Thus the Life of Reason is another name for what, in the widest sense of the word, might be called Art. Operations become arts when their purpose is conscious and their method teachable. In perfect art the whole idea is creative and exists only to be embodied, while every part of the product is rational and gives delightful expression to that idea. Like art, again, the Life of Reason is not a power but a result, the spontaneous expression of liberal genius in a favouring environment. Both art and reason have natural sources and meet with natural checks; but when a process is turned successfully into an art, so that its issues have value and the ideas that accompany it become practical and cognitive, reflection, finding little that it cannot in some way justify and understand, begins to boast that it directs and has created the world in which it finds itself so much at home. Thus if art could extend its sphere to include every activity in nature, reason, being everywhere exemplified, might easily think itself omnipotent. This ideal, far as it is from actual realisation, has so dazzled men, that in their religion and mythical philosophy they have often spoken as if it were already actual and efficient. This anticipation amounts, when taken seriously, to a confusion of purposes with facts and of functions with causes, a confusion which in the interests of wisdom and progress it is important to avoid; but these speculative fables, when we take them for what they are—poetic expressions of the ideal—help us to see how deeply rooted this ideal is in man’s mind, and afford us a standard by which to measure his approaches to the rational perfection of which he dreams. For the Life of Reason, being the sphere of all human art, is man’s imitation of divinity. [Sidenote: It has a natural basis which makes it definable.]