rise to classes or symbols, which are without reality but convenient, fictitious but useful. Ingenuous philosophers and logicians have allowed themselves to be deceived by these puppets and have taken them seriously, as Don Quixote took the Moorish puppets of Master Peter. Forgetful of the nature and character of the complete operation, they have proceeded to concentrate and to simplify where there is no material for such an undertaking, claiming to group afresh, not only this or that series of representations, but all representations, hoping thus to obtain the universal concept, that is to say, the concept which enfolds in its bosom the infinite possibilities of the real. Thus they have attained the pretended new and autonomous form of knowledge which goes beyond representations; a refined, but slightly ridiculous process of thought, like that of a man who would like to make not only knives of various sizes and shapes, but a knife of knives, beyond all knives which have a definite shape and are made of iron and steel. [Sidenote: _Reduction to the absurd of the three forms._] We shall proceed to examine in their places both the errors resulting from these modes of solving, or of cutting, the problem of knowledge, and also the partial truths mingled with them which it is necessary to exhibit in their full efficacy. But, at the point which now occupies us, _i.e.,_ the affirmation or negation of the conceptual form of knowledge, let it suffice to observe how all the ranks of those who deny the concept move to the assault armed with the _concept._ We need simply observe, not strive to confute, because it is a question of something which leaps to the eye at once and does not demand many words; although many would be necessary to illustrate psychologically the conditions of spirit and of culture, the natural and acquired tendencies, the habits and the prejudices, which render such marvellous blindness possible. The æstheticists affirm that truth resides in æsthetic contemplation and not in the concept. But, pray, is this affirmation of theirs perchance song, or painting, or music, or architecture? It certainly concerns intuition, but it is not intuition; it has art for subject-matter, but it is not art; it does not communicate a state of the soul, but communicates a thought, that is to say, an affirmation of universal character; therefore, it is a concept. And by this concept it is sought to deny the concept. It is as if one sought to leap over one's own shadow, when the leap itself throws the shadow, or, by clinging to one's own pigtail, to pull oneself into safety out of the river. The same may be said of the mystics. They proclaim the necessity of silence and of seeking the One, the Universal, the I, concentrating upon themselves and letting themselves live; during which mystical experience it may, perhaps, befall them (as in the _Titan_ of J. P. Richter) to rediscover the I, in a somewhat materialized form, in their own person.