 Schiller is not, however, content to confine his distinction between the naïve and sentimental to art. In the essay’s final section, he sketches a portrait of these two sensibilities divorced from their aesthetic application. Here the naïve person becomes the realist; the sentimental character becomes the idealist. The realist has a “knack for sober observation and a firm adherence to the uniform testimony of the senses”; as far as action goes, he submits to natural necessity, “yielding to what is and must be” (NA XX, 492/250). He aims at happiness and prosperity and views morality not as encompassed in an individual deed but in the sum of a life. He can “proceed splendidly” this way but “would not be able to lay claim, in any particular case, to greatness and dignity” (NA XX, 494/E 252). The idealist instead exhibits a “restless spirit of speculation that presses on towards what is unconditioned”, drawing “upon himself and reason alone for his knowledge and his motives” (NA XX, 494/E 252). In moral evaluation, he will exhibit a “purer morality on an individual level, but much less moral uniformity on the whole” (NA XX, 496/E 253). Since humans are not capable of consistent idealism, the idealist can be judged only by particular acts. The general public, then, will often not have much to say about the realist’s everyday behavior, but “it will always take a position on the idealists, and will be torn between reproach and amazement” (NA XX, 497/E 254).