Most of man's actions are thus ways of modifying his environment for immediately practical purposes. Man has instincts and habits which enable him to live. But in making those changes in the world which enable him to live better, man, as it were by accident, makes them beautifully. Pottery begins, for example, as a practical art, but the skilled potter cannot help spending a little excess vitality and habitual skill in adding a quite unnecessarily graceful curve, a gratuitous decoration to the utilitarian vessel he is making. In the words of Santayana, "What had to be done was, by imaginative races, done imaginatively; what had to be spoken or made was spoken or made fitly, lovingly, beautifully.... The ceaseless experimentation and fermentation of ideas, in breeding what it had a propensity to breed, came sometimes on figments that gave it delightful pause."[1] [Footnote 1: Santayana: _Reason in Art_, p. 16.] These accidental graces that man makes in the instinctive and habitual control to which he subjects his environment become the most cherished values of his experience. Men may first have come to speak poetry accidentally, for language arose, like other human habits, as a thing of use. But the charming and delightful expression of feelings and ideas came to be cherished in themselves, so that what was first an accident in man's life, may become a deliberate practice. When this creation of beautiful objects, or the beautiful expression of feelings or ideas is intentional, we call it art. In such intentional creation and cherishing of the beautiful man's life becomes enriched and emancipated. He learns not only to live, but to live beautifully. In such activity men, as has been recognized by social reformers from Plato to Bertrand Russell, are genuinely happy, and there alone find freedom. For in the creation of beauty man is not performing actions because he must, under the brutal compulsion of keeping alive. He is acting simply because action is delightful both in the process and in the result. Whether in business, politics, or scholarship, men are happy to the extent to which they have the sense of creation that is peculiarly the artist's. The products of art, moreover, are not desirable because they bring other goods, but because they themselves are intrinsically delightful. Men love to live in a world in which their marble has been made into statues, in which their houses are things of beauty rather than merely places in which to live. Their lives are enriched by living in a society where the thoughts and emotions which they communicate to one another and which they must somehow express can be not infrequently expressed with nobility and music. Through science Nature becomes man's tool; through art it can become a beautiful instrument to work with, and a lovely thing in and for itself. CHAPTER IV THE BASIC HUMAN ACTIVITIES