54 The Rice Institute Pamphlet
al first to a last that would wish to be most rational, but is,
however, Superrational, and as such also irrational.
But it will be opportune not to insist upon this somewhat
abstract scheme, and rather consider the manner in which it
becomes actual in the life of the spirit, beginning with the
æsthetie spirit. For this purpose we shall again return to the
artist, or man-artist, who has achieved the process of libera-
tion from the sentimental tumult and has objectified it in a
lyrical image—that is, has attained to art. He finds his satis-
faction in this image, because he has worked and moved in
this direction: all know more or less the joy of the complete
expression which we succeed in giving to our own psychical
impulses, and the joy in those of others, which are also ours,
when we contemplate the works of others, which are to some
extent ours, and which we make ours. But is the satisfaction
definite? Was only the man-artist impelled toward the im-
age? Toward the image and toward another at the same
time; toward the image in so far as he is man-artist, toward
another in so far as he is artist-man; toward the image on the
first plane, but, since the first plane is connected with the
second and third planes, also toward the second and third,
although immediately toward the first and mediately to-
ward the second and third? And now that he has reached
the first plane, the second appears immediately behind it,
and becomes a direct aim from indirect that it was before;
and a new demand declares itself, a new process begins. Not,
be it well observed, that the intuitive power gives place to
another power, as though taking its turn of pleasure or of
service; but the intuitive power itself—or, better, the spirit
itself, which at first seemed to be, and in a certain sense was,
all intuition—develops in itself the new process, which conies
forth from the vitals of the first. “One soul is not kindled at