once been abstracted from
Form, it necessarily appeared restrictive, and, as it were, hostile,
to the Essence; and the same theory that had reproduced the false and
powerless Ideal, necessarily tended to the formless in Art. Form would
indeed be a limitation of the Essence if it existed independent of it.
But if it exists with and by means of the Essence, how could this feel
itself limited by that which it has itself created? Violence
would indeed be done it by a form forced upon it, but never by
one proceeding from itself. In this, on the contrary, it must rest
contented, and feel its own existence to be perfect and complete.

Determinateness of form is in Nature never a negation, but ever
an affirmation. Commonly, indeed, the shape of a body seems a
confinement; but could we behold the creative energy it would reveal
itself as the measure that this energy imposes upon itself, and in
which it shows itself a truly intelligent force; for in everything
is the power of self-rule allowed to be an excellence, and one of the
highest.

In like manner most persons consider the particular in a negative
manner--i.e., as that which is not the whole or all. Yet no
particular exists by means of its limitation, but through the
indwelling force with which it maintains itself as a particular Whole,
in distinction from the Universe.

This force of particularity, and thus also of individuality,
showing itself as vital character, the negative conception of it
is necessarily followed by an unsatisfying and false view of the
characteristic in Art. Lifeless and of intolerable hardness would be
the Art that should aim to exhibit the empty shell or limitation of
the Individual. Certainly we desire to see not merely the individual,
but, more than this, its vital Idea. But if the artist has seized the
inward creative spirit and essence of the Idea, and sets this forth,
he makes the individual a world in itself, a class, an eternal
prototype; and he who has grasped the essential character needs not
to fear hardness and severity, for these are the conditions of life.
Nature, that in her completeness appears as the utmost benignity,
we see, in each particular, aiming even primarily and principally at
severity, seclusion and reserve. As the whole creation is the work
of the utmost externization and renunciation [Entaeusserung], so
the artist must first deny himself and descend into the Particular,
without shunning isolation, nor the pain, the a