Rationalism had ended in proving deadly to ideals. This was true. But men forgot for the moment how glorious an ideal it had once been to be rational and to assert the rationality of the universe. Still the time had come when, in Germany at all events, the great cry was, 'back to the ideal.' It is curious that men always cry 'back' when they mean 'forward.' For it was not the old idealism, either religious or æsthetic, which they were seeking. It was a new one in which the sober fruits of rationalism should find place. Still, for the moment, as we have seen, the air was full of the cry, 'back to the State by divine right, back to the Church, back to the Middle Age, back to the beauty of classical antiquity.' The poetry, the romance, the artistic criticism of this movement set themselves free at a stroke from theological bondage and from the externality of conventional ethics. It shook off the dust of the doctrinaires. It ridiculed the petty utilitarianism which had been the vogue. It had such an horizon as men had never dreamed before. It owed that horizon to the rationalism it despised. From its new elevation it surveyed all the great elements of the life of man. It saw morals and religion, language and society, along with art and itself, as the free and unconscious product through the ages, of the vitality of the human spirit. It must be said that it neither solved nor put away the ancient questions. Especially through its one-sided æstheticism it veiled that element of dualism in the world which Kant clearly saw, and we now see again, after a century which has sometimes leaned to easy pantheism. However, it led to a study of the human soul and of all its activities, which came closer to living nature than anything which the world had yet seen.