Chapter 52 Part III The World as Representation Revisited §52

In the preceding sections we have considered all the fine arts in the generality which corresponds to our point of view, beginning with the fine arts of architecture, and ending our consideration with tragedy.The purpose of architecture as an artistic purpose is to make manifest the objectification of the will at the lowest level of its visibility.The will here [still] appears as a dull, ignorant, lawful directed struggle, but already reveals [will's] self-disintegration and struggle, that is, the struggle between gravity and solidity. — Tragedy is the last consideration.Tragedy, too, is at the highest level of objectification of the will that allows us to see the split between the will and itself in terrifying scale and clarity. [However] After these considerations, we find that there is another art which we have excluded from our discussion, and we have to exclude it, because our discussion is so systematic that there is no place for this art. .This [art] is music.Music is completely isolated from all other arts.We cannot regard music as an imitation or copy of any idea in the world, but music is such a great and wonderful art, which affects people's hearts so strongly; The language, whose clarity surpasses even the world of intuition, is so completely and so profoundly apprehended;—that in music we have nothing but an "involuntary arithmetic exercise in which one does not know one is counting" "Besides, there are indeed other things to look for.But it was this "arithmetic exercise" that attracted Leibniz to music; and Leibniz was not wrong if one looked only at the immediate, superficial meaning of the music, at the shell of the music.However, if music is really just that, then the satisfaction that music gives us must be the same as the satisfaction we can have when we get the correct answer to a formula, and it cannot be that we see the depths of our own nature being expressed. The pleasure [felt] when you come out.Therefore, in our point of view, since we pay attention to the effect of aesthetic feeling, we must admit that music has a more serious and profound meaning, which is related to the world and our innermost essence.In this sense, although music can be reduced to quantitative relations, quantitative relations are not the things represented by symbols, but only the symbols themselves.As to the relation of music to the world, it must be in a sense the same as representation is to what is represented, and the imitation is to the original, as we may infer from the analogy of music to the other arts.All art has this characteristic, and all art has on the whole the same effect on us as music has on us, only stronger, more responsive, more necessary, more infallible. That's all.In addition, the reproducible relationship of music to the world must also be an extremely intrinsic, infinitely real, and appropriate relationship, because music is understood by everyone at the moment of performance.Here too is seen the possibility of music without error, since its form can be reduced to perfectly definite, numerical rules; music can never be freed from these rules, without which it would cease to be music. —However, that aspect which contrasts music with the world, insofar as music is in a counterfeit or duplicative relation to the world, remains hidden in the dark.People have been engaged in music in all ages, but they have not been able to make a point of this point; people have been satisfied with direct understanding, and they have given up abstract understanding of this direct understanding itself [how it is possible].

When I have absorbed my mind completely in the impression of tonal art, no matter how diverse the forms of this art may be, and then return to introspection and the line of thought described in this book, I have An enlightenment is obtained to understand the inner nature of music and the [relationship of music to the world,] what the nature of the relation to the world mirrored must be assumed by analogy.This enlightenment is certainly enough for me, and I am satisfied with [the purpose] of my inquiry; it is likely that those who have come here with me intellectually and agree with my worldview have also understood this. .But to prove this understanding, I think, is fundamentally impossible, since it both presupposes and establishes the relation between music, as representation [music], and that which can never be representation in nature, but also To think of music as a copy of an original which itself must never be imagined directly as appearance.So at the end of this part, the third part which is mainly used to examine various arts, I have no choice but to talk about my understanding of the wonderful art of music that I think I am satisfied with. [People's approval or disapproval of] my opinion must depend, on the one hand, on the effect of the music on each individual, and on the other, on the effect on the reader of an idea as a whole conveyed in this book.Moreover, I think that one must listen to the meaning of music with constant reflective thinking if one is to assent with real confidence to what is here stated about the meaning of music; Familiarize yourself with all the ideas I have expounded.

