as the highest, that must also its taste, its judgment, recognise and affirm as the highest. What the nature affirms, the understanding, the taste, the judgment, cannot deny; otherwise the understanding, the judgment, would no longer be the understanding and judgment of this particular being, but of some other. The measure of the nature is also the measure of the understanding. If the nature is limited, so also is the feeling, so also is the understanding. But to a limited being its limited understanding is not felt to be a limitation; on the contrary, it is perfectly happy and contented with this understanding; it regards it, praises and values it, as a glorious, divine power; and the limited understanding, on its part, values the limited nature whose understanding it is. Each is exactly adapted to the other; how should they be at issue with each other? A being's understanding is its sphere of vision. As far as thou seest, so far extends thy nature; and conversely. The eye of the brute reaches no farther than its needs, and its nature no farther than its needs. And so far as thy nature reaches, so far reaches thy unlimited self-consciousness, so far art thou God. The discrepancy between the understanding and the nature, between the power of conception and the power of production in the human consciousness, on the one hand is merely of individual significance and has not a universal application; and, on the other hand, it is only apparent. He who having written a bad poem knows it to be bad, is in his intelligence, and therefore in his nature, not so limited as he who, having written a bad poem, admires it and thinks it good.
It follows, that if thou thinkest the infinite, thou perceivest and affirmest the infinitude of the power of thought; if thou feelest the infinite, thou feelest and affirmest the infinitude of the power of feeling. The object of the intellect is intellect objective to itself; the object of feeling is feeling objective to itself. If thou hast no sensibility, no feeling for music, thou perceivest in the finest music nothing more than in the wind that whistles by thy ear, or than in the brook which rushes past thy feet. What then is it which acts on thee when thou art affected by melody? What dost thou perceive in it? What else than the voice of thy own heart? Feeling speaks only to feeling; feeling is comprehensible only by feeling, that is, by itself—for this reason, that the object of feeling is nothing else than feeling. Music is a monologue of emotion. But the dialogue of philosophy also is in truth only a monologue of
