Thereby the false position to which we have already directed attention vanishes, namely, that art has to serve as a means for moral ends and the moral end of the world generally by means of its didactive and ameliorating influence, and by doing so has its essential aim not in itself, but in something else. If we therefore continue still to speak of an end or goal of art, we must at once remove the perverse idea, which in the question, "What is the end?" will still make it include the supplemental query, "What is the use?" The perverseness consists in this that the work of art would then have to be regarded as related to something else, which is presented us as what is essential and ought to be. A work of art would in that case be merely a useful instrument in the realization of an end which possessed real and independent importance outside the realm of art. As opposed to this we must maintain that it is art's function to reveal _truth_ under the mode of art's sensuous or material configuration, to display the reconciled antithesis previously described, and by this means to prove that it possesses its final aim in itself, in this representation in short and self-revelation. For other ends such as instruction, purification, improvement, procuring of wealth, struggle after fame and honour have nothing whatever to do with this work of art as such, still less do they determine the fundamental idea[110] of it. It is then from this point of view, into which the reflective consideration of our subject-matter finally issues, that we have to grasp the fundamental idea of art in terms of its ideal or inward necessity, as it is also from this point of view that historically regarded the true appreciation and acquaintance with art took its origin. For that antithesis, to which we have drawn attention, did not merely assert its presence within the general thought of educated men, but equally in philosophy as such. It was only after philosophy was in a position to overcome this opposition absolutely that it grasped the fundamental notion of its own content, and, to the extent it did so, the idea of Nature and of art. For this reason, as this point of view implies the reawakening of philosophy in the widest connotation of the term, so also it is the re-awakening of the science of art. We may go further and affirm that aesthetic as a science is in a real sense primarily indebted to this re-awakening for its true origination, and art for its higher estimation. IV