It may be interesting to note in passing that, psychologically considered, all æsthetic enjoyment among the ordinary population, neither artists in the narrow sense nor philosophers, still necessarily partakes to some degree of genuine æsthetic contemplation, and that such contemplation seems to fall roughly into two classes, to one or other of which every one who experiences æsthetic enjoyment belongs. These have, I believe, been defined by Müller-Freienfels as that of the “Zuschauer,” who feels that he is looking on, and that of the “Mitspieler,” who feels that he is joining in; on the one side, we may say, he who knows he is looking on, the _spectator_, and on the other he who imaginatively joins in, the _participator_. The people of the first group are those, it may be, in whom the sensory nervous apparatus is highly developed and they are able to adopt the most typical and complete æsthetic attitude; the people of the other group would seem to be most developed on the motor nervous side and they are those who themselves desire to be artists. Groos, who has developed the æsthetic side of “miterleben,” is of this temperament, and he had at first supposed that every one was like him in this respect.[140] Plotinus, who held that contemplation embraced activity, must surely have been of this temperament. Coleridge was emphatically of the other temperament, _spectator haud particeps_, as he himself said. But, at all events in northern countries, that is probably not the more common temperament. The æsthetic attitude of the crowds who go to watch football matches is probably much more that of the imaginative participator than of the pure spectator. There is no occasion here to trace the history of æsthetic contemplation. Yet it may be worth while to note that it was clearly present to the mind of the fine thinker and great moralist who brought the old Greek idea back into the modern world. In the “Philosophical Regimen” (as it has been named) brought to light a few years ago, in which Shaftesbury set down his self-communings, we find him writing in one place: “In the morning am I to see anew? Am I to be present yet longer and content? I am not weary, nor ever can be, of such a spectacle, such a theatre, such a presence, nor at acting whatever part such a master assigns me. Be it ever so long, I stay and am willing to see on whilst my sight continues sound; whilst I can be a spectator, such as I ought to be; whilst I can see reverently, justly, with understanding and applause. And when I see no more, I retire, not disdainfully, but in reverence to the spectacle and master, giving thanks.... Away, man! rise, wipe thy mouth, throw up thy napkin and have done. A bellyful (they say) is as good as a feast.”