art, which was originally stated to be the characteristic work of the
creative reason, or imagination acting in conformity with truth, has
been assumed; but no reason has been given for it, because it seemed
best to develop first with some fulness the nature of that inward order
which is thus projected in the forms of art. It belongs to the frailty
of man that he seizes with difficulty and holds with feebleness the pure
ideas of the intellect, the more in proportion as they are removed from
sense; and he seeks to support himself against this weakness by framing
sensible representations of the abstract in which the mind can rest.
Thus in all lands and among savage tribes, as well as in the most
civilized nations, symbols have been used immemorially. The flag of a
nation has all its meaning because it is taken as a physical token of
national honour, almost of national life itself. The Moslem crescent,
the Christian cross, have only a similar significance, a bringing near
to the eye of what exists in reality only for the mind and heart. A
symbol, however, is an arbitrary fiction, and stands to the idea as a
metaphor does to the thing itself. In literature the parable of the
mustard seed to which the kingdom of heaven was likened, exemplifies
symbolical or metaphorical method; but the tale of the court of Arthur's
knights, ideal method; between them, and sharing something of both, lies
allegorical method. Idolatry is the religion of symbolism, for the image
is not the god; Christianity is the religion of idealism, for Christ is
God incarnate. Idealism presents the reality itself, the universal truth
made manifest in the concrete type, and there present and embodied in
its characteristics as they are, not merely arbitrarily by a fiction of
thought, symbolically or allegorically.

The way in which type concretes truth is sufficiently plain; but it may
be useful, with respect to plot, to draw out more in detail the analogy
which has been said to exist between it and an illustrative scientific