[17] Two of the words quoted are first found, according to the _Oxford Dictionary_, in Sir Thomas More, one (_apostrophe_) in the text and the other in the title of his _Apologie of Syr Thomas More, Knyght_, “made by him, after he had geven over the Office of Lord Chancellor of Englande.” It is not surprising that the creator of a European success like _Utopia_ should have had a fine taste in real Greek words too. [18] A corrupted form of ‘al-lagarto’—‘the lizard’. [19] See p. 47, note. [20] See p. 136. [21] See p. 126. [22] There is as yet no satisfactory word in English to express quite what is meant. The German ‘Weltanschauung’ (world-outlook) is nearer to it. If, however, the word _consciousness_ is taken not simply in its finite sense, as ‘the opposite of unconsciousness’, but rather as including a man’s whole awareness of his environment, the sum total of his intellectual and emotional experiences as an individual, perhaps it may serve. [23] See p. 3. [24] Like _consciousness_, this word must be taken here in its very widest, metaphorical sense, as of a human ego “looking out” upon the world through the windows of memory, recognition, the senses, etc., and of the cosmos which it “sees” through those windows. It is obvious that the _outlook_ of every individual will be slightly different from that of every other, also that there will be a great difference between the average _outlook_ of broad contemporary classes, such, for instance, as learned and ignorant, artist and scientist, agnostic and Roman Catholic. The widest gulf of all is likely to be that between the average outlooks of different historical periods, and this will be increased if we are dealing with different races—such as, for example, ancient Egyptians and modern Americans—for in this case the dissimilarity will extend over nearly every experience of which the human _outlook_ is composed. [25] We may compare, unless we are enthusiastic naturalists, the enormously different impression made upon ourselves by two such outwardly similar creatures as a cockroach and a ladybird. [26] P. 109. The Temple scenes in Mozart’s _Magic Flute_ are a Freemason’s attempt to depict the proceedings within an Egyptian Mystery School, and the opera itself is plainly a fanciful treatment of the drama of initiation. (Incidentally, the noises made by Papageno when he attempts to sing with the padlock on his lips are an excellent illustration of the possibly natural origin of the root ‘mu-’ in ‘mu-ein’.)