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, 
