The philosophy of the complex vision may have to wait for its hour of influence until the proletariat comes into its own. And it does indeed seem as if between the triumph of the proletariat and the triumph of the aesthetic sense there were an intimate association. It is precisely because these two philosophers have so completely neglected the aesthetic sense that their speculations seem to have so little hold upon the imagination. When once it is allowed that the true instrument of research into the secret of the universe is the rhythmic activity of man's complete nature, and not merely the activity of his reason or the activity of his intuition working in isolation, it then becomes obvious that the universal revelations of the aesthetic sense, if they can be genuinely disentangled from mere subjective caprices, are an essential part of what we have to work with if we are to approach the truth. The philosophy of the complex vision bases its entire system upon its faith in the validity of these revelations; and, as we have already shown, it secures an objective weight and force for this ideal vision by its faith in certain unseen companions of humanity, whom it claims the right to name "the immortals." This is really the place where we part company with Bergson and James. We agree with the former in his distrust of the old metaphysic. We agree with the latter in many of his pluralistic speculations. But we feel that any philosophy which refuses to take account, at the very beginning, of those regions of human consciousness which are summed up by the words "beauty" and "art," is a philosophy that in undertaking to explain life has begun by eliminating from life one of its most characteristic products. In Bergson's interpretation of life the stress is laid upon "spirit" and "intuition." In James' interpretation of life the stress is laid upon those practical changes in the world and in human nature which any new idea must produce if it is to prove itself true. In the view of life we are now trying to make clear, philosophy is so closely dependent upon the activity of the aesthetic sense that it might itself be called an art, the most difficult and the most comprehensive of all the arts, the art of retaining the rhythmic balance of all man's contradictory energies. What this rhythmic balance of man's concentrated energies seems to make clear is the primary importance of the process of discrimination and valuation. From the profoundest depths of the soul rises the consciousness of the power of choice; and this power of choice to which we give, by common consent, the name of "will," finds itself confronted at the start by the eternal duality of the impulse to create and the impulse to resist creation. The impulse to create we find, by experience, to be identical with the emotion of love. And the impulse to resist creation we find, by experience, to be identical with the emotion of malice.