4 PROGRESS OF SCIENCE IN THE CENTURY. 



vices of the hypertrophied practical mood are be- 

 littlement, baseness, brutality. We cannot but have 

 a great respect for the dominant practical mood, 

 and yet if it is left unchecked by scientific discipline 

 and artistic culture, it tends to run riot. The prac- 

 tical man elects to do, not know, but action without 

 knowledge is often our undoing. Ignorant practice 

 may be more dangerous than any dogma. The prac- 

 tical man will have " nothing to do with sentiment," 

 though he prides himself in keeping close to the 

 facts; he cannot abide any theory and yet he is im- 

 bued with a Martin Tupperism which gives a false 

 simplicity to the problems of life ; he \vill live in what 

 he calls " the real world," and yet he often hugs 

 close to himself the most unreal of ideals. 



Secondly, there is a man of dominantly 

 artistic mood, which seems to find expression in 

 Schiller's words : " wunderschbn ist Gottes Erde, 

 und schon auf ihr ein Mensch zu sein; " " How 

 beautiful is God's earth, how good it is to live a 

 man's life upon it/' 



From man's first emergence until to-day, the drama 

 of nature has doubtless appealed to human emotions. 

 Especially, perhaps, as he gained firmer foothold in 

 the world, secured by his wits against stronger rivals 

 and a careless environment, did the emotional tone 

 rise into dignity as a distinct mood, finding its ex- 

 pression in painting and carving, song and story, 

 music and the dance. The herbs and the trees, the 

 birds and the beasts, sent tendrils into the human 

 heart, claiming and finding kinship. 



Like the practical mood, BO the emotional mood has 

 its obvious virtues. It is part of the salt of lift-. I n 

 a noisy world it helps to keep us aware of the har- 

 mony in the heart of things. 



