Even if the matter be put in this negative way, the moral value of art cannot be depreciated. But there is a more positive function. Play and art add fresh and deeper meanings to the usual activities of life. In contrast with a Philistine relegation of the arts to a trivial by-play from serious concerns, it is truer to say that most of the significance now found in serious occupations originated in activities not immediately useful, and gradually found its way from them into objectively serviceable employments. For their spontaneity and liberation from external necessities permits to them an enhancement and vitality of meaning not possible in preoccupation with immediate needs. Later this meaning is transferred to useful activities and becomes a part of their ordinary working. In saying then that art and play have a moral office not adequately taken advantage of it is asserted that they are responsible to life, to the enriching and freeing of its meanings, not that they are responsible to a moral code, commandment or special task. To a coarse view--and professed moral refinement is often given to taking coarse views--there is something vulgar not only in recourse to abnormal artificial exigents and stimulations but also in interest in useless games and arts. Negatively the two things have features which are alike. They both spring from failure of regular occupations to engage the full scope of impulses and instincts in an elastically balanced way. They both evince a surplusage of imagination over fact; a demand in imaginative activity for an outlet which is denied in overt activity. They both aim at reducing the domination of the prosaic; both are protests against the lowering of meanings attendant upon ordinary vocations. As a consequence no rule can be laid down for discriminating by direct inspection between unwholesome stimulations and invaluable excursions into appreciative enhancements of life. Their difference lies in the way they work, the careers to which they commit us.