We may illuminatingly change the analogy and turn to the field of chemistry. All these various elements of life are but, as it were, allotropic forms of the same element. The most fundamental among these forms is that of art, for life in all its forms, even morality in the narrowest sense, is, as Duprat has argued, a matter of technique, and technique at once brings us to the elements of art. If we would understand what we are dealing with, we may, therefore, best study these forms under that of art. There is, however, a deeper chemical analogy than this to be seen. It may well be, indeed, that it is more than an analogy. In chemistry we are dealing, not merely with the elements of life, but with the elements of the world, even of what we call our universe. It is not unreasonable to think that the same law holds good for both. We see that the forms of life may all be found, and then better understood, in one form. Some day, perhaps, we shall also see that that fact is only a corollary of the larger fact—or, if any one prefers so to regard it, the smaller fact—that the chemical elements of our world can be regarded as all only transmutations of one element. From of old, men instinctively divined that this might be so, though they were merely concerned to change the elements into gold, the element which they most highly valued. In our own times this transmutation is beginning to become, on a minute scale, a demonstrable fact, though it would seem easier to transmute elements into lead than into gold. Matter, we are thus coming to see, may not be a confused variety of separate substances, but simply a different quantitative arrangement of a single fundamental stuff, which might possibly be identical with hydrogen or some other already known element. Similarly we may now believe that the men of old who thought that all human life was made of one stuff were not altogether wrong, and we may, with greater assurance than they were able to claim, analyse the modes of human action into different quantitative or other arrangements of which the most fundamental may well be identical with art. This may perhaps become clearer if we consider more in detail one of the separate arts, selecting the most widely symbolic of all, the art that is most clearly made of the stuff of life, and so able to translate most truly and clearly into beautiful form the various modalities of life. Footnote 1: See, for instance, Turner’s _Samoa_, chap. 1. Usually, however, in the Pacific, creation was accomplished, in a more genuinely evolutionary manner, by a long series of progressive generations. Footnote 2: Gomperz, _Greek Thinkers_, vol. I, book III, chap. VI. Footnote 3: