Fi­nally, in the course of this per­ma­nently weighing the parts against the whole – the smaller or­ders, com­bined into a great one, be­ing weighed against this greater one as a whole – the mu­sic lis­tener gradu­ally learns to dis­tin­guish the parts within the whole, too, as if one would learn to per­ceive the com­po­nents of the tree within the seed.
This cog­niz­ing the di­ver­sity within unity sys­tem­ati­cally in­creases the in­tel­lec­tual ful­filledness of the lis­tener and stirs his natu­ral, in­tel­lec­tual joy of knowl­edge.

At the same time, how­ever, the mu­sic lis­tener feels tempted to catch more and more pow­er­ful truths with his net of knowl­edge now struc­tured more and more tightly, for if he suc­ceeds, he feels more and more pow­er­ful.

In this proc­ess he re­leases higher and higher in­ner worlds of power within him­self and draws from fields of higher and higher en­ergy.

Fi­nally, the mu­sic lis­tener learns the lucky strike: he casts the tightest imag­in­able of all nets of cog­ni­tion, the most golden, the most shin­ing of all nets, and makes the great­est catch known in mu­sic: he catches the har­mony.

And when the suc­cess­ful lis­tener ex­am­ines his catch more closely, he finds that the net is a mir­ror and the har­mony his own re­flec­tion, and he real­izes that he has caught him­self. This fills him with de­light, for now he knows that he has power over him­self; af­ter all, who can make such a claim?

At the same time, the lis­tener un­der­stands that, by ex­er­cis­ing the power over him­self, he guar­an­tees his out­side free­dom; be­cause sud­denly he be­comes so wide-awake on the level of his own in­ner­most for­ma­tive forces, that he can skill­fully dodge all outer ma­nipu­la­tion.
In this man­ner he turns into a sin­gle fighter on the mu­si­cal battle-field of forces: he be­comes a hero.

Very clearly he feels in­vin­ci­ble from out­side.

Thus he dances in the round dance of his own, free, in­ner de­ci­sions, of his own in­ner fan­tasy of life, with the seven-league boots of his own in­ner fac­ul­ties of cog­ni­tion through his crea­tive world, and from there occassionally into his sur­round­ings.
And peo­ple will say he is untrou­bled and happy, unshakeable and de­ter­mined in ac­tion, lib­eral and amicable.

Are such in­sights new? Do they de­pend on the sound of cer­tain mu­si­cal works? Ob­vi­ously, such an in­ner ex­peri­ence al­ready exists within the mu­sic lis­tener – within man – and the art of tones only stimu­lates this kind of ex­peri­ence.
And the ar­tis­tic achieve­ment of the mu­si­cal poet lies in the proc­ess of condensation in his works, and his art lies in teach­ing his lis­tener how to use the truth-catch­ing net of knowl­edge – how to refine his think­ing, feel­ing, un­der­stand­ing, and hear­ing: he teaches him the art of poetry – in­deed, in such an unob­tru­sive, dis­creet and loving man­ner, that his lis­tener is will­ing to travel with him into un­known dis­tances full of con­fi­dence, and that he does not get tan­gled in doubts on this path of knowl­edge.