Since this scheme seeks to realise an æsthetic conception of life and an artistic culture in opposition to all the restraint of tradition and environment, it will come into particularly severe conflict with traditional religion and morality. It must reject religion, or at least what hitherto has been called religion, because, with its blending together of the spiritual and the sensuous in a single world, it can by no means acknowledge a world of independent spirituality; its thought is much too "monistic" for that. It must reject religion also for the reason that, with its immediate affirmation of life, it cannot in the least understand the starting-point of religion, the experience and perception of harsh inner contradictions in our existence. Religion, with all the heroism that it truly shows, is here regarded as a mere lowering of vital energy; a chimera which pleases the weak.
In relation to morality the matter is not much different. A foundation of morality in the necessity of its own nature is lacking in this system. What motive could move a man who whole-heartedly accepted Æsthetic Individualism to acknowledge something external to the subject as a standard, and in accordance with this standard to put a check upon his natural impulses? Indeed, with the denial of spiritual activity and the division of the world into for and against, the entire antithesis of good and evil loses its meaning and its justification. Reality appears from the point of view of this system to be rent in twain in an unwarrantable manner at the command of a human authority. What is usually called morality is considered to be only a statute of the community, a means by which it seeks to rob the individual of his independence and to subordinate him to itself.
All this reasoning presents itself as an offspring of our own time, and wishes to establish the correctness of its claims on its own ground through its results. Yet it by no means lacks historical relations: often in the course of the centuries the subject has shaken off every constraint and sought a solution to life's problems in its own realm. This happened, first among the Sophists; then in a form less marked and with more direct attention to happiness in Epicureanism; later, in proud exaltation and in a titanic struggle with the world, in the Renaissance; and again in a more delicate and more contemplative manner in the Romantic period. Tendencies from all these operate in the Æsthetic Individualism of the present time and enrich it in many ways, though their contributions are not always free from contradiction. But, even with these historical elements, Æsthetic Individualism is essentially a modern product; and it cannot be denied that it has won a great power in the present; a movement of culture in this direction is unmistakeable. It is the very nature of this scheme of life not to hasten to a definite form, and for this reason it does not manifest itself with very definite features; but, with invisible power, it is everywhere present and creates a spiritual atmosphere from which it is difficult to withdraw ourselves. Notwithstanding all the attacks it is subjected to and the doubts as to its validity, it draws power continually from both the main tendencies which it unites; from the evolution of the subject and from the growth of art. Thus, here again we are concerned not with mere subjective willing and wishing, but with an actual movement in universal history.