The proper objectification of the will is the (Platonic) Idea; the expression of the individual thing (for this expression is always the work of art itself) brings about [man's] knowledge of the Idea (only if the subject of knowledge has also changed accordingly. only possible when) is the purpose of all other arts.All these arts, therefore, objectify the will only indirectly, i.e. by virtue of the Idea.Since our world is nothing but the appearance of the Idea in a multiplicity, by way of access to the principle of individuation (the form of possible knowledge of the individual); then music, because it skips the Idea, It is also completely independent of the phenomenal world, it is simply ignoring it; in a sense, even if the world does not exist at all, music still exists; but the same cannot be said for other arts.Music is the immediate objectification and reflection of the whole will, as the world itself, as the Idea is this objectification and reflection; and the appearance of the Idea after its differentiation into the multiplicity constitutes the world of individual things.So music, unlike other arts, is by no means a reflection of the Idea, but of the will itself, [even though] the Idea is also the objectivity of the will.Hence the effect of music is much stronger and deeper than that of other arts; for other arts speak of shadows, whereas music speaks of essences.Since the same will objectifies itself in the Idea and in the music, but in different ways; there must be a parallel between music and the idea, though there is no direct resemblance at all, There is a possibility of analogy; and the appearance of the Idea in its multiplicity and imperfection is this visible world.Pointing out the possibility of this analogy, as circumstantial evidence, may make understandable an account which is so difficult because of its obscure subject matter.

In the lowest notes of the harmonics, in the continuo I [as if] saw again the lowest level of the objectification of the will, the inorganic nature, the volume of the planets.We all know that all those high tones, which are easy to flow and disappear and are relatively fast, should be regarded as produced by the consonant vibration of the base bass, which always slightly resonates with the bass when it is played.The law of homophony is to allow only those trebles and a bass ensemble that have really naturally sounded simultaneously with the bass (bass harmonics) due to the vibration.In a similar way, then, one must regard all the bodies and tissues of nature as having gradually developed out of this planetary volume, which is both the fulcrum and the source of them all, and which The relationship is the relationship of the higher note to the continuo bass. —There is a limit to the lowness of [sounds] beyond which no sound can be heard; and the equivalent of this is that no matter is perceptible without shape and properties. [The so-called matter has no shape and properties] means that there is no expression of "force" in matter that cannot be further explained, and ideas are expressed in this force.In a more general way, he said that no matter can be completely devoid of will.So sound as [audible] sound is inseparable from a certain degree of pitch; so matter is inseparable from a certain degree of will expression. —So the bass continuo in harmony seems to us to be equal to the inorganic nature of the world, to the crudest volume; on which everything is based, and from which everything develops. —And now, going a step further, between the bass and the dominant, melodious treble are all the auxiliary notes that make up the harmony, and in all these auxiliary notes I seem to see the whole degree of the Idea, and the will is to put itself objectified in these ideas. [That is to say] the lower tones are equal to those lower grades [of the objectification of the will], to those objects which are still inorganic, but already heterogeneous; and the higher tones, it seems to me, It represents the plant and animal world. —A certain distance on the scale is parallel to a certain level of objectification of the will, and to a certain species in nature.There are distances to the arithmetical correctness of such spacings, either due to spacing deviations or to chosen tunes, comparable to those typical of individuals and species.As for impure noises, there is no so-called certain sound difference, which can be compared with the weirdness between animals of two species or between humans and beasts. --all these bass and auxiliary notes that make up the harmony lack the coherence of progress.Only the high, tuned notes have this coherence, and only these have rapid and easy changes in cadences and inversions; while all [other] those [bass and auxiliary] notes have slow changes. , have no coherence of their own existence.Deep bass changes are the most sluggish, which is representative of the bulkiest mass of matter.The rise and fall of the deep bass is only a large pitch, which is the rise and fall of several thirds, several fourths, or several fifths, but never a rise and fall; even if it is a bass converted from a double harmonic group, [not excluded].This slow change is also what is physically essential to the bass.It is unimaginable to have a rapid rush or vibrato in a deep bass.The higher subs flow faster, but don't yet have the coherence and meaningful progression of the tune; it's a parallel to the animal world.All the incoherent segments and regular determinations of all auxiliary sounds are comparable to the whole irrational world, from crystals to the highest animals.There is not a single thing here that has a real continuous consciousness--which is what makes its life a meaningful whole--; progressing to perfection; all this is immutable at all times, being of what kind is kind, regulated by fixed laws. ——Finally in the melody, in the high-pitched, melodious one, leading the whole piece, in a continuous and meaningful coherence, which advances freely from beginning to end, and expresses a whole. , I [as if] saw the highest level of objectification of the will, of man's thoughtful life and endeavors.Only man, because of his reason, constantly looks back and forth between his practical and innumerable possible [life] paths, and thus completes a thoughtful and thus coherent whole life process.Correspondingly, only melody has a meaningful and purposeful coherence from beginning to end.So the melody tells the story of the will illuminated by thinking, but in the actual process, the will is reflected in its own series of actions.But the melody tells more than this, it tells the most secret history of the will, describes every agitation, every effort, every movement of the will; Everything below it cannot be accommodated in its abstraction.Therefore, it is often said that music is a language [expressing] feelings and enthusiasm, which is equivalent to writing being a language [expressing] rationality.Palatu has explained music as "the change of tune imitating the dynamics of the mind" ("Laws" VII); and Aristotle also said that "rhythm and pitch are only sounds, but they are similar to the state of mind." , What’s going on here?” (Article 19 of the “Question”).

