But a logic applicable to this higher science must be understood in a far more comprehensive sense than is ordinarily done. And this is even what we have here attempted to furnish. Logic in general is conversant about three objects: the notion, the judgment, and the conclusion. But it ought also to possess a general fundamental rule and regulative standard of truth, so far as this is attainable. But inasmuch as in this domain the eternal is simply one, so also for this higher science one notion properly is sufficient; as also one judgment which comprises all others, and one conclusion which completes the whole, is sufficient. The act of understanding has been explained to be the completion of the notion; and the full and complete apprehension of the eternal truth, or of Him who is the sum of all verities, was the subject-matter of our ninth treatise. The act of discerning was explained to be the completion of the judgment; and this perfect judgment, which decides and distinguishes between truth and error, was the theme of our tenth disquisition. Science, however, is the perfection of all thinking, and in its actual operation, as applied to life, and in itself carried to a conclusion, is one with it. Now this was the end to which the present discussion and development was intended to lead; while the further prosecution of it and its reference to the several spheres and domains of existence must be reserved to the following discourses.
OF THE SYMBOLICAL NATURE AND CONSTITUTION OF LIFE WITH REFERENCE TO ART AND THE MORAL RELATIONS OF MAN.
How difficult it generally is for man to express his internal conceptions, to bring out the indwelling idea and to realize its perfect external manifestation, is shown, for example, among other instances, by the fine arts, or the art of the beautiful. For this reason the theory of the latter, the so-called æsthetics (which, however, might far more correctly be termed symbolism), forms the natural pendant and accompaniment to logic, if the latter, instead of being limited, as is usual, to the mere art of distinguishing the different kinds of notions, is understood in a far higher sense, and referred to eternal, and, consequently, divine truth, and to its intrinsic and equally divine standard. For when the question no longer involves a purely material or simply subjective verity, but that which is more exalted and heavenly, then beauty (that, namely, about which art is conversant, and which, far surpassing all that is merely human, pretends and really ought to be divine and supernatural) forms the other and symbolical aspect of one and the same eternal truth. And indeed it is neither separable from it nor opposed to it, so long as art maintains its high standing and employs the sensual charm which it requires for the lively expression of vitality, and its outward manifestation, only as a symbol and for the sake of that higher significance which she herself lends to it, and does not seek nor admire it for its own sake, nor sees therein the fulfillment of its own true end and aim.