232 UNIVERSAL EVOLUTION 



industrialism. It is not so apparent in art or in poetry. 

 Yet. when an artist paints a picture like the Angelus, 

 or the poet composes a "Thanatopsis" or an "Iliad," 

 its greatness really consists in its lessons of true life ; 

 it points the way to the higher, broader and deeper 

 conceptions of man, and his relations to his fellows, 

 that is, it shows man how to preserve and broaden his 

 life. 



All esthetics, music, poetry, the drama, the limner's 

 art, like science, are the property of all nations, and 

 however diverse the languages, these works of art have 

 a common meaning, and universally appeal to all peo- 

 ples. They are therefore, a universal medium for the 

 promotion of the brotherhood of man ; which means, 

 that the destructive forces of human life, and welfare, 

 are thus greatly modified, and will be finally abolished. 

 Therefore, art is a promoter of the physical welfare of 

 the race. The physical, economic conditions of all 

 forms of society, the municipality, or the state, or the 

 nation, always determine the political policy, and give 

 the tone to its organized religions also. It is this prin- 

 ciple that determines the difference between the Asiatic 

 and European countries. England, from her isolated 

 position, and contracted territory, is, for that reason, 

 compelled to adopt an entirely different political 

 policy, from that of Russia, for example. The political 

 economy of a nation and a great work of art have for 

 their common basis, that in proportion, as they are 

 faithful to the laws of nature exact copies of natural 

 truth so they are really great. 



Auguste Comte in his positive philosophy, refused to 

 recognize psychology, as a science distinct from 

 physiology. The reason is not obscure. It is, ' that 

 every psychical phenomenon has its physiological marks, 



