The worship of classical antiquity, as it was to be seen in Italy, maybe interpreted as the only earnest, disinterested, and fecund worship which has yet fallen to the lot of antiquity. It is a splendid example of Don Quixotism; and philology at best is such Don Quixotism. Already at the time of the Alexandrian savants, as with all the sophists of the first and second centuries, the Atticists, &c., the scholars are imitating something purely and simply chimerical and pursuing a world that never existed. The same trait is seen throughout antiquity: the manner in which the Homeric heroes were copied, and all the intercourse held with the myths, show traces of it. Gradually all Greek antiquity has become an object of Don Quixotism. It is impossible to understand our modern world if we do not take into account the enormous influence of the purely fantastic. This is now confronted by the principle: there can be no imitation. Imitation, however, is merely an artistic phenomenon, _i.e.,_ it is based on appearance: we can accept manners, thoughts, and so on through imitation; but imitation can create nothing. True, the creator can borrow from all sides and nourish himself in that way. And it is only as creators that we shall be able to take anything from the Greeks. But in what respect can philologists be said to be creators! There must be a few dirty jobs, such as knackers' men, and also text-revisers: are the philologists to carry out tasks of this nature? 172 What, then, is antiquity _now,_ in the face of modern art, science, and philosophy? It is no longer the treasure-chamber of all knowledge; for in natural and historical science we have advanced greatly beyond it. Oppression by the church has been stopped. A _pure_ knowledge of antiquity is now possible, but perhaps also a more ineffective and weaker knowledge.--This is right enough, if effect is known only as effect on the masses; but for the breeding of higher minds antiquity is more powerful than ever. Goethe as a German poet-philologist; Wagner as a still higher stage: his clear glance for the only worthy position of art. No ancient work has ever had so powerful an effect as the "Orestes" had on Wagner. The objective, emasculated philologist, who is but a philistine of culture and a worker in "pure science," is, however, a sad spectacle. 173 Between our highest art and philosophy and that which is recognised to be truly the oldest antiquity, there is no contradiction: they support and harmonise with one another. It is in this that I place my hopes. 174 The main standpoints from which to consider the importance of antiquity: 1. There is nothing about it for young people; for it exhibits man with an entire freedom from shame. 2. It is not for direct imitation, but it teaches by which means art has hitherto been perfected in the highest degree.