The essence of man is that his will pursues something, and after one pursuit is satisfied, he pursues it again, so it will never end.Yes, people's happiness and success are only a rapid transition from desire to satisfaction, and from satisfaction to desire; because the lack of satisfaction is pain, and the lack of new desires is empty desire, dullness, and boredom.Corresponding to this essence of man, the essence of the melody [also] always diverges from the tonic in thousands of ways, and changes the tone, not only to the steps of those harmonics, but to the third scale and the fifth of any tone. Scales, but to any note, to dissonant sevenths and those overtones; but always in the end followed by a return to the tonic.On all these paths the melody expresses complex efforts of the will.However, the melody also often expresses satisfaction due to the final return to the harmonic step, especially the step back to the tonic.The invention of the melody, in which the deepest secrets of human desires and emotions are revealed, is the work of genius; and here, more than anywhere, the genius works, apart from any attempt at reflective thinking and consciousness, which is Call it an inspiration.Concepts are here as they are anywhere in art.It does not grow hair.The composer reveals the innermost beings of the world, expresses the deepest wisdom, in a language unknown to his reason, just as a hypnotized nocturnal woman speaks things to which in her waking Things like knowing nothing.Thus, in a composer, more than in any other artist, [more so to speak] man and artist are quite separate and distinct.Even in explaining this marvelous art, the concept shows its awkwardness and limitations.However, I also want to continue to implement our method of illustration by analogy. —Since the rapid transition from wish to fulfillment, and from fulfillment to new wish, is happy and smooth, a rapid tune without much inflection is pleasant; The tune that returns to the keynote later is similar to the delayed and difficult gratification, which is sad.The delay and dullness of the new excitement of the will can have no other expression than a thwarted tonality; and the effect of this tonality is soon unbearable; Monotonous, nothing to do with those tunes anymore.The short and tight sentences of Allegro dance music seem to express the vulgar happiness that is easy to obtain; , a nobler, more ambitious effort; marks the final attainment of a goal.The slow tone of stretching is talking about the difficulties of a great and noble effort, and looks down on all trivial happiness.But what a marvelous effect is the softness of the minor scale and the firmness of the major scale!What is amazing is the change of a semitone, the presence of a minor third instead of a major third immediately and inevitably imposes on us a feeling of burning pain, and the tune is just as instantaneous. Save us from this pain.The stretched slow tone achieves the highest expression of pain in the soft tone, becoming the most thrilling complaint.The dancing music in the soft key seems to mark the loss of that petty happiness that people would rather despise, as if to speak of a humble purpose finally achieved through some hardships and twists. —The [variations] of possible melodies are infinite, which again corresponds to the infinite variety of nature in the individual, in [man's] appearance and birth.To pass from one key to another entirely, to lose all connection with the preceding, is like death.But this metaphor is only for the individual that ends in death; as for the will that has manifested in one individual and manifests in another, it is immortal; but the consciousness of the latter and the consciousness of the former are Without any connection [, equivalent to an interruption of the melody].

