elucidated) between Classical and Western tragedy; in the succession of scenes of old Egyptian relief and generally in the _serial_ arrangement of Egyptian statues, sphinxes, temple-halls; in the choice, as distinct from the treatment, of materials (hardest diorite to affirm, and softest wood to deny, the future); in the occurrence, and not in the grammar, of the individual arts, e.g., the victory of arabesque over the Early Christian picture, the retreat of oil-painting before chamber music in the Baroque; in the utter diversity of intention in Egyptian, Chinese and Classical statuary. All these are not matters of “can” but of “must,” and therefore it is not mathematics and abstract thought, but the great arts in their kinship with the contemporary religions, that give the key to the problem of Time, a problem that can hardly be solved within the domain of history[120] alone. ----- Footnote 115: See Vol. II, pp. 13, 19. Footnote 116: See Vol. II, p. 16. Footnote 117: The original reads: “(So ist jede Art von Verstehen ... nur dadurch möglich ...) dass ein Begriffspaar von innerem Gegensatz gewissermassen durch Auseinandertreten erst Wirklichkeit erhält.”— _Tr._ Footnote 118: At this point the German text repeats the paragraph which in this edition begins at “But inquiry” (p. 121) and ends at the close of section I (p. 121).—_Tr._ Footnote 119: See Vol. II, pp. 137, 159. Footnote 120: Here the author presumably means history in the ordinary acceptation of the word.—_Tr._ ----- IV It follows from the meaning that we have attached to the Culture as a prime phenomenon and to destiny as the organic logic of existence, that each Culture must necessarily possess its own destiny-idea. Indeed, this conclusion is implicit from the first in the feeling that every great Culture is nothing but the actualizing and form of a single, singularly- constituted (einzigartig) soul. And what cannot be felt by one sort of men exactly as it is felt by another (since the life of each is the expression of the idea _proper_ to himself) and still less transcribed, what is named by us “conjuncture,” “accident,” “Providence” or “Fate,” by Classical man “Nemesis,” “Ananke,” “Tyche” or “Fatum,” by the Arab “Kismet,” by everyone in some way of his own, is just that of which each unique and unreproduceable soul-constitution, quite clear to those who share in it, is a rendering.