Of course I do not mean that the thought in any restriction or attenuation, or as allegory, still retains some kind of "truth"; as if, for instance, one might imagine the creating artist standing near a waterfall, and seeing in the forms which leap towards him, an artistically prefiguring game of the water with human and animal bodies, masks, plants, rocks, nymphs, griffins, and with all existing types in general, so that to him the proposition: Everything is water, is confirmed. The thought of Thales has rather its value--even after the perception of its indemonstrableness--in the very fact, that it was meant unmythically and unallegorically. The Greeks among whom Thales became so suddenly conspicuous were the anti-type of all realists by only believing essentially in the reality of men and gods, and by contemplating the whole of nature as if it were only a disguise, masquerade and metamorphosis of these god-men. Man was to them the truth, and essence of things; everything else mere phenomenon and deceiving play. For that very reason they experienced incredible difficulty in conceiving of ideas as ideas. Whilst with the moderns the most personal item sublimates itself into abstractions, with them the most abstract notions became personified. Thales, however, said, "Not man but water is the reality of things "; he began to believe in nature, in so far that he at least believed in water. As a mathematician and astronomer he had grown cold towards everything mythical and allegorical, and even if he did not succeed in becoming disillusioned as to the pure abstraction, Everything is one, and although he left off at a physical expression he was nevertheless among the Greeks of his time a surprising rarity. Perhaps the exceedingly conspicuous _Orpheans_ possessed in a still higher degree than he the faculty of conceiving abstractions and of thinking unplastically; only they did not succeed in expressing these abstractions except in the form of the allegory. Also Pherecydes of Syrus who is a contemporary of Thales and akin to him in many physical conceptions hovers with the expression of the latter in that middle region where Allegory is wedded to Mythos, so that he dares, for example, to compare the earth with a winged oak, which hangs in the air with spread pinions and which Zeus bedecks, after the defeat of Kronos, with a magnificent robe of honour, into which with his own hands Zeus embroiders lands, water and rivers. In contrast with such gloomy allegorical philosophising scarcely to be translated into the realm of the comprehensible, Thales' are the works of a creative master who began to look into Nature's depths without fantastic fabling. If as it is true he used Science and the demonstrable but soon out-leapt them, then this likewise is a typical characteristic of the philosophical genius. The Greek word which designates the Sage belongs etymologically to _sapio,_ I taste, _sapiens,_ the tasting one, _sisyphos,_ the man of the most