OF THE BEAUTIFUL. 83 



The problem of the Beautiful does not occupy such an 45. 

 important position m Hartmann s system as it does in mann. 

 that of Schopenhauer's. In the first and most important 

 of his larger works, ' The Philosophy of the Uncon- 

 scious ' (1869), there is a short chapter on the "Un- 

 conscious " in sesthetical judgment and in artistic 

 production. In a much later work on the History 

 and Theory of the Beautiful, Hartmann criticises, from 

 his point of view, the ?esthetical theories and doctrines 

 of a large number of German writers, and enters on 

 a full discussion of the subject which may be looked 

 upon as confirming and illustrating the main principle 

 of his philosophy. This main principle — which contains 

 his solution of the central philosophical problem, the 

 problem of Eeality — he acknowledges to be fore- 

 shadowed in Schelling's later writings, when Schelling 

 had recognised the insufficiency of his own earlier 

 speculation, in which, however, were contained the germs 

 for the twofold but antagonistic development in the 

 systems of Hegel and Schopenhauer. The whole ques- 

 tion turns upon the duality which was established in 

 modern times in the first two ' Critiques ' of Kant, 

 and which may be variously defined as the dualism of 

 knowledge and action, of the theoretical and the practi- 

 cal reason, or, as Schopenhauer has most pointedly put 

 it, as the dualism of the intellect and the will. Hart- 

 mann shows in a lucid manner, and with a great wealth 

 of examples and illustrations, how the whole of the 

 idealistic movement of thought after Kant aimed at 

 showing that the Idea — i.e., the intellectual factor — is the 

 underlying principle, the essence of the truly Eeal, the 



