When mind has thus been trained to look for esthetic values, even where the practical side of the thing is paramount, it becomes able to enjoy esthetically even that which in no way directly suggests an esthetic attitude of the spectator. Man learns to enjoy the beauty of nature as something independent of his practical needs. This ability has grown very slowly. As late as the end of the eighteenth century one reads in a book on Switzerland in a description of the Engelberg valley the following words: “What do you see? Nothing but horrid mountains; no gardens, no orchards, no wheat fields pleasing to the eye.” One thing assisting in this esthetic liberation of the mind is the many-sidedness of nature in comparison with the practical interests of man. Every one can find in nature something remote enough from his everyday interests to become an object of esthetic enjoyment. We enjoy reading about a war in the far East, not only because we recall that we have no money invested there and nothing else to risk, but chiefly because the feelings aroused by the reports from the theater of war can develop without interference. They could not, if the battle took place in a neighboring village. For the same reason we enjoy travel esthetically, not when we are compelled to travel, but when we choose it for our recreation. Standing in the market place of a foreign city, I see the people talk, gesticulate, bargain, as they do in my own town. And yet it is different. There are no relations to my own domestic affairs. Their talking does not concern me. I do not even understand their language. Thus I am able to enjoy the sight esthetically. It is true that nature rarely fulfills all those conditions which the artist fulfills in a work of art by his artistic reconstruction of the piece of nature represented by him. But this loss of esthetic effectiveness is compensated by the inexhaustible variety, the never ceasing movement, the immense power and magnitude of nature. Thus mind turns against its own beginning. But not in order to make war upon itself, but to overcome evils of former adaptations by a new and higher kind of adaptation. QUESTIONS 223. What property is common to works of art of every kind? 224. How does religion contribute to the growth of art? 225. How is play related to art? 226. What are the three factors in art on which our feelings depend? 227. Which of the three factors is predominant in music? 228. What is the advantage of imitation over reality? 229. What are the three aspects of the artistic problem of imitation? 230. What training does the mind receive from the enjoyment of handicraft and architecture? 231. What kind of esthetic enjoyment has developed most recently? 232. How does nature assist man in the highest development of his esthetic ability? § 26. MORALITY