CONTENTS OF VOLUME I

Translator’s Note [ix]
Author’s Preface to the Revised Edition [xiii]
Author’s Preface to the First Edition [xv]
Chapter I. Introduction [1]
Scope of the work, p. [3]. Morphology of World-History, a new philosophy, p. [5]. For whom is History? p. [8]. Classical and Indian mankind ahistorical, p. [9]. The Egyptian mummy and the burning of the dead, p. [13]. The conventional scheme of World-History (ancient, mediæval, modern), p. [15]. Its origin, p. [18]. Its breakdown, p. [22]. Europe not a centre of gravity, p. [23]. The only historical method is Goethe’s, p. [25]. Ourselves and the Romans, p. [26]. Nietzsche and Mommsen, p. [28]. The problem of Civilization, p. [31]. Imperialism the last phase, p. [36]. The necessity and range of our basic idea, p. [39]. Its relation to present-day philosophy, p. [41]. Philosophy’s last task, p. [45]. The origin of this work, p. [46].
Chapter II. The Meaning of Numbers [51]
Fundamental notions, p. [53]. Numbers as the sign of delimitation, p. [56]. Every Culture has its own Mathematic, p. [59]. Number as magnitude in the Classical world, p. [64]. Aristarchus, p. [68]. Diophantus and Arabian number, p. [71]. Number as Function in the Western Culture, p. [74]. World-fear and world-longing, p. [78]. Geometry and arithmetic[arithmetic], p. [81]. The Limit idea, p. [86]. Visual limits transcended; symbolical space worlds, p. [86]. Final possibilities, p. [87].
Chapter III. The Problem of World-history. (1) Physiognomic and Systematic [91]
Copernican methods, p. [93]. History and Nature, p. [94]. Form and Law, p. [97]. Physiognomic and Systematic, p. [100]. Cultures as organisms, p. [104]. Inner form, tempo, duration, p. [108]. Homology, p. [111]. What is meant by “contemporary,” p. [112].
Chapter IV. The Problem of World-history. (2) The Destiny-idea and the Causality-principle [115]
Logic, organic and inorganic, p. [117]. Time and Destiny, p. [119]. Space and Causality, p. [119]. The problem of Time, p. [121]. Time a counter-conception to Space, p. [126]. The symbols of Time—tragedy, time reckoning, disposal of the dead, p. [130]. Care (sex, the State, works), p. [136]. Destiny and Incident, p. [139]. Incident and Cause, p. [141]. Incident and Style of existence, p. [142]. Anonymous and personal epochs, p. [148]. Direction into the future and Image of the Past, p. [152]. Is there a Science of History? p. [155]. The new enunciation of the problem, p. [159].
Chapter V. Makrokosmos. (1) The Symbolism of the World-picture and the Problem of Space [161]
The Macrocosm as the sum total of symbols referred to a Soul, p. [163]. Space and Death, p. [165]. “Alles vergängliche ist nur ein Gleichnis,” p. [167]. The space problem (only Depth is space-forming), p. [169]. Depth as Time, p. [172]. The world-idea of a Culture born out of its prime symbol, p. [174]. Classical Body, Magian Cavern, Western Infinity, p. [174].
Chapter VI. Makrokosmos. (2) Apollinian, Faustian, and Magian Soul [181]
Prime symbol, architecture, divinities, p. [183]. The Egyptian prime symbol of the path, p. [188]. Expression-language of art: Ornamentation and Imitation, p. [191]. Ornament and early architecture, p. [196]. The window, p. [199]. The grand style, p. [200]. The history of a Style as organism, p. [205]. On the history of the Arabian style, p. [207]. Psychology of art-technique, p. [214].
Chapter VII. Music and Plastic. (1) The Arts of Form [217]
Music one of the arts of form, p. [219]. Classification of the arts impossible except from the historical standpoint, p. [221]. The choice of particular arts itself an expression-means of the higher order, p. [222]. Apollinian and Faustian art-groups, p. [224]. The stages of Western Music, p. [226]. The Renaissance an anti-Gothic and anti-musical movement, p. [232]. Character of the Baroque, p. [236]. The Park, p. [240]. Symbolism of colours, p. [245]. Colours of the Near and of the Distance, p. [246]. Gold background and Rembrandt brown, p. [247]. Patina, p. [253].
Chapter VIII. Music and Plastic. (2) Act and Portrait [257]
Kinds of human representation, p. [259]. Portraiture, Contrition, Syntax, p. [261]. The heads of Classical statuary, p. [264]. Portrayal of children and women, p. [266]. Hellenistic portraiture, p. [269]. The Baroque portrait, p. [272]. Leonardo, Raphael and Michelangelo overcome the Renaissance, p. [273]. Victory of Instrumental Music over Oil-Painting, corresponding to the victory of Statuary over Fresco in the Classical, p. [282]. Impressionism, p. [285]. Pergamum and Bayreuth, p. [291]. The finale of Art, p. [293].
Chapter IX. Soul-image and Life-feeling. (1) On the Form of the Soul [297]
Soul-image as function of World-image, p. [299]. Psychology of a counter-physics, p. [302]. Apollinian, Magian and Faustian soul-image, p. [305]. The “Will” in Gothic space, p. [308]. The “inner” mythology, p. [312]. Will and Character, p. [314]. Classical posture tragedy and Faustian character tragedy, p. [317]. Symbolism of the drama-image, p. [320]. Day and Night Art, p. [324]. Popular and esoteric, p. [326]. The astronomical image, p. [329]. The geographical horizon, p. [332].
Chapter X. Soul-image and Life-feeling. (2) Buddhism, Stoicism, and Socialism [339]
The Faustian morale purely dynamic, p. [341]. Every Culture has a form of morale proper to itself, p. [345]. Posture-morale and will-morale, p. [347]. Buddha, Socrates, Rousseau as protagonists of the dawning Civilizations, p. [351]. Tragic and plebeian morale, p. [354]. Return to Nature, Irreligion, Nihilism, p. [356]. Ethical Socialism, p. [361]. Similarity of structure in the philosophical history of every Culture, p. [364]. The Civilized philosophy of the West, p. [365].
Chapter XI. Faustian and Apollinian Nature-knowledge [375]
Theory as Myth, p. [377]. Every Natural Science depends upon a preceding Religion, p. [391]. Statics, Alchemy, Dynamics as the theories of three Cultures, p. [382]. The Atomic theory, p. [384]. The problem of motion insoluble, p. [388]. The style of causal process and experience, p. [391]. The feeling of God and the knowing of Nature, p. [392]. The great Myth, p. [394]. Classical, Magian and Faustian numina, p. [397]. Atheism, p. [408]. Faustian physics as a dogma of force, p. [411]. Limits of its theoretical (as distinct from its technical) development, p. [417]. Self-destruction of Dynamics, and invasion of historical ideas; theory dissolves into a system of morphological relationships, p. [420].
Index Following page [428]
Tables Illustrating the Comparative Morphology of History At [end] of volume

CHAPTER I

INTRODUCTION

CHAPTER I
INTRODUCTION