To like paintings isn't really in basic terms to confirm what has been stated. it's not the idolatry of the acknowledged, yet quite devotion to the asserting. “But the true global isn't any longer the residing be aware, the conversing of God itself, yet fairly simply the spoken—the coagulated (geronnen)—word [Aber die reale Welt ist nicht mehr das lebendige Wort, das Sprechen Gottes selbst, sondern nur das gesprochene—geronnene—Wort]” (I/5, 484). Gerinnen is to coagulate, clot, or curdle (like milk into cheese). The clotted observe of paintings isn't the expressive talking of artwork. The plastic arts in themselves, too, are consequently in basic terms “the lifeless observe [das gestorbene Wort]” and the extra that this talking is ready to die to itself, the extra elegant the art is; in song this is often perceptible because the second of sonority (Klang), the sounding out of items, the univocity of being, “that power that has entered into demise [das in den Tod eingegangene Lebendige]” (I/5, 484). 26 consequently, language itself is “vital, expressive, and limitless affirmation,” “the optimum image of chaos” (I/5, 484), the vowels that, as we see within the Freedom essay, let us pay attention the silent consonants of nature (I/7, 364). Karl Schelling tells us that his father wrote the subsequent be aware within the margins of the Philosophy of artwork lectures: “Sprache überhaupt = Kunst­ trieb des Menschen: Language total = the human force for paintings” (I/5, 486). That we communicate in any respect is already on the center of the human force to creativity, of our wish to perform the expressivity of nature itself. artwork, talking in any respect, is already as a result on the middle of what Schelling understood by way of that the majority poorly understood of phrases, reli­ gion. during this feel, the philosophy of artwork is not directly the start of what Schelling will later name confident philosophy. As Schelling recalled 4 a long time later in 1842 within the 10th and ultimate lecture of his Histori­ cal-critical advent to the Philosophy of Mythology: 158 SCHELLING’S perform OF THE WILD [t]he Philosophy of Mythology additionally types an quintessential origin for the Philosophy of paintings, simply because it has an important relation to the Philosophy of historical past. For it is going to be crucial, even considered one of its first initiatives, for this Philosophy of artwork to challenge itself with the 1st gadgets of inventive and poetic displays. the following will probably be unavoidable to require, because it have been, a poesy initially previous all plastic and compositional artwork, specifically, one initially inventing and generating the uncooked fabric [Stoff]. (II/1, 241)27 What was once the primordial type of human creativity from which paintings as such is spinoff? a trip to the Lascaux or Chauvet caves, or a learn of the petroglyphs that flourished in areas as distant from one another because the Americas, Australia, and Tanzania, provide testimony to Schelling’s solution: mythology! within the artwork lectures, mythology “is the mandatory situation and the top topic [der erste Stoff] of all paintings” (§38, I/5, 405). inventive photographs emerge from the now forgotten strength of mythological pictures. artistic endeavors and the gods—for “these genuine, dwelling, and present rules are the gods [diese realen, lebendigen und existierenden Ideen sind die Götter]” (I/5, 370)—are now not tokens for anything beside themselves.