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ideas exemplified in space and time by individual objects.’? They 
are the embodiments of the world’s desire, of the world’s passion 
and longing, the forms of the whole world’s will that exist. Art 
grasps these world-forms, these types of creation, action and desire, 
and exhibits them in artistic forms; for an example, architecture 
(as a commentator of this philosophy says) ‘‘ portrays the blind 
nature-forces or longings of weight and resistance ;’’ or, as I ven- 
ture to add, the harmonious arrangement of matter and mass, par- 
alleled by the scientific theory of the rhythmical disposal of 
molecular atoms. Art is the universal appreciation of the essence 
of the ‘‘ world-will’’ from the point of view of an intelligent on- 
looker, above all, artist ; and thus art, while embodying the world’s 
desire or will, is not itself the victim of passion. Of all the arts, 
according to Schopenhauer, ‘‘ music most universally and many- 
sidedly portrays the essence of the world-will, the soul of desire, 
the heart of this passionate, world-making, incomprehensible inner 
nature ;’’ and listening to the longing and oft abrupt strains of 
Wagner’s music, I have been sometimes startlingly reminded of 
Schopenhauer’s ‘‘ world-will,’’ or desire, so wistful, passionate, ob- 
jectless and chaotic, and finding its utterance in those weird and 
changeful harmonies. ‘‘ The opposition between will and contem- 
plation’’ reaches, indeed, its most systematic statement in the 
philosophy of Schopenhauer; but the difficulty remains that the 
‘¢ world-will’’ of Schopenhauer is at best ‘‘ a simple desire and selfish 
striving,’’ and the longing after perfection even is only an accidental 
and changing will, whereas human life has a spiritual centre (¢5y7), 
as the material universe has a physical centre, from which ever- 
recurring influences and attractions spring, that tend to the recog- 
nition of unchangeable and eternal ideas of beauty—a will lying 
back of the phenomenal world in the spiritual ; and in this Hegel 
is truer in his zsthetic philosophy than Schopenhauer. _ 
Leaving these speculations of the German idealists, let me offer 
some thoughts, imperfect though they may be, on the philosophy 
of art as a good theme to theorize upon, and tending to promote 
the best interests of art, which is assuming, together with physical 
science and literature, its own great place in modern civilization as 
well as in modern education ; and suffer me to follow out here for 
a moment this suggestion in regard to education. It might be 
taken for granted that the training of the knowing powers makes 
education mean nothing unless it mean the development of the 
