music: which, as I said, emotion cannot show but only symbolise. With regard however to the origin of music, I have already explained that that can never lie in the Will, but must rather rest in the lap of that force, which under the form of the "Will" creates out of itself a visionary world: _the origin of music lies beyond all individuation,_ a proposition, which after our discussion on the Dionysean self-evident. At this point I take the liberty of setting forth again comprehensively side by side those decisive propositions which the antithesis of the Dionysean and Apollonian dealt with has compelled us to enunciate: The "Will," as the most original manifestation, is the object of music: in this sense music can be called imitation of Nature, but of Nature in its most general form.-- The "Will" itself and the feelings--manifestations of the Will already permeated with conceptions--are wholly incapable of creating music out of themselves, just as on the other hand it is utterly denied to music to represent feelings, or to have feelings as its object, while Will is its only object.-- He who carries away feelings as effects of music has within them as it were a symbolic intermediate realm, which can give him a foretaste of music, but excludes him at the same time from her innermost sanctuaries.-- The lyric poet interprets music to himself through the symbolic world of emotions, whereas he himself, in the calm of the Apollonian contemplation, is exempted from those emotions.-- When, therefore, the musician writes a setting to a lyric poem he is moved as musician neither through the images nor through the emotional language in the text; but a musical inspiration coming from quite a different sphere _chooses_ for itself that song-text as allegorical expression. There cannot therefore be any question as to a necessary relation between poem and music; for the two worlds brought here into connection are too strange to one another to enter into more than a superficial alliance; the song-text is just a symbol and stands to music in the same relation as the Egyptian hieroglyph of bravery did to the brave warrior himself. During the highest revelations of music we even feel involuntarily the _crudeness_ of every figurative effort and of every emotion dragged in for purposes of analogy; for example, the last quartets of Beethoven quite put to shame all illustration and the entire realm of empiric reality. The symbol, in face of the god really revealing himself, has no longer any meaning; moreover it appears as an offensive superficiality.