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This seems strange since the classic mode usually divides a general topic into many smaller subtopics which branch off like trees. Such division tends to complicate rather than simplify things quantity-wise. For example, Pirsig provides a diagram to illustrate the classicist's view of motorcycle maintenance (endnote 13):

If he were to go on, the 'motorcycle' would split into even finer pieces, creating a pyramidal structure. This notion of hierarchical organization is recapitulated by the following:

"In the traditional or Classical view, authority for truth, for power, for social or moral value was derived from a hierarchical view of human existence. The primary figure for these relationships was that of a great chain that connected the highest levels of existence to the lower. The traditional or Classical view is that the restraints of social and moral authority, indeed, are necessary in order for any freedom to exist." (endnote 14)

This complicated chain of details is the "underlying form" that Pirsig argues can only be appreciated by the classicist:

"A classical understanding sees the world primarily as underlying form itself. A romantic understanding sees it primarily in terms of immediate appearance. If you were to show an engine or a mechanical drawing or electronic schematic to a romantic it is unlikely he would see much of interest in it. It has no appeal because the reality he sees is its surface. Dull, complex lists of names, lines and numbers. Nothing interesting. But if you were to show the same blueprint or schematic or give the same description to a classical person he might look at it and then become fascinated by it because he sees that within the lines and shapes and symbols is a tremendous richness of underlying form." (endnote 15)

Alas, the romantic is again demoted to the formulaic position of a brainless blonde. Nonetheless, Geoffrey H. Hartman says in defense of the romantic poets, "Intelligence is seen as a perverse though necessary specialization of the whole soul of man, and art as a means to resist the intelligence intelligently." (endnote 16) Moreover, the romantic poet "seeks to draw the antidote to self-consciousness from consciousness itself. A way is to be found not to escape from or limit knowledge but to convert it into an energy finer than intellectual." (endnote 17) Even more contradictory to the idea that the romantic only sees the surface beauty but not the underlying form which the classicist sees is the following written by a literary critic of romanticism:

"Romantic ideas of form suggest that the inner basic structures of the matter are more important than the particular aspects of the appearance. Classical ideas suggest that the external form is more important and indicates a conformity to traditional behavior." (endnote 18)

Here, the writer suggests that it is the romanticist who appreciates the 'underlying form.' The classicist would find appearance more important since his duty is to conform to tradition. The only way the others would know of his conventional subjectivism would be by his actions; hence, everything that he does is for appearance's sake.

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