Part 10

, Aph. 9.

[63] _W. P._, Vol. II, p. 248.

[64] _W. P._, Vol. II, p. 241: "The feeling of intoxication (elation) is, as a matter of fact, equivalent to a sensation of surplus strength." See also p. 254.

[65] Schelling also recognized the transfiguring power of Art; but he traced it to the fact that the artist invariably paints Nature at her zenith. See p. II, _The Philosophy of Art_ (translation by A. Johnson): "Every growth of nature has but one moment of perfect beauty, ... Art, in that it presents the object in this moment, withdraws it from time, and causes it to display its pure being in the form of eternal beauty." This is making the natural object itself the adequate source of its own transfiguration, and the theory overlooks the power of the artist himself to see things as they are not.

[66] _W. P._, Vol. II, p. 244: "The sober-minded man, the tired man, the exhausted and dried-up man, can have no feeling for Art, because he does not possess the primitive force of Art, which is the tyranny of inner riches."

[67] _W. P._, Vol. II, p. 101.

[68] _W. P._, Vol. II, p. 89: "The belief that the world which ought to be, is, really exists, is a belief proper to the unfruitful, who do not wish to create a world. They take it for granted, they seek for ways and means of attaining it. 'The will to truth' [in the Christian and scientific sense] is the impotence of the will to create."

[69] _W. P._, Vol. II, p. 104: "The development of science tends ever more to transform the known into the unknown: its aim, however, is to do the _reverse_, and it starts out with the instinct of tracing the unknown to the known. In short, science is laying the road to sovereign ignorance, to a feeling that knowledge does not exist at all, that it was merely a form of haughtiness to dream of such a thing."

[70] _W. P._, Vol. II, p. 263: "The essential feature in art is its power of perfecting existence, its production of perfection and plenitude. Art is essentially the affirmation, the blessing, and the deification of existence."

[71] Fichte comes near to Nietzsche, here, with his idea of the "beautiful spirit" which sees all nature full, large and abundant, as opposed to him who sees all things thinner, smaller, and emptier than they actually are. See Fichte's _Sämmtliche Werke_, Vol. IV, p. 354. See also Vol. III, p. 273.

[72] _Z._, III, XLVIII.

## Part II Deductions from