How far Schiller penetrated into the arcana of transcendentalism it is impossible for us to say. The metaphysical and logical branches of it seem to have afforded him no solid satisfaction, or taken no firm hold of his thoughts; their influence is scarcely to be traced in any of his subsequent writings. The only department to which he attached himself with his ordinary zeal was that which relates to the principles of the imitative arts, with their moral influences, and which in the Kantean nomenclature has been designated by the term _Æsthetics_,[27] or the doctrine of sentiments and emotions. On these subjects he had already amassed a multitude of thoughts; to see which expressed by new symbols, and arranged in systematic form, and held together by some common theory, would necessarily yield enjoyment to his intellect, and inspire him with fresh alacrity in prosecuting such researches. The new light which dawned, or seemed to dawn, upon him, in the course of these investigations, is reflected, in various treatises, evincing, at least, the honest diligence with which he studied, and the fertility with which he could produce. Of these the largest and most elaborate are the essays on _Grace and Dignity_; on _Naïve and Sentimental Poetry_; and the _Letters on the Æsthetic Culture of Man_: the other pieces are on _Tragic Art_; on the _Pathetic_; on the _Cause of our Delight in Tragic Objects_; on _Employing the Low and Common in Art_. [Footnote 27: From the verb αισθανομαι, _to feel_.—The term is Baumgarten's; prior to Kant (1845).]