all correctly the Apollonian in opposition to the Dionysean, then the thought which attributes to the metaphor, the idea, the appearance, in some way the power of producing out of itself the tone, must appear to us strangely wrong. We will not be referred, in order to be refuted, to the musician who writes music to existing lyric poems; for after all that has been said we shall be compelled to assert that the relationship between the lyric poem and its setting must in any case be a different one from that between a father and his child. Then what exactly? Here now we may be met on the ground of a favourite æsthetic notion with the proposition, "It is not the poem which gives birth to the setting but the _sentiment_ created by the poem." I do not agree with that; the more subtle or powerful stirring-up of that pleasure-and-displeasure-subsoil is in the realm of productive art _the_ element which is inartistic in itself; indeed only its total exclusion makes the complete self-absorption and disinterested perception of the artist possible. Here perhaps one might retaliate that I myself just now predicated about the "Will," that in music "Will" came to an ever more adequate symbolic expression. My answer, condensed into an æsthetic axiom, is this: _the Will is the object of music but not the origin of it,_ that is the Will in its very greatest universality, as the most original manifestation, under which is to be understood all Becoming. That, which we call _feeling,_ is with regard to this Will already permeated and saturated with conscious and unconscious conceptions and is therefore no longer directly the object of music; it is unthinkable then that these feelings should be able to create music out of themselves. Take for instance the feelings of love, fear and hope: music can no longer do anything with them in a direct way, every one of them is already so filled with conceptions. On the contrary these feelings can serve to symbolise music, as the lyric poet does who translates for himself into the simile-world of feelings that conceptually and metaphorically unapproachable realm of the Will, the proper content and object of music. The lyric poet resembles all those hearers of music who are conscious of an _effect of music on their emotions;_ the distant and removed power of music appeals, with them, to an _intermediate realm_ which gives to them as it were a foretaste, a symbolic preliminary conception of music proper, it appeals to the intermediate realm of the emotions. One might be permitted to say about them, with respect to the Will, the only object of music, that they bear the same relation to this Will, as the analogous morning-dream, according to Schopenhauer's theory, bears to the dream proper. To all those, however, who are unable to get at music except with their emotions, is to be said, that they will ever remain in the entrance-hall, and will never have access to the sanctuary of