354 LITERARY PAPERS 



of organic life, but of the universe, for the cosmic forces are 

 dissymmetrical. 



Some bodies which are not symmetrical on the right and 

 the left are constructed on a general plane of symmetry. A 

 chair has a plane of symmetry ; it is the vertical plane passing 

 through the middle of the back and of the seat. But the two 

 halves of the chair, separated by this plane, are not symme- 

 trical; the right is not superposable upon the left. 



There is a marked separation between the organic kingdom 

 and the mineral kingdom. Dissymmetry and symmetry, or 

 function and crystallization, are the modes of cosmic forces. 

 The nearer the approach to the symmetrical, so much the 

 nearer to a condition of crystallization and cessation of 

 so-called vital functions. The transition from the dissym- 

 metrical to the symmetrical is at the expense of force, con- 

 sequently involves motion. Symmetry is equalized force, 

 dissymmetry is unequalized force. When force is in a state 

 of equilibrium it is symmetrical, and conversely. 



The striving of the human mind to attain the symmetrical 

 or ideal also carries with it the idea of movement. A deeper 

 meaning underlies this. In the human struggle after perfec- 

 tion, or symmetry geometrically expressed, should such a state 

 be reached, every further progress would end human effort 

 would be changed to a stable condition or one of crystalliza- 

 tion. Perfection would be fixation. Absolute truth, if achieved, 

 would terminate all thought, as the crystal terminates all 

 directive motion. A geometrical formula expressing all life, 

 would be also expressive of all death. Relative truth is dis- 

 symmetrical; absolute truth symmetrical. 



That this conclusion seems to be where scientific thought 

 will eventually drive the world is imminent, and the thought 

 crops out from many of the canvases of Monet. Many of the 

 tricks which painters of other schools employ to give motion 

 to their pictures, are disregarded by the impressionists. They 

 have penetrated to the source of motion, and they recognize 

 force as the cause. This fact that force manifests itself in 

 straight lines is not only expressed in generality, but in the 

 details or technique of their pictures. On close inspection, 



