It is the purity of the value-forms imagined in philosophy that makes philosophy "normative." The arts, which it judges, have an identical origin and an indistinguishable intent, but they are properly its subordinates because they have not its purity. They, too, aim at remodeling discordant nature into harmony with human nature. They, too, are dominated by value-forms which shall satisfy as nearly as possible all interests, shall liberate and fulfil all repressions, and shall supply to our lives that unity, eternity, spirituality, and freedom which are the exfoliations of our central desire--the desire to live. But where philosophy has merely negated the concrete stuff of experience and defined its reality in terms of desire alone, the arts acknowledge the reality of immediate experience, accept it as it comes, eliminating, adding, molding, until the values desiderated become existent in the concrete immediacies of experience as such. Art does not substitute values for existence by changing their roles and calling one appearance and the other reality: art converts values into existences, it realizes values, injecting them into nature as far as may be. It creates truth and beauty and goodness. But it does not claim for its results greater reality than nature's. It claims for its results greater immediate harmony with human interests than nature. The propitious reality of the philosopher is the unseen: the harmonious reality of the artist must be sensible. Philosophy says that apparent actual evil is merely apparent: art compels potential apparent good actually to appear. Philosophy realizes fundamental values transcendentally beyond experience: art realizes them within experience. Thus, men cherish no illusions concerning the contents of a novel, a picture, a play, a musical composition. They are taken for what they are, and are enjoyed for what they are. The shopgirl, organizing her life on the basis of eight dollars a week, wears flimsy for broadcloth and the tail feather of a rooster for an ostrich plume. She is as capable of wearing and enjoying broadcloth and ostrich plume as My Lady, whose income is eight dollars a minute. But she has not them, and in all likelihood, without a social revolution she never will have them. In the novels of Mr. Robert Chambers, however, or of Miss Jean Libbey, which she religiously reads in the street-car on her way to the shop; in the motion picture theater which she visits for ten cents after her supper of corned beef, cabbage, and cream puffs, she comes into possession of them forthwith, vicariously, and of all My Lady's proper perquisites--the Prince Charming, the motor-car, the Chinese pug, the flowers, and the costly bonbons. For the time being her life is liberated, new avenues of experience are actually opened to her, all sorts of unsatisfied desires are satisfied, all sorts of potentialities realized. All that she might have been and is not, she becomes through art, here and now, and