 In any case, the philosophical or Romantic notion of nature as an unfathomable unity and creative force that cannot be seen nor touched, and which is obviously a direct response to some of the many questions raised by Kant’s three Critiques, is not to be understood as a mere intellection, an empty chimera: Nature is the productive force pulsing in all living beings. For Schlegel, nature is organic in the sense that it is an organized and organizing principle, granting intelligence to the totality of existing beings. It is a creative force that produces independent living things, the life of which does not need any external mechanism to keep its autonomy, for it only depends on its inner, natural power to live (as is the case with Leibniz’ vis activa). At this point Schlegel mentions the astrological doctrines that claim that even the tiniest atom is a mirror of the universe. The idea of Nature mirroring itself in each and every living organism is characteristic both of German Idealism and German Romanticism. The difference between human beings and other animals, plants, or mineral structures is that, (1) human beings are able to understand the fact that they, as an organism, mirror Nature’s organic structure; and furthermore, (2) that they are capable of reproducing nature’s creativity through art, as well as reflecting upon this fact. This reasoning induced Schlegel to define human genius and his/her poetical creativity as a whole (i.e., art and language) as the capability of producing a world within a world (Müller-Vollmer 2000 [2002]: 317); a definition which is most tangible in dramatic literature.