But in pointing out the possibility of all these analogies above, it must not be forgotten that music has no direct but only indirect relation to these analogies, for music never expresses phenomena, but only the inner essence of all phenomena, the inner essence of all phenomena. In itself, it is only the expression of will itself.Therefore music does not signify this or that individual, definite joy, this or that depression, pain, terror, joy, joy, or peace of mind, but joy, depression, pain, terror, joy, joy, Peace of mind, etc. itself; to a certain extent, it can be said that it abstractly and generally expresses the essence of these [emotions], without any adulterants, so it does not express the motives that lead to these [emotions].In this distilled essence, however, we apprehend the emotions fully.For this reason, our imagination is so easily aroused by music. [Imagination being aroused,] attempts to form, and give bone and flesh, to that world of the mind which speaks wholly to us directly, invisible yet so vividly; To reflect this spiritual world.This is the origin of singing in words, and finally of opera. —Therefore the libretto in the opera must never leave this subordinate position to make itself the first thing, and make the music a mere means of sympathy.This is a big mistake and a serious putting the cart before the horse.It turns out that music everywhere only expresses the essence of life and the process of life, but not life and its process itself; so some differences in life and the process of life do not always affect the essence of life and its process.It is this universality peculiar to music, under the most precise determination, that gives it a high value, and music has this value because it can be used as a panacea for our pain.Therefore, if the music is too accommodating to the libretto and shaped too much according to the actual process, then the music is barely speaking a language that does not belong to itself.No one is more able to keep himself pure than Luo Xinyi from being stained by this defect; so his music is so clear and pure. Out also has its full effect.

From all this we may regard the world as it appears, or nature, and music as two different manifestations of the same thing, so that the same thing itself is the only medium through which the two manifestations can be compared, and in order to appreciate the analogy It is necessary to know this intermediary.Accurately, if music is regarded as the expression of the world, it is the language with the highest degree of universality. It can even be said that the universality of this language to concepts is roughly equal to that of concepts to individual things. [Music] The universality of this language is by no means the empty universality of abstraction, but a completely different kind of universality, which is connected with thorough and clear determination.In this respect, music and geometric figures are similar to numbers, that is to say, these figures and numbers are general forms of all empirically possible objects, applicable a priori to all these objects, but not abstract, but Intuitively and thoroughly prescribed by 346.All possible arousals, agitations, and manifestations of the will, all those processes in the human heart, which reason puts under the broad and negative concept of "sensation" [these things] are produced by an infinite number of possible possibilities. It is always expressed in the universality of form, without content; it is always expressed only in terms of [noumenon] in itself and not in terms of phenomena, just like the innermost soul of phenomena without body.Another point can also be explained from the inner relationship that music has to the true essence of all things, that is, if the corresponding music is matched to any situation, behavior, process, and environment, then music is like It is for us to reveal the deepest meaning of all these situations, actions, etc.; music appears as a clear and correct commentary on all these things.In the same way, whoever is absorbed in the impression of a symphony seems to have seen all the possible processes of life and the world unfolding before him; There is no resemblance between his playing and what emerges before him.It turns out that music, as has been said, differs from all other arts in this respect.Music is not phenomenal, or, to be more precise, a reflection of the proper objectivity of the will, but directly of the will itself.Therefore, for all physical things in the world, music expresses that metaphysical; for all phenomena, music expresses things in themselves.Accordingly, one can call this world both embodied music and embodied will.Therefore, it can also be explained from here why music can make the appearance of every scene and situation in actual life and in this world immediately have a heightened meaning, and the more the tune of the music matches the inner spirit of the current phenomenon, the more it is so.It is on this basis that one is able to set music to a poem to make lyrics, or to make music to an intuitive performance to make pantomime, or both to music to make opera.Although such individual situations in life can be expressed in the universal language of music, they are by no means connected with music with complete necessity, nor do they necessarily correspond; no, the relationship of these individual situations to music is only Arbitrary examples of relations to general concepts.What the individual situation expresses in the determination of reality is what music expresses in the universality of mere form.This is because, to a certain extent, tunes are, like general concepts, an abstraction of reality.This reality, that is, the world of individual things, supplies the universality of the concept as well as the universality of the melody with the immediate, the particular and the individual, the individual situation.But in a certain point of view these two universalities are opposed to each other, because the concept contains only the form just abstracted from intuition, as if it contains the shell peeled off from the thing, so it is completely real abstraction; On the contrary, what music brings out is the innermost core or the core of things that precedes all forms.This relation is well expressed in the language of scholastic philosophy.Concepts are said to be "universals after things," music offers "universals before things," and reality "universals in things."Composing the music of a certain psalm, the general meaning of which may correspond in equal measure to any particular instance of the generality expressed by the psalm; so the same score may fit many psalms, so There can also be small-scale stage plays that use popular tunes to compose lyrics at will.But the possibility of a correlation at all between a musical score and an intuitive representation is, as has been said, due to the fact that both are but two quite different representations of the inner essence of the same world.If such a relationship does exist in individual cases, and the composer knows [how] to articulate in the universal language of music the agitation of the will, the inner core that constitutes everything, then the score of the words, the music of the opera will be expressive.But the resemblance discovered by the composer between the two must result from a direct perception of the nature of the world, must be unaware of his reason, and must not be consciously intended, through the indirectness of concepts. Imitation; otherwise what the music expresses is not the inner essence, not the will itself, but only an insufficient imitation of the appearance of the will.This is the case with all truly mimetic music, such as Haydn's "Four Seasons" and the many places in his works which directly imitate the phenomena of the intuitive world; and also with all compositions that describe war.All of these things are bad.

