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 But nothing is gained by pretending that we have reached the point where the two can be blended in a one harmonious system. So far as I can see we are not near it. In particular I can find no justification in experience for associating great art with penetrating insight, or good art with good morals. Optimism and pessimism; materialism and spiritualism; theism, pantheism, atheism; morality and immorality; religion and irreligion; lofty resignation and passionate revolt—each and all have inspired or helped to inspire the creators of artistic beauty. It would even (I suppose) be rash confidently to assert that the 'everlasting Yea' provides material more easily moulded to the uses of high imagination than the 'everlasting Nay'; while it is certain that cheap cynicism and petty spite have supplied the substance of literary achievements which we could ill afford to lose.

To a very different order of thought belong the vast metaphysical structures of German philosophers. Yet they also have been greatly concerned to find for aesthetics a fitting niche in the eternal framework of the transcendental 'whole'. No one will suggest that their efforts have been half-hearted, or that their task has been undertaken in other than the most serious spirit. But it would plainly be impossible properly to discuss