It must in fact be admitted that the artistic sense of a profound and, at the same time, philosophical spirit anticipated philosophy in the stricter sense by its demand for and expression of the principle of totality and reconciliation in its opposition to that abstract finiteness of thought, that duty for duty's sake, that understanding faculty devoid of any substantive content, which one and all apprehend nature and reality, sense and feeling, merely as a _limits_ something downright alien or hostile. It is Schiller who must be credited with the important service of having broken through the Kantian subjectivity and abstractness of thought, and of having ventured the attempt to pass beyond the same by comprehending in thought the principles of unity and reconciliation as the truth, and giving artistic realization to that truth. For Schiller, in his aesthetic investigations, did not merely adhere to art and its interest unaffected by their relation to philosophy proper, but he compared his own interest in the beauty of art in their due relation to philosophical principles; and it is only from the starting-point of these latter and by their aid that he penetrated the profounder nature and notional concept of Beauty. Thus we are conscious that it was a feature of a certain period of his productive activity that he was actively engaged with reflective thought, more perhaps than was wholly favourable to the simple and direct beauty of his work as an art product. The deliberate character of abstract reflections, and even the interest of the philosophical notion, arrest the attention in several of his poems. He has, in fact, been made the subject of stricture on this account; and especially his work has been blamed and depreciated in its contrast with the equable serenity and straightforward simplicity of Goethe's ideas and more objective naturalism. But in this respect Schiller as poet did but pay the debt of his century. A real ideal evolution[117] was responsible, the recognition of which only redounds to the honour of this sublime soul and profound genius, as it has been no less of signal profit to science and knowledge. This stimulating movement of science during the same epoch also diverted Goethe from the sphere, most distinctively his own, as poet. But just as Schiller was absorbed in the study of the ideal depths of the _mind_, so the characteristic predilection of Goethe inclined to the _physical_ aspect of art, to external nature, such as animal and vegetable organization, crystals, cloud-formation and colours. To such scientific inquiry Goethe applied his extraordinary powers of intuition, which in these provinces have driven off the field the theories of the mere understanding and their errors, just as Schiller, on the other side, succeeded in demonstrating the Idea of the free totality of Beauty as against the theory of the analytical understanding relative to volition and thinking. An entire