In words at least, the association of idealism with emotion and impulse has been repeatedly implied in the foregoing. The connection is more than verbal. Every end that man holds up, every project he entertains is ideal. It marks something wanted, rather than something existing. It is wanted because existence as it _now_ is does not furnish it. It carries with itself, then, a sense of contrast to the achieved, to the existent. It outruns the seen and touched. It is the work of faith and hope even when it is the plan of the most hard-headed "practical" man. But though ideal in this sense it is not _an_ ideal. Common sense revolts at calling every project, every design, every contrivance of cunning, ideal, because common sense includes above all in its conception of the ideal the _quality_ of the plan proposed. Idealistic revolt is blind and like every blind reaction sweeps us away. The quality of the ideal is exalted till it is something beyond all possibility of definite plan and execution. Its sublimity renders it inaccessibly remote. An ideal becomes a synonym for whatever is inspiring--and impossible. Then, since intelligence cannot be wholly suppressed, the ideal is hardened by thought into some high, far-away object. It is so elevated and so distant that it does not belong to this world or to experience. It is in technical language, transcendental; in common speech, supernatural, of heaven not of earth. The ideal is then a goal of final exhaustive, comprehensive perfection which can be defined only by complete contrast with the actual. Although impossible of realization and of conception, it is still regarded as the source of all generous discontent with actualities and of all inspiration to progress.