[56] In this regard it is interesting to note that: "The Teutonic 'Kunst' (Art) is formed from _können_, and _können_ is developed from a primitive Ich kann. Ich kann philology recognizes a preterite form of a lost verb, of which we find the traces in Kin-d, a child; and the form Ich kann, thus meaning originally, 'I begot,' contains the germ of the two developments--_können_, 'to be master,' 'to be able,' and 'kennen' to know" (_Sidney Colvin_, in the _Encyclopædia Britannica_, 9th Edition. Article, "Art"). [57] _W. P._, Vol. II, p. 14. See also _G. E._, pp. 8, 9. [58] _W. P._, Vol. II, p. 368: "The great man is conscious of his power over a people, and of the fact that he coincides temporarily with a people or with a century--this magnifying of his self-consciousness as causa and voluntas is misunderstood as 'altruism': he feels driven to means of communication: all great men are inventive in such means. They want to form great communities in their own image; they would fain give multiformity and disorder definite shape; it stimulates them to behold chaos." [59] _W. P._, pp. 255, 256. [60] Even Fichte recognizes this power in Art to stamp values upon a people. See the Sämmtliche Werke, Vol, IV, p. 353: "Art converts the transcendental standpoint into the general standpoint.... The philosopher can raise himself and others to this standpoint only with great effort. But the artistic spirit actually finds himself there, without having thought about it; he knows no other standpoint, and those who yield to his influence are drawn so imperceptibly over to his side, that they do not even notice how the change takes place." 5. The Two Kinds of Artists. Up to the present I have spoken only of the desirable artist, of him who, from the very health and fulness that is in him, cannot look on Life without transfiguring her; of the man who naturally sees things fuller, simpler, stronger and grander[61] than his fellows.[62] When this man speaks of Life, his words are those of a lover extolling his bride.[63] There is a ring of ardent desire and deep longing in his speech, which is infectious because it is so sincere, which is convincing because it is so authoritative, and which is beautiful because it is so simple. Intoxicated[64] by his love, giddy with enthusiasm, he rhapsodizes about her, magnifies her; points to vast unknown qualities and beauties in her, to which he is the first to give some lasting names; and stakes his life upon her myriad charms. This Dionysian artist, the prototype of all gods and demi-gods that have ever existed on earth, exalts Life when he honours her with his love; and in exalting her, exalts humanity as well.[65]