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 creation. But modern thought is altogether too constructive and creative to tolerate such a conception, and in the vaster past that has opened to us, it can find neither offence nor promise, only a spacious scheme of events, opening out—perpetually opening out—with a quality of final purpose as irresistible to most men's minds as it is incomprehensible, opening out with all that inexplicable quality of design that, for example, some great piece of music, some symphony of Beethoven's, conveys. We see future beyond future and past behind past. It has been like the coming of dawn, at first a colourless dawn, clear and spacious, before which the mists whirl and fade, and there opens to our eyes not the narrow passage, the definite end we had imagined, but the rocky, ill-defined path we follow high amidst this limitless prospect of space and time. At first the dawn is cold—there is, at times, a quality of terror almost in the cold clearness of the morning twilight; but insensibly its coldness passes, the sky is touched with fire, and presently, up out of the dayspring in the east, the sunlight will be pouring. . . . And these men of the New Republic will be going about in the daylight of things assured.

And men's concern under this ampler view will no longer be to work out a system of penalties for the sins of dead men, but to understand and participate in this great development that now dawns on the human understanding. The insoluble problems of pain and death, gaunt, incomprehensible facts as they were, fall into place in the gigantic order that evolution unfolds. All things are integral in the