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But even further limitations are necessary in this innocent subserviency to the senses, which is only allowed in the form, without changing anything in the substance. Great moderation must be always used, and sometimes the end in view may be completely defeated according to the kind of knowledge and degree of conviction aimed at in imparting our views to others. There is a scientific knowledge, which is based on clear conceptions and known principles; and a popular knowledge, which is founded on feelings more or less developed. What may be very useful to the latter is quite possibly adverse to the former.

When the object in view is to produce a strict conviction on principles, it is not sufficient to present the truth only in respect to its contents or subject; the test of the truth must at the same time be contained in the manner of its presentation. But this can mean nothing else than that not only the contents, but also the mode of stating them, must be according to the laws of thought. They must be connected in the presentation with the same strict logical sequence with which they are chained together in the seasonings of the understanding; the stability of the representation must guarantee that of the ideas. But the strict necessity with which the understanding links together reasonings and conclusions, is quite antagonistic to the freedom granted to imagination in matters of knowledge. By its very nature, the imagination strives after perceptions, that is, after complete and completely determinate representations, and is indefatigably active to represent the universal in one single case, to limit it in time and space, to make of every conception an individual, and to give a body to abstractions. Moreover, the imagination likes freedom in its combinations, and admits no other law in them than the accidental connection with time and space; for this is the only connection that remains to our representations, if we separate from them in thought all that is conception, all that binds them internally and substantially together. The understanding, following a diametrically opposite course, only occupies itself with part representations or conceptions, and its effort is directed to distinguish features in the living unity of a perception. The understanding proceeds on the same principles in putting together and taking to pieces, but it can only combine things by part-representations, just as it can separate them; for it only unites, according to their inner relations, things that first disclosed themselves in their separation.

The understanding observes a strict necessity and conformity with laws in its combinations, and it is only the consistent connection of ideas that satisfies it. But this connection is destroyed as often as the imagination insinuates entire representations (individual cases) in this chain of abstractions, and mixes up the accidents of time with the strict necessity of a chain of circumstances. Accordingly, in every case where it is essential to carry out a rigidly accurate sequence of reasoning, imagination must forego its capricious character; and its endeavor to obtain all possible sensuousness in conceptions, and all freedom in their combination, must be made subordinate and sacrificed to the necessity of the understanding. From this it follows that the exposition must be so fashioned as to overthrow this effort of the imagination by the exclusion of all that is individual and sensuous. The poetic impulse of imagination must be curbed by distinctness of expression, and its capricious tendency to combine must be limited by a strictly legitimate course of procedure. I grant that it will not bend to this yoke without resistance; but in this matter reliance is properly placed on a certain amount of self-denial, and on an earnest determination of the hearer or reader not to be deterred by the difficulties accompanying the form, for the sake of the subject-matter. But in all cases where no sufficient dependence can be placed on this self-denial, or where the interest felt in the subject-matter is insufficient to inspire courage for such an amount of exertion, it is necessary to resign the idea of imparting strictly scientific knowledge; and to gain instead greater latitude in the form of its presentation. In such a case it is expedient to abandon the form of science, which exercises too great violence over the imagination, and can only be made acceptable through the importance of the object in view. Instead of this, it is proper to choose the form of beauty, which, independent of the contents or subject, recommends itself by its very appearance. As the matter cannot excuse the form in this case, the form must trespass on the matter.