There is also a prejudice which to some extent inquinates the manner of _culture_ of students of philosophy. They are accustomed to have recourse almost exclusively to the books of philosophers, indeed of philosophers 'in general,' of the metaphysical system-makers, in the same way as the student of theology formed himself upon the sacred texts. This method of culture, which is perfectly consequent when a start is made from the presupposition of a fundamental or single problem, of which it is necessary to know the different diverging and progressive solutions which have been attempted, is altogether inconsequent and inadequate in the case of a historical and immanent philosophy, which draws its material from all the most varied impressions of life and from all intuitions and reflections upon life. That form of culture is the reason for the aridity of the treatment of certain particular problems, for which is necessary a continued contact with daily experience (art and art criticism for æsthetic, politics, economy, judicial trials for the philosophy of rights, positive and mathematical sciences for the gnoseology of the sciences, and so on). To it is also due the aridity of treatment of those parts of philosophy themselves which are traditionally considered to constitute 'general philosophy,' for they too had their origin in life, and we must refer them back to life if we are to give a satisfactory interpretation of their propositions; we must plunge them into life again to develop them and to find in them new aspects. The _whole of history_ is the foundation of philosophy as history, and to limit its foundation to the _history of philosophy_ alone, and of 'general' or 'metaphysical' philosophy, is impossible, save by unconsciously adhering to the old idea of philosophy, not as methodology but as metaphysic, which is the fifth of the prejudices that we are enumerating.
This enumeration can be both lengthened and ended with the mention of a sixth preconception, relating to _philosophical exposition._ Owing to this, philosophy is expected to have either an architectural form, as though it were a temple consecrated to the Eternal, or a warm poetical form, as though it were a hymn to the Eternal. But these forms were part of the old content, and that form is now changed. Philosophy shows itself to be a dilucidation of the categories of historical interpretation rather than the grandiose architecture of a temple or a sacred hymn running on conventional lines. Philosophy is discussion, polemic, rigorous didactic exposition, which is certainly coloured with the sentiments of the writer, like every other literary form, able also at times to raise its voice (or on the other hand to become slight and playful, according to circumstances), but not constrained to observe rules which appear to be proper to a theological or religious content. Philosophy treated as methodology has, so to speak, caused philosophical exposition to descend from poetry to prose.