension of soul-life in music.
(_γγ_) _Thirdly_, however, the art of music does not confine itself to this independent position over against that of poetry and the spiritual content of conscious life. It allies itself with a clearly expressed content already completely elaborated by poetry, and as the accompaniment of emotions, opinions, events, and actions. If, however, the musical aspect of such a work of art remains the fundamental and predominant one, the poetry, whether in the form of poem, drama, or any other, has no right to assert an independent claim of its own therein. And as a general rule in this association, of music and poetry the preponderance of one art is injurious to the other. If therefore the text, a poetical creation, possesses a fully independent value of its own, the support to be expected from music should be merely an insignificant one, as we find, for example, was the case with the dramatic choruses of the ancients where the music was nothing more than an incidental accompaniment. If, conversely, the music is composed with a more independent individuality of its own, then the text in its turn should be of a more superficially poetical execution, and should as an independent production confine itself to emotions of a general character and ideas depicted on universal lines. The poetical elaboration of profound thoughts is as little appropriate to a good musical text as is the delineation of the objects of external Nature or descriptive poetry generally. Songs, operatic arias, the texts of oratorios, and so forth may be consequently, so far as the detail of their execution as poetry is concerned, jejune and of a certain degree of mediocrity. The poet must not make his merits as poet too conspicuous if the musician is to find in his text a genuine opportunity. In this respect it is especially the Italians, such as Metastasio and others, who have displayed the greatest skill, while Schiller's poems, which were never written with such an object in view at all, have been shown to be ill adapted and indeed useless for musical composition[411]. In cases where the music receives a more artistic elaboration, the audience understands next to nothing of the text, and this is more particularly so with our German speech and pronunciation[412]. For this reason it is not in the interest of music that the weight of interest should be reposed in the text. An Italian audience, for example, chatters away during the unimportant scenes of an opera, takes refreshment, plays cards, and so on; but the instant an aria of emphatic appeal or an important musical movement begins, every section of it is all attention. We Germans, on the contrary, take the greatest interest in the fortunes and speeches of the princes and princesses of opera with attendants, squires, intimates, and waiting-maids, and we do not doubt there are many among us still who regret the fact, when the singing begins, that the interest is interrupted, and take their refuge in conversation.
In religious music also the text is either for the most part a well-known _credo_, or a selection of single psalms, so that the words are regarded as merely an incitement to a musical commentary, which possesses an independent style peculiar to itself, that is to say one which not merely is used to expound the text, but which for the most part simply emphasizes the universal character of the content much in the same way that painting selects its material from sacred history.
(_b_) The second aspect of our present inquiry is that of the distinction that obtains between the way in which the art of music lays hold of its subject-matter as contrasted with the other arts, the form, that is, in which, whether it be as an accompaniment or independently of a given text, it is able to apprehend and express a particular content. As to this I have already observed that music is not only more capable than the other arts of liberating itself from an actual text, but also from the expression of a definite content, in order that it may find its satisfaction in an essentially complete series of combinations, modifications, contrasts, and modulations, which are comprised within the realm of absolute music[413]. In such a case, however, music is empty, without significance, and is, for the reason that one fundamental aspect of art, namely spiritual content and expression, is absent, not really genuine music at all. It is only when that which is of spiritual import is adequately expressed in the sensuous medium of tones and their varied configuration that music attains entirely to its position as a true art, and irrespective of the fact whether this content receives an independent and more direct definition by means of words, or is perforce emotionally realized from the tone music itself and its harmonic relations and melodic animation.
(_α_) In this respect the unique function of music consists in this, that whatever its content may be it is not so created by the art for human apprehension as though it either was held by consciousness as a _general concept_ is so contained, or as definite external form is ordinarily presented to our perception, or as such receives its more complete reflection in the artistic counterfeit, but rather in the way in which a content is made a living thing in the sphere of the _personal soul._ To make this essentially veiled life and in weaved motion ring forth through the independent texture of tones, or attach itself to expressed words and ideas, and to steep such ideas in this very medium, in order to re-emphasize anew the same for feeling and sympathy, such is the difficult task assigned to the art of music.
(_αα_) The life of soul itself is consequently the form in which music is able to grasp its content, and thereby seeks to absorb within itself everything that can generally enter into the shrine of the soul and above all disclose itself under the veils of emotional movement. But from this it necessarily follows that the art of music must not attempt to minister to sense-perception, but must restrict its effort to making soul-life intelligible to soul, whether this is effected by its making the substantive and ideal depth of a content as such penetrate to the very core of soul itself, or by its preferring to disclose the life and motion of a content in the soul of some particular person, so that this inward life of itself becomes its actual object.
(_ββ_) This abstract inwardness of soul is in the most intimate sense differentiated, under the mode in which music is related to it, by _feelings_ in other words the self-expanding medium of the personal subject, which unquestionably moves in a content, but suffers the same to persist in this direct self-seclusion of the Ego, and in a relation to the Ego, that is, void of externality. Consequently feeling is throughout simply all the envelope of that content, and it is the sphere which is claimed by music[414].
(_γγ_) It is a province which unfolds in expanse the expression of every kind of emotion, and every shade of joyfulness, merriment, jest, caprice, jubilation and laughter of the soul, every gradation of anguish, trouble, melancholy, lament, sorrow, pain, longing and the like, no less than those of reverence, adoration, and love fall within the appropriate limits of its expression.
(_β_) Tone as interjection, as the cry of grief, as sigh and laughter, is already, outside the province of art, the most immediately vital expression of soul-conditions and feelings, the ah and oh of the soul.
We find in it a self-production and objectivity of soul as such, an expression which stands intermediately between unconscious absorption and the self-return to thoughts ideally determinate, a disclosure, which has no relation to external fact, but is confined to the contemplative state, just as the bird, too, in its song possesses this enjoyment and this production of its inner self.
The purely natural expression, however, of interjections is not as yet music, for though these outcries are no doubt no intentionally articulate sign of ideas as speech is and consequently express no conceived content in its generalized form as concept, but give vent to a mood and emotion in and through tone itself, a state which is reposed immediately in similar tones and opens the heart in the outburst of the same, yet this emancipation is not one which is promoted by art.
The art of music must on the contrary bring the emotions into tone relations of definite structure, and wean the expression of Nature of its wildness, its uncouth deliverance, and ameliorate it.
We may perhaps say that interjections constitute the point of departure of music; but it is only music when an interjection in the form of a cadenza, and in this respect it has to elaborate its senuous material artistically in a higher degree than either painting or poetry before it is qualified to express the content of spirit. We shall have to examine later on more narrowly the particular way in which the content of music is worked up to such a pitch of adaptability; at present I will merely repeat the observation that the tones are themselves essentially a totality of differences, which are capable of disuniting and uniting themselves in the most varied kinds of immediate concords, essential discords, oppositions and transitions. To these opposed and united tones, no less than the differentiation of their movements and transitions, their entry, their progression, their conflict, their self-resolution and their disappearance, the ideal character both of this or that content and of the emotions, in the form whereof both heart and soul obtains the mastery of such content, corresponds in