CHAPTER IV. THE PROBLEM OF WORLD-HISTORY. (2) THE DESTINY-IDEA AND THE CAUSALITY-PRINCIPLE 115 Logic, organic and inorganic, p. 117. Time and Destiny, p. 119. Space and Causality, p. 119. The problem of Time, p. 121. Time a counter-conception to Space, p. 126. The symbols of Time—tragedy, time reckoning, disposal of the dead, p. 130. Care (sex, the State, works), p. 136. Destiny and Incident, p. 139. Incident and Cause, p. 141. Incident and Style of existence, p. 142. Anonymous and personal epochs, p. 148. Direction into the future and Image of the Past, p. 152. Is there a Science of History? p. 155. The new enunciation of the problem, p. 159. CHAPTER V. MAKROKOSMOS. (1) THE SYMBOLISM OF THE WORLD-PICTURE AND THE PROBLEM OF SPACE 161 The Macrocosm as the sum total of symbols referred to a Soul, p. 163. Space and Death, p. 165. “Alles vergängliche ist nur ein Gleichnis,” p. 167. The space problem (only Depth is space- forming), p. 169. Depth as Time, p. 172. The world-idea of a Culture born out of its prime symbol, p. 174. Classical Body, Magian Cavern, Western Infinity, p. 174. CHAPTER VI. MAKROKOSMOS. (2) APOLLINIAN, FAUSTIAN, AND MAGIAN SOUL 181 Prime symbol, architecture, divinities, p. 183. The Egyptian prime symbol of the path, p. 188. Expression-language of art: Ornamentation and Imitation, p. 191. Ornament and early architecture, p. 196. The window, p. 199. The grand style, p. 200. The history of a Style as organism, p. 205. On the history of the Arabian style, p. 207. Psychology of art-technique, p. 214. CHAPTER VII. MUSIC AND PLASTIC. (1) THE ARTS OF FORM 217 Music one of the arts of form, p. 219. Classification of the arts impossible except from the historical standpoint, p. 221. The choice of particular arts itself an expression-means of the higher order, p. 222. Apollinian and Faustian art-groups, p. 224. The stages of Western Music, p. 226. The Renaissance an anti- Gothic and anti-musical movement, p. 232. Character of the Baroque, p. 236. The Park, p. 240. Symbolism of colours, p. 245. Colours of the Near and of the Distance, p. 246. Gold background and Rembrandt brown, p. 247. Patina, p. 253. CHAPTER VIII. MUSIC AND PLASTIC. (2) ACT AND PORTRAIT 257