This inexpressible depth of emotion in all music, which makes it pass before us like a paradise so familiar and yet eternally distant, which makes it so easy to fully comprehend and yet so inexplicably, is due to the fact that music brings us to life. All the dynamics of the innermost nature are reflected, yet it is completely unrealistic and far from the pain of reality.Likewise, it is the seriousness of music itself which completely excludes the ridiculous [thing] from its immediate sphere; this is illustrated by the fact that the object of music is not appearance.Ridiculousness is possible only by mistaken appearance in appearance, but the immediate object of music is the will, and the will, to which everything is tied, is essentially the most serious thing. —How rich and meaningful the language of music is, even the ensemble notation and the "encore" testify.Such repetition, which would be unbearable in a work written in words, is appropriate and comforting in the language of music; for to fully appreciate [the content and meaning] one has to listen Twice necessary.

If what I'm trying to figure out in this whole discussion of articulation of music is [how] music can speak with the greatest clarity and Truth speaks of the inner nature of the world, of the world itself—that is what we think in its clearest expression under the concept of will—and, if I go a step further in my opinion and direction of endeavor, Philosophy [task] is nothing but the complete and correct restatement and expression of the essence of the world in very general concepts—for it is only in such concepts that there is a real-time understanding of the whole essence. Sufficient, applicable overview—; then, anyone who has followed me and grasped my way of thinking will find that what I am about to say is not very contradictory.What I want to say is this: Assuming that [our] account of music is sufficiently correct, complete, and detailed, that is to say, to give an exhaustive restatement in conception of what music expresses, then, At the same time, this will fully repeat and explain the world in the concept, or it will have the same meaning as this explanation, and it will be true philosophy.And we can immediately emulate the famous quote of Leibniz quoted above in the higher sense of our conception of music by saying the following sentence-which he also completely expresses in the lower point of view. That's right -: "Music is an unconscious practice of people in metaphysics. During the practice, I don't know that I am doing philosophy."It turns out that scire in Latin, that is, "to know", always means "to have been settled in an abstract concept" [meaning].But to go further, since the truth of Leibniz's statement has been confirmed in many ways, music, apart from its aesthetic or inner meaning, is nothing but purely empirical. Directly, it is a means to grasp large quantities and complex quantitative relationships in the concrete, otherwise we can only understand these quantities and quantitative relationships indirectly with conceptual understanding.That being the case, we can now conceive of a mathematical-philosophical possibility by synthesizing [above] two very different but equally correct opinions about music.The mathematical philosophy of Pythagoras and the Chinese in Zaizhong is this set.We may then interpret in this sense the well-known statement of the Pythagoreans, quoted by Sextus Empiricus (Part VII of "Against Mathematicians"): "Everything can be matched with numbers".If we apply this insight at last to what we have above explained about consonance and melody, we shall find a mere moral philosophy without an account of nature—as advocated by Socrates— — quite comparable to having tones without consonants—as Rousseau alone thought—.On the contrary, pure physics and metaphysics without ethics are equivalent to pure homophony without melody. —After this incidental consideration, allow me to add a few more observations concerning the analogy between music and the phenomenal world.In the previous article we discovered that the highest level of the objectification of the will, the human being, does not appear in isolation and in isolation, but presupposes lower levels, which in turn always start at a higher level. Low level is the premise.Similarly, music, like the world, directly objectifies will, and music is complete only in complete harmony.For the complete impression to be produced by the leading high note of the tune, it needs the accompaniment of all the other notes down to the lowest bass note, which [in turn] is to be seen as the source of all notes.The melody itself is incorporated into the homophony as a component, just as the homophony is also incorporated into the melody.Since only in this way, only in the whole of all sounds, does music express what it was intended to express; then only in the complete unity of all degrees can the one and timeless Will have its total objectification, And these degrees reveal the nature of the will in infinite degrees with increasing clarity. —It is also worth noting the following similarity.We have seen in the preceding book that all phenomena of the will, so far as those species contribute to teleology, are mutually adaptive.Nevertheless, there are still indelible contradictions between those individual phenomena.This contradiction is visible at all levels of phenomena.This turns the world into an endless battlefield between phenomena owned by the same will, and the inner contradiction between the will and itself is thus revealed.Even this has an equivalent in music.That is to say, a completely pure and harmonious sound system is not only physically impossible, but also arithmetically impossible.The numbers from which the sounds are expressed contain in themselves irrational numbers which cannot be divided.Any scale is not available even if calculated.In a scale, the relationship between every fifth and fundamental is 2 to 3, every major third and fundamental is 4 to 5, every minor third and fundamental is 5 to 6, and so on .This is because if these notes are in line with the fundamental, the notes are no longer in line with each other; for example, the fifth must be the third of a minor scale to the third, etc., because the notes on the scale have to be Like an actor, sometimes he has to play this role, and sometimes he has to play that role.Therefore, completely accurate music is impossible even to conceive, let alone to make a score.For this reason, any possible music is at a distance from absolute purity, and can only distribute dissonances to all tones, that is, to conceal its essentially existing Dissonance.Regarding these, one can refer to the thirtieth section of Siratni's "Acoustics" and page 12 of his "Introduction to Acoustics".

I could say a few more things about the way music is experienced, for example, that music is experienced only in and through time, completely excluding space, and without the interference of causal knowledge, that is, without the interference of the understanding; for these Sound as effect produces an aesthetic impression without us having to trace its causes as in intuition. —However, I do not want to prolong this discussion, because I have perhaps gone too far in detail on some points in this third part, or have entangled myself too much in individual matters.But my purpose makes it impossible for me not to do so.Nor would I be reproached for doing so if he, in thinking concretely of the importance and heightened value of art which is not often fully realized, was speculating [the following point]: If, in our opinion, this The whole visible world is only the objectification of the will, a mirror of the will, accompanying the will to its self-knowledge and, as we shall see shortly, accompanying the will to the possibility of liberation. ; and if, at the same time, the world as representation is the most pleasing and the only innocent aspect of human life, if one considers it in isolation, apart from desire, and only allows it to occupy [the whole] consciousness; —Then we shall all regard art as the rising, strengthening, and more perfect development of all these things; for what art accomplishes is essentially what the visible world itself accomplishes, but more concentrated, more But it has a predetermined purpose and deep intentions.Therefore, in an uncompromising sense, art can be called the flower of life.如果作为表象的整个世界只是意志的可见性，那么，艺术就是这种可见性的明朗化，是更纯洁地显出事物，使事物更便于概览的照相机；是《汉姆勒特》[一剧中]的戏中戏，舞台上的舞台。

从一切美得来的享受，艺术所提供的安慰，使艺术家忘怀人生劳苦的那种热情——使天才不同于别人的这一优点，对于天才随意识明了的程度而相应加强了的痛苦，对于他在一个异己的世代中遭遇到的寂寞孤独是唯一的补偿——，这一切，如下文就会给我们指出的，都是由于生命的自在本身，意志，生存自身就是不息的痛苦，一面可哀，一面又可怕，然而，如果这一切只是作为表象，在纯粹直观之下或是由艺术复制出来，脱离了痛苦，则又给我们演出一出富有意味的戏剧。世界的这一面，可以纯粹地认识的一面，以及这一面在任何一种艺术中的复制，乃是艺术家本分内的园地。观看意志客体化这幕戏剧的演出把艺术家吸引住了，他逗留在这演出之前不知疲倦地观察这个演出，不知疲劳地以艺术反映这个演出。同时他还负担这个剧本演出的工本费，即是说他自己就是那把自己客体化而常住于苦难中的意志。对于世界的本质那种纯粹的、真正的、深刻的认识，在他看来，现在已成为目的自身了：他停留在这认识上不前进了。因此，这认识对于他，不象在下一篇里，在那些已达到清心寡欲[境界]的圣者们那里所看到的一样，不是意志的清静剂，不是把他永远解脱了，而只是在某些瞬间把他从生活中解脱一会儿。所以这认识不是使他能够脱离生命的道路，而只是生命中一时的安慰，直到他那由于欣赏而加强了的精力已疲于这出戏又回到严肃为止。人们可以把拉菲尔画的《神圣的栖利亚》看作这一转变的象征。那么，让我们在下一篇里也转向严肃吧。