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Thus, again, sculpture aspires out of the hard limitation of pure form towards colour, or its equivalent; poetry also, in many ways, finding guidance from the other arts, the analogy between a Greek tragedy and a work of Greek sculpture, between a sonnet and a relief, of French poetry generally with the art of engraving, being more than mere figures of speech; and all the arts in common aspiring towards the principle of music; music being the typical, or ideally consummate art, the object of the great Anders-streben of all art, of all that is artistic, or partakes of artistic qualities.

Here is a true case of Anders-Streben, that "partial alienation from its own limitations, by which the arts are able, not indeed to supply the place of each other, but reciprocally to lend each other new forces."<1> It is by its success as representation that the art of the burin and needle Griffelkunst, as Klinger names it ought first to be judged.

But although each art has thus its own specific order of impressions, and an untranslatable charm, while a just apprehension of the ultimate differences of the arts is the beginning of aesthetic criticism; yet it is noticeable that, in its special mode of handling its given material, each art may be observed to pass into the condition of some other art, by what German critics term an Anders-streben a partial alienation from its own limitations, by which the arts are able, not indeed to supply the place of each other, but reciprocally to lend each other new forces.