In this respect, as in all others, the strength of Individualism lies chiefly in criticism; its refined perception makes it especially capable of apprehending clearly the errors of the traditional conceptions of life. Its influence, however, suffers from the contradiction which it involves, in that it purposes to solve the problems, to which only an independent and self-determining spiritual life is equal, with the means of sense experience. Such a spiritual life is to be attained only by transcending this sense experience. Owing to the fact that Individualism places its sole attention upon the surface of sense experience, its aims, in themselves of the highest necessity, must be distorted and grossly misrepresented. Independence, greatness, and certainty--ever hovering before life--cannot be attained by Individualism in reality, but only in picture and semblance. And it can lend to this appearance a moderate power of conviction only because, just in the same way as the other modern organisations of life, it enriches itself imperceptibly from the same traditional modes of thought and of culture, in opposition to which it stands, and of which the impelling motives are to it a sealed book. Thus, in truth, it does not offer mere and pure subjectivity, but subjectivity on the basis of a rich life of culture, which it is itself unable to produce, but without which it would lapse at once into complete emptiness. The æsthetic-individualistic scheme of life proves to be a phenomenon, accompanying a ripe, indeed an over-ripe, culture. An independent culture, with its labour and its sacrifice, it is unable to produce. To reject Æsthetic Individualism means to attack modern art and its service to life just as little as to reject Naturalism and Socialism is to estimate meanly modern natural science and present social endeavour. On the contrary, it may be said that, as Naturalism has no keener antagonist than modern natural science, so modern art, with the energy which is bestowed upon it and with its many-sided expansion of the soul, stands not in agreement with but in opposition to Æsthetic Individualism. For, indeed, a creative artist of the first rank has never subscribed to a merely æsthetic conception of life. Still, however much artistic endeavour and a merely æsthetic conception of the world may be associated by the individual, in their nature they remain differentiated, and no appreciation of art is able to justify the æsthetic conception of life, which subjects all life to a contradiction; works against life in striving to attain its own ends; neglects the development through the centuries; and, instead of the substance hoped for, offers only opinion and appearance. How can life find a support in this? II. CONSIDERATION OF THE SITUATION AS A WHOLE AND PRELIMINARIES FOR FURTHER INVESTIGATION (a) THE NATURE OF THE NEW AS A WHOLE AND ITS RELATION TO THE OLD