"Logical and geometrical simplification is the result of an increase of power: conversely, the mere aspect of such simplification increases the sense of power in the beholder."[44] To see what is ugliness to him, represented as what is beauty to him, also impresses the spectator with the feeling of power; of an obstacle overcome, and thereby stimulates his activities. Moreover, the spectator may feel a certain gratitude to Life and Mankind. It often happens, even in our days, that another world is pictured as by no means a better world,[45] and the healthy and optimistic layman may feel a certain thankfulness to Life and to Humanity. It is then once more that he turns to the artist who has felt the same in a greater degree, who can give him this thing--be it a corner of Life or of Humanity--who can snatch it from the eternal flux and torrent of all things into decay or into death, and who can carve or paint it in a form unchanging for him, in spite of a world of Becoming, of Evolution, and of ebb and flow. Just as the musician cries Time! Time! Time! to the cacophonous medley of natural sounds that pour into his ears from all sides, and assembles them rhythmically for our ears hostile to disorder; so the graphic artist cries Time! Time! Time! to the incessant and kaleidoscopic procession of things from birth to death, and places in the layman's arms the eternalized image of that portion of Life for which he happens to feel great gratitude. [33] _W. P._, Vol. II, p. 368. [34] _W. P._, Vol. II, p. 241. [35] _W. P._, Vol. II, p. 280. [36] _W. P._, Vol. II, p. 281. [37] _W. P._, Vol. II, p. 244. [38] _Z._, II, XXXVII. [39] _Z._, I. XVIII. [40]_ T. I._, Part 10, Aph. "Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is accident. Studying 'according to nature' seems to me a bad sign; it betrays subjection, weakness, fatalism; this lying-in-the-dust before petit fails is unworthy of a complete artist. Seeing what is--that belongs to another species of intellects, to the anti-artistic, to the practical." [41] See Woltmann and Woermann, _History of Painting_, Vol. I, p. 62. [42] _B. T._, p. 59. See also Schopenhauer, _Parerga und Paralipomena_, Vol. II, p. 447. [43] _W. P._, Vol. II, p. 255. [44] _W. P._, Vol. II, p. 241. [45] _W. P._, Vol. II, p. 95: "A people that are proud of themselves, and who are on the ascending path of Life, always picture another existence as lower and less valuable than theirs." 5. The Confusion of the Two Points of View. It is obvious that if both pleasures are to remain pure and undefiled-- if the artist is to attain to his zenith in happiness, and the layman to his also--their particular points of view must not be merged, dulled, or blunted by excessive spiritual intercourse.[46] For a very large amount of the disorder in the arts of the present can easily be traced to a confusion of the two points of view.