Human beings as we find them are artificial products; and for better or for worse they must always be such. Nature has made us: social action and our own efforts must continually remake us. Any attempt to reject art for "nature" can only result in an artificial naturalness which is far less genuine and less pleasing than the natural work of art. Further, as self-consciousness varies, the amount or degree of this remaking activity will vary. Among the extremely few respects in which human history shows unquestionable growth we must include the degree and range of self-consciousness. The gradual development of psychology as a science and the persistent advance of the subjective or introspective element in literature and in all fine art are tokens of this change. And as a further indication and result, the art of human reshaping has taken definite character, has left its incidental beginnings far behind, has become an institution, a group of institutions. Wherever a language exists, as a magazine of established meanings, there will be found a repertoire of epithets of praise and blame, at once results and implements of this social process. The simple existence of such a vocabulary acts as a persistent force; but the effect of current ideals is redoubled when a coherent agency, such as public religion, assumes protection of the most searching social maxims and lends to them the weight of all time, all space, all wonder, and all fear. For many centuries religion held within itself the ripening self-knowledge and self-discipline of the human mind. Now, beside this original agency we have its offshoots, politics, education, legislation, the penal art. And the philosophical sciences, including psychology and ethics, are the especial servants of these arts. As to structure, human nature is undoubtedly the most plastic part of the living world, the most adaptable, the most educable. Of all animals, it is man in whom heredity counts for least, and conscious building forces for most. Consider that his infancy is longest, his instincts least fixed, his brain most unfinished at birth, his powers of habit-making and habit-changing most marked, his susceptibility to social impressions keenest; and it becomes clear that in every way nature, as a prescriptive power, has provided in him for her own displacement. His major instincts and passions first appear on the scene, not as controlling forces, but as elements of _play_, in a prolonged life of play. Other creatures nature could largely finish: the human creature must finish himself.