In speaking above of the worth of the philosophical doctrines of the past as defying time, and as comparable to the standard character of finished works of art, the special reference was to those elements in speculation which proceed less from abstract thinking than from the fancy, the heart, and the character of the individual, and even more directly from the disposition of the people; and which to a certain degree may be divorced from logical reasoning and the scientific treatment of particular questions. These may be summed up under the phrase, views of the world. The necessity for constant reconsideration of them is from this standpoint at once evident. The Greek view of the world is as classic as the plastic art of Phidias and the epic of Homer; the Christian, as eternally valid as the architecture of the Middle Ages; the modern, as irrefutable as Goethe's poetry and the music of Beethoven. The views of the world which proceed from the spirits of different ages, as products of the general development of culture, are not so much thoughts as rhythms in thinking, not theories but modes of intuition saturated with feelings of worth. We may dispute about them, it is true; we may argue against them or in their defense; but they can neither be established nor overthrown by cogent proofs. It is not only optimism and pessimism, determinism and indeterminism, that have their ultimate roots in the affective side of our nature, but pantheism and individualism, also idealism and materialism, even rationalism and sensationalism. Even though they operate with the instruments of thought, they remain in the last analysis matters of faith, of feeling, and of resolution. The aesthetic view of the world held by the Greeks, the transcendental-religious view of Christianity, the intellectual view of Leibnitz and Hegel, the panthelistic views of Fichte I and Schopenhauer are vital forces, not doctrines, postulates, not results of thought. One view of the world is forced to yield its pre-eminence to another, which it has itself helped to produce by its own one-sidedness; only to reconquer its opponent later, when it has learned from her, when it has been purified, corrected, and deepened by the struggle. But the elder contestant is no more confuted by the younger than the drama of Sophocles by the drama of Shakespeare, than youth by age or spring by autumn.