It is clear that Guyau was on the right road, although his statement was confusingly awkward in form. He deformed his statement, moreover, through his perpetual tendency to insist on the spontaneously socialising organisation of human groups—a tendency which has endeared him to all who adopt an anarchist conception of society—and, forgetting that he had placed morals only at the depth of art and not on the surface, he commits himself to the supremely false dictum: “Art is, above everything, a phenomenon of sociability,” and the like statements, far too closely resembling the doctrinary pronouncements of Tolstoy. For sociability is an indirect end of art: it cannot be its direct aim. We are here not far from the ambiguous doctrine that art is “expression,” for “expression” may be too easily confused with “communication.”[132] All these eminent philosophers—though they meant something which so far as it went was true—have failed to produce a satisfying statement because they have none of them understood how to ask the question which they were trying to answer. They failed to understand that morals is just as much an art as any other vital psychic function of man; they failed to see that, though art must be free from the dominance of morals, it by no means followed that it has no morality of its own, if morality involves the organised integrity which all vital phenomena must possess; they failed to realise that, since the arts are simply the sum of the active functions which spring out of the single human organism, we are not called upon to worry over any imaginary conflicts between functions which are necessarily harmonious because they are all one at the root. We cannot too often repeat the pregnant maxim of Bacon that the right question is the half of knowledge. Here we might almost say that it is the whole of knowledge. It seems, therefore, unnecessary to pursue the subject further. He who cannot himself pursue it further had best leave it alone.