The point of our argument in this place is that since the whole purpose of philosophy is articulation or clarification and since in this process of clarification the fewer "axiomatic incomprehensibles" we start with the better; it is decidedly to the advantage of any philosophy that it should require at the start nothing more than the mystery of the individual soul confronting the mystery of the world around it. And it is to the disadvantage of Bergson's philosophy that it should require at the start, in addition to "pure spirit" with its assumption of memory and will, and "pure matter" with its assumption of ordinary space and ordinary time, a still further axiomatic trump-card, in the theory of intuitive "durational" time, in which the real process of the life-flow transcends all reason and logic. Putting aside however the cosmological aspect of our controversy with the "radical empirical" school of thought, we still have left unconsidered our most serious divergence from their position. This consists in the fact that both Bergson and James have entirely omitted from their original instrument of research that inalienable aspect of the human soul which we call the aesthetic sense. With only a few exceptions--notably that of Spinoza--all the great European philosophers from Plato to Nietzsche have begun their philosophizing from a starting-point which implied, as an essential part of their "organum" of enquiry, the possession by the human soul of some sort of aesthetic vision. To these thinkers, whether rationalistic or mystic, no interpretation of the world seemed possible that did not start with the aesthetic sense, both as an instrument of research and as a test of what research discovered. The complete absence of any discussion of the aesthetic sense in Bergson and James is probably an historic confession of the tyranny of commercialism and physical science over the present generation. It may also be a spiritual reflection, in the sphere of philosophy, of the rise to political and social power of that bourgeois class which, of all classes, is the least interested in aesthetic